Notes by David Joyner. (No claim to completeness.)
Position 10.1: Solution to homework problem from lesson 8).
In Forsyth notation:
2k5/6pp/pp6/2p5/1PR4P/P7/5PPK/3r4
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() Black to play. |
1. ... Rd5 2. bxc5 Rxc5 3. Rxc5+ bxc5 4. Kg3 Kd7 5. Kf4 Ke6 (or Kd6) 6. Ke4
What does Black do in this position? What is the correct strategy - to keep the king back on d6-e6 or to advance the king to protect the passed c-pawn? Both lines seem to draw with proper play but care is required.
As a general rule, you always want to advance your pawns as far as possible in the eventuality of capturing your opponents pawns and getting into a pawn race.
Position 10.2: From Klovan-Yelistrov, 1963.
In Forsyth notation:
8/8/2k2p2/p6p/P1P2K2/8/7P/8
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() White to play and draw. |
1. Kf5 Kc5 2. h5! Kxc4 3. Kg6! (don't take the f6, to prepare for move 10) Kb4 4. Kxh5 Kxa4 5. Kg6 Kb4 6. h4 a4 7. h5 a3 8. h6 a2 9. h7 a1=Q 10. h8=Q.
Position 10.3: From Chronia-Shivogin, 1954.
In Forsyth notation:
8/5p2/6pp/8/8/5P2/p5PP/k1K5
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() White to play and win. |
1. Kc2 (to prevent Black possibly queening with check) f6 2. h4 g5 3. hxg5 fxg5 4. g4 h5 (forced) and white wins.
1. Kc2 f5 2. g3 g5 3. g4 f4 4. h3 and black is forced to lose a pawn.
Position 10.4: Nakamura-Carr, US Open, 1998.
In Forsyth notation:
2r1q1k1/p5p1/1p2p1p1/2ppP1N1/3P1Q2/2P2R2/PP2b1PP/6K1
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() White to play and win. |
Question: What if white plays instead 1. Qf7+ Qxf7 2 Rxf7 cxd4 3 cxd4 Rc1+ 4 Kf2 Rf1+ 5 Kxe2 Rxf7 6 Nxf7 Kxf7 7 h4 g5. Can white win? Answer: Analysis shows that with proper defense, black hould be able to draw.
Position 10.5: 3 vs 3 pawn break.
In Forsyth notation:
8/ppp5/8/PPP5/8/8/8/k1K5
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() White to play and win. |
1 b6 cxb6 2 a6 bxa6 3 c6 and white wins.
Position 10.6: "quart grip" (from Kmoch's book Pawn power).
In Forsyth notation:
8/5pp1/4p2p/4P2P/5PP1/1k6/8/1K6
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() White to play and win. |
1 g5 Kc4 2 f5! hxf5 3 f6! gxf6 4 h6 and white wins.
1 g5 Kc4 2 f5! Kd5 3 f6! and white wins.
Position 10.7: 2 vs 2 pawn break.
In Forsyth notation:
8/7k/5K1p/6p1/6P1/7P/8/8
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() White to play and win. |
1 Kf7 h5 2 h4! and white wins.
Position 10.8: Study of Kling and Horwitz.
In Forsyth notation:
k7/2p1pp2/2P3p1/4P1P1/5P2/p7/Kp3P2/8
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() White to play and win. |
1 f5! gxf5 (white threatens to play e6 next) 2. e6 fxe6 3 g6 and white wins.
Position 10.9: Study of Cvetcov.
In Forsyth notation:
8/5pp1/7p/5P1P/2k3P1/2p5/2K2P2/8
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1 f6! gxf6 2 f4 Kd4 3 g5! Ke5 4 gxh6 Kf6 5 Kxc3! and white wins.
Position 10.10: From a tournament game, Zubarev-Grigoriev.
In Forsyth notation:
8/5K2/kp6/p1p5/P2p4/1P6/2P2P2/8
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() Black to play and win. |
Position 10.11: From Shikova-Kalmukova.
In this position, white has more space and a better pawn structure. How does this advantage get converted into a win?
In Forsyth notation:
8/1pp1k2p/1p1p1p2/3P1K2/P1P3P1/8/1P5P/8
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() Black to play and win. |
1 ... Kf7 2 b4 Ke7 3 b5 Kf7 4 g5 fxg5 5 Kxg5 Kg7 6 h3. Now white can force the black king to h8 and play pawn breakthrough at c5, creating a passed pawn to win.
Position 10.12: Study of Botvinnik, 1952.
Again, as in the previous position, white has a space advantage.
In Forsyth notation:
8/5pk1/6p1/8/2K2PP1/8/8/8
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() White to play and win. |
1 Kd5 Kh6 2 Ke5 g5 (if ... Kg7 then 3 Kd6) 3 f5 and white wins.
Position 10.13: From Brinkmann-A. Rubenstein.
In Forsyth notation:
8/8/8/8/p1p3p1/PpP3k1/1P4P1/6K1
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() White to play. Black wins. |
1 Kf1 Kh2 2 Kf2 Kh1 3 Kg3 Kg1 4 kxg4 Kxg2 and black wins.
Position 10.14: From Cohn-A. Rubenstein.
in 1913-1914, A. Rubenstein was an amazing talent, which possibly better than Em. Lasker who was world champion at the time. The Rubenstein-Lasker games were absolutely fantastic.
The position below is a very famous endgame. You must know this game. It is basic fundamental knowledge to be a chess master.
In Forsyth notation:
8/pp2kppp/4p3/8/1P6/P3PP2/5P1P/2K5
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() Black to play and win. |
Position 10.15: Study of Kubbel.
Kubbel is one of my favorite composers of minor piece endgame studies.
In Forsyth notation:
2k5/3p4/P7/Pp6/8/4k3/8/8
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() White to play and draw. |
1 Kd4 d6 2 Kc3 d5 3 Kd4 b4 4 Kxd5 b3 5 Kc6 Kb8 6 Kb6 b2 7 a7+ Ka8 8 Ka6 b1=Q stalemate.
Position 10.16: Study by Gorgiev.
Here the white king is boxed in and it seems as though white must lose.
In Forsyth notation:
K1k5/7p/8/2P5/8/8/P7/8
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() White to play and draw. |
1 c6 h6 2 a3 h5 3 a4 h4 4 a5 h3 5 a6 h2 6 a7 h1=Q stalemate.
Position 10.17: From Ye Rowguang-Wang (?).
This game shows good flexibility in thinking and knowledge of endgame resources on black's part.
In Forsyth notation:
8/3K3p/5k1P/4p1p1/6P1/5P2/8/8
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() Black to play and draw. |
1 ... e4! 2 fxe4 Ke5 3 Ke7 Kxe4 4 Kf6 Kd5! 5 Kg7 (5 Kxg5 Ke6 and the black king heads to h8 with a draw) Ke6 6 Kxh7 Kf7 draw.
Position 10.18: Stalemate study.
In Forsyth notation:
1k6/8/p5p1/6p1/6P1/5P1P/6PK/8
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() White to play and draw. |
1 f4! a5 (if black captures the f4 pawn, white gets a passes pawn with 2 h4 a5 3 h5 gxh5 4 gxh5 a4 5 h6 a3 6 h7 a2 7 h8=Q1 and white wins) 2 fxg5! a4 3 Kg3 a3 4 Kh4 a2 5 g3 a1=Q stalemate (white smothers himself!).
Position 10.19: Bianchetti study.
Coordinating squares motifs is a most complicated concept. This problem is the epitome of coordinating square studies. Some discussion of coordinating squares can be found in Cvetcov, pages 22-23 and in Averbach's Endgame book.
In Forsyth notation:
7k/1p6/1P2p3/1P2P3/4P1p1/6P1/8/K7
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() White to play and win. |
The winning move is 1 Ka2!
Position 10.20: Study of Grigoriev.
Triangulation.
In Forsyth notation:
8/8/3pPk2/3P1p2/5K2/8/8/8
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() White to play and win. |
1 Kg3 Kg6 2 Kh4 Kf6 3 Kh5 and white penetrates the black position to win.
Position 10.21: Study of Grigoriev.
We have already looked at this position (see Position 8.13) but with black to play. Now it is white to play.
In Forsyth notation:
8/8/8/1p6/1P6/3P1k2/3K4/8
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() Black to play and win. |
5 ... Kf4 6 Ke2 Ke5 7 Ke3 Kd5 8 Ke4 Kc4 9 d4 Kxb4 10 d5 Kb5 11 Ke5 b4 12 d6 Kc6 13 Ke6 b3 14 d7 b2 15 d8=Q b1=Q 16 Qc8+ Kb-any 17 Qb8+ and skewers the black king.
Position 10.22: Study of Botvinnik, 1958.
A study by the former world champion ending in an "epulet" mate (the mating opsition looks like the military shoulder bars it is named after).
In Forsyth notation:
8/4pk2/1p4p1/1P3p3/3pP2P/3K2P1/4P3/8
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() White to play and win. |