Notes by David Joyner. (No claim to completeness - see class handouts.)
The pawn endgame is the easiest way to convert a positional advantage to a win. Therefore, it it is important to know it well. We shall study in this lesson "triangulation" and the "principle of two weaknesses".
Position 2.1: This position is very similar to the first basic endgame position in lesson 1, except there is are extra pawns (but no extra tempi since they are fixed). Note black has two weaknesses: the pawn fixed on the 6th rank at a6 and the passed white pawn which the black king is forced to defend against.
Principle of two weaknesses: If your opponent has two weaknesses, try to choose a move which exploits both.
White wishes to gain access to b6 to win the a6 pawn, thus exploiting both of black's weaknesses. To do this, he must try to lose a tempo. The classical triangulation manuever accomplishes this.
In Forsyth notation:
8/2k5/p1P5/P1K5/8/8/8/8
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1. Kd5 Kc8 (1 ... Kd8 2. Kd6 Kc8 3. c7 Kb7 and white's pawn promotes). Now we reach the following position.
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() White to win. |
1. Kc4! Kd8 (if 1 ... Kc6 then 2. Kc5 gains access to d6 or b6) 2. Kd4 Kc8 3. Kd5. Now we are in the original position but with black to move. 3. ... Kc7 (if 3 ... Kd8 then 4. Kd6 Kc8 5. c7 and white's pawn promotes) 4. Kc5 Kb8 5. Kb6 and white wins black's a6 pawn.
Position 2.2: The position below occurred in the game Dvoretsky-Nikitin, Moscow, 1970.
In Forsyth notation:
8/1p6/1BbR4/P3rk2/2P2P2/8/1P3K2/8
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() What if ... Kxf4? |
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Position 2.4: Study of Hrashek, 1928.
In Forsyth notation:
8/p7/P4p2/3K1P2/5k2/8/8/8
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() White to play and win. |
Position 2.5: Study of Grigor'ev, 1933.
In Forsyth notation:
8/3p4/8/8/1Pk5/2P5/3K4/8
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() White to play and win. |
In Forsyth notation:
8/8/8/8/p2k4/2p5/P1K5/8
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In Forsyth notation:
8/4k3/8/1p3p2/p7/P1K1P3/1P6/8
![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() White to play and win. |
In Forsyth notation:
8/1p1k4/1P6/2PK4/8/8/8/8
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Very similar to the fourth basic endgame position in lesson 1, except there is an extra pawn and and extra tempo. Since either player may use the tempo, it is called a reserve tempi. As a general rule, the defending side should not use the tempo unless the draw is clear. By the way, a mollificient tempo is a tempo move that is to your disadvantage.
Black wants to force white to push the pawn, leading to a position similar to the previous study but with colors reversed.
With white to move: 1. Kd1! Kd3 2. Kc1 c2 3. a3 draw. (Not 1. Kc1? Kd3 2. Kd1 c2+ 3. Kc1 Kc3 4. a3 (the mollificient tempo) Kb3 and black wins.)
With black to move: 1. ... Kc4 2. Kd1. Now either 2 ... a3 or 2 ... Kb4 3. Kc1 Ka3 4. Kc2 draw. The only other choice is 2 ... Kd4 3. Kc2 and we are back in the original position or 2 ... Kd3 3. Kc1 c2 4. a3 draw.
(given in class): If white can get his king to d6 with the opposition then white will win. With black to move this is relatively easy (see move 3 in the solution below). With white to move, the white king must first perform a triangulation manuever to lose a tempo.
1. Kd4 Kc6 2. Kc4 Kd7 3. Kd5. Now we are in the same position but it is black's move. 3 ... Kd8 (if 3 ... Kc8 then 4. Ke6) 4. Kd6. This is the desired position. Now the win is relatively easy but white must be careful not to push the c-pawn too early: 4 ... Kc8 5. Ke7 Kb8 6. Kd7 Ka8 7. c6 (finally!) bxc6 8. Kxc6. This is very similar to that examined in the first basic endgame position in lesson 1, a win for white.