DEFENDING CORRECTLY

Defending correctly
I know that its much more interesting to study wild attacks then the stubborn defense. I am an attacker who likes to attack even if I see that my combinations are dubious, and I won a countless of times even though I find refutation for my combinations myself, my opponents didn't found it while playing. I was playing against very good players, about equal chess strength as me who also failed to refute my combinations even though they were real pseudo attacks.

What dose it means pseudo attack? Well when I say that I mean attack that look pretty strong but in fact its not really dangerous unless your opponent doesn't blunder and then your pseudo attack is no longer pseudo attack.

How to recognise pseudo attacks? Well you really have to calculate and you have to be familiar with some basics of the defensive ideas. This tips are for guys under 1800 because I saw many of them failed to refute pseudo attacks of mine. Firstly if your opponent sac some material to get open lines, around your king, and you know that his attacking forces are small but powerful then its very good to give back some material for consolidation. Also in almost every non master attacks there is some key pieces which without them attack cant work, its very important that you see which piece is a critical piece on the board, and to play against that piece. Also your key defenders, you must know always which piece is holding your ground. Also, pins are very bad, I know that you all already knows that, and yet many little people have performed very logical thing, after for example the king side castle, when after your opponent create a rook lift and his rook is pinning your pawn in front of your king, just move your king away from the pin. Do not think that pin is not important, it will kill you.

I know that when talked this way some of you may be little confused, so I will put two games of mine, played here on chess.com online chess for which I think that are perfect examples of erors in defending the position which backfires on my opponents because I used their mistakes to create very strong attack and eventually to win.

Both of this games are in some fact strange, because I don't really play correspondence chess, and I wasn't really comfortable with the knowing that my opponent can analyzed every move for 3 days (although no one really does that). I play fast myself, I play fast in correspondence chess also which is not good, but its a habit and I cant get rid of it.

First game was against a guy who had better rating then me for 70 points when we started, but in the meantime he lost some games, and I won some, so in fact now I got better rating then him for over 100 points. Never the less I was impatient and I attacked, he made a mistake while defending and I won the game by resignation.

1. d4 Nf6 2. c4 g6 3. Nc3Bg7 4. Nf3 d6 5. e4 O-O6. Bd3 Nc6 7. d5 Nb88. O-O Nfd7 9. Qc2 e510. dxe6 fxe6 11. Re1 a612. b4 Nc6 13. a3 Nde514. Nxe5 Nxe5 15. Be2Qh4 16. Be3 Nf3+17. Bxf3 Rxf3 18. gxf3 d519. cxd5 exd5 20. exd5Be5 21. f4 Bh3 22. f3 Rf823. Bf2 Qxf4 24. Bg3Bd4+ 25. Qf2 Qxf326. Re3 Bxe3

As we can see he start his defensive moves very nicely, then he could took my bishop with his pawn on move 23. but he thought that he could go to some complications after I play 23.Rxf3 so he rejected a bishop, which I also think that is correct move, but then on move 24. he should have played Rxe5 and my attack would be dead stopped, my opponent would be way ahead in material, and my possible attacks after that move just couldn't worked, but he made a mistake and I won the game. Lesson is give up some material for consolidation, because my bishops were key attackers, in this position if he would get rid of one of my bishops, I would have no attack.

Next game is against a guy who was rated about 1880 and his rating didn't change drastically, in the matter of fact, he maintained his rating even after the lost game against me (and I was in the time of playing the game rated about 1770). And also this game is very special because its my best win so far (on chess.com) , so its kind of dear to me. He was also only guy over 1800 against I was playing until this game, so again I was a kind of impatient, and I wanted to attack. My entire game was very aggressive, and this game is quite different then previous game. In this game my attack was a real deal, I had very, very nice opportunities on the king side and in this game my opponent made subtle errors which cost him a position, and then he made an only blunder of the game on move 24, after which I won the game pretty nicely.
                              
1. d4 Nf6 2. c4 e53. dxe5 Ng4 4. Nf3 Bc55. e3 Nc6 6. Be2Ngxe5 7. O-O O-O8. Nbd2 a5 9. b3 Ra610. Bb2 Nxf3+ 11. Nxf3Ne7 12. Nd4 Rh613. e4 d6 14. Qc2 f515. Qc3 Rf7 16. Bc1 f417. Nf3 Nc6 18. a3 Ne519. Nxe5 dxe5 20. Rd1Bd4 21. Rxd4 exd422. Qd3 Qh4 23. h3Rg6 24. Qxd4 Bxh325. Bf3 Bxg2 26. Bxg2Rxg2 27. Kxg2 f3+

I think that both games were preety instructive, and that they are perfect examples of bad defending, I hope that all of you guys who read this articles are satisfied with content of an article. This article is primary made for guys under 1800, if you have any idea for a new article or question I would be glad to answer. I hope that you have enjoyed, every commment is welcomed.

ENGLISH OPENING

     The ENGLISH OPENING derives its name from its association with the Englishman Howard Staunton, who played it six times against St.Amant in their 1843 match, and also in historic London tournament of 1851.  Staunton and his contemporaries understood many of strategies that today we call "hypermodern". But Morphy's disdain for this opening caused it to fall out of fashion, and it remained so far an entire century. Afew daring explorers, such as Tartakower, Rubinstein and Nimzowitsch, ventured it occasionally prior to World War ll, but since then English has become routine.

ENGLISH OPENING:
Four Knight's Variation:
1 c4 e5 2 Nc3 Nf6 3 Nf3 Nc6 4 g3 Bb4 5 Bg2 0-0 6 0-0 e4 7Ng5 Bxc3 8 bxc3 Re8 9 d3 exd3 10 exd3 d6 11 Rb1 h6 12 Ne4 Nxe4.

ENDING GAME

Instructions

1.

o 1

Move remaining pawns down the board to break through your opponent's defense. Capturing your opponent's pawns weakens his defense.

o 2

Control the center of the board throughout the game, but particularly near the end of a chess game. If you control the center, you can be the aggressor and force your opponent to react only to your moves.

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o 3

Advance a remaining rook into a central vertical file to keep your opponent's King restricted. Next to a Queen, a rook is most powerful.

o 4

Capture your opponent's rooks. It's very difficult to place someone in check without a rook involved.

o 5

Begin moving your King. While you spend most of the game defending your King, the end of the game means fewer threats due to fewer pieces. A King can even become part of your strategy to put the other side in check.

o 6

Box in your opponent's King. As you put the King in check, your opponent must move his King. Keep following him, forcing him to move one square at a time. If you've adequately set up your chess pieces for the end of the game, you can effectively surround your opponent's King and put him in checkmate.

When a player's king is threatened by an opposing piece, it is said to be "in check". When a player places the opposing king in check he should announce, "check". The object of a player is not merely to place his opponent's king in check but to make certain that every square where the king has a possibility of movement is also covered. This is called checkmate. The king is considered captured.

Either player may resign at any time. This generally happens when a player loses a major piece and the outlook for victory in his case appears bleak.

Stalemate is considered a tie. A stalemate occurs when a player's only move is to place his own king in check, but its current square is not threatened. As long as he can move another piece or the king can move to an open square, stalemate may not occur.

A draw also results when the only two pieces on the board are Kings, regardless of their position. If the pieces remaining on the board make check mate impossible, for example one cannot checkmate an opponent with only a king and a bishop a draw would also result.

Games from Irving Chernev's "Capablanca's Best Chess Endings"

The opening of a game is important - and hundreds of books are written on the opening. The opening leads to the midgame. The midgame is important - and hundreds of books are written on the midgame. The midgame leads to the endgame. The endgame is important - and *no books are written on the endgame*!

Yes, there are books, but they concern themselves with composed endings, or with theoretical (and for the most part artificial) positions. The composed endings are admittedly beautiful, but they are of limited value, as they have no relationship to practical play. Of the theoretical positions, many have their uses, but one must sift the wheat from the chaff. TO what use can we put such knowledge as the procedure for mating with a Knight and Bishop, or with the two Bishops, when an opportunity to do so may not occur in a lifetime? And why burden our minds with the manner of forcing mate with three knights (believe-it-or-not) or winning with four minor pieces against a Queen (sans Pans) when such positions as these have never yet been seen on land or sea? Capablanca himself says : "In order to improve your game, you must study the endgame before anything else; for whereas the endings can be studied and mastered by themselves, the middlegame and the opening must be studied in relation to the endgame." There are no books on endings from real life, no books from the practices of masters in actual play, let alone from the practice of a single master. This fact alone is enough to justify this book of endings, selected from the tournament and match play of the greatest endgame virtuoso the world has ever seen - the immortal Capablanca. Here are wondrous endings to enchant the reader, endings of breathtaking artistry. Here are endings of astonishing accuracy, whose relentless logic will inspire the earnest student to emulate a similar technique - the technique of seeking a clear-cut, efficient win, instead of a display of fireworks. The games are given in full, in order to show how a slight advantage acquired in the early stages, is carried forward and exploited in the endgame. I have annotated the endings in detail (a consideration they have rarely received before) for the better appreciation of the fine points of Capablanca's play, and have given credit to those who have anticipated my findings.Games from Irving Chernev's "Capablanca's Best Chess Endings"

The opening of a game is important - and hundreds of books are written on the opening. The opening leads to the midgame. The midgame is important - and hundreds of books are written on the midgame. The midgame leads to the endgame. The endgame is important - and *no books are written on the endgame*!

Yes, there are books, but they concern themselves with composed endings, or with theoretical (and for the most part artificial) positions. The composed endings are admittedly beautiful, but they are of limited value, as they have no relationship to practical play. Of the theoretical positions, many have their uses, but one must sift the wheat from the chaff. TO what use can we put such knowledge as the procedure for mating with a Knight and Bishop, or with the two Bishops, when an opportunity to do so may not occur in a lifetime? And why burden our minds with the manner of forcing mate with three knights (believe-it-or-not) or winning with four minor pieces against a Queen (sans Pans) when such positions as these have never yet been seen on land or sea? Capablanca himself says : "In order to improve your game, you must study the endgame before anything else; for whereas the endings can be studied and mastered by themselves, the middlegame and the opening must be studied in relation to the endgame." There are no books on endings from real life, no books from the practices of masters in actual play, let alone from the practice of a single master. This fact alone is enough to justify this book of endings, selected from the tournament and match play of the greatest endgame virtuoso the world has ever seen - the immortal Capablanca. Here are wondrous endings to enchant the reader, endings of breathtaking artistry. Here are endings of astonishing accuracy, whose relentless logic will inspire the earnest student to emulate a similar technique - the technique of seeking a clear-cut, efficient win, instead of a display of fireworks. The games are given in full, in order to show how a slight advantage acquired in the early stages, is carried forward and exploited in the endgame. I have annotated the endings in detail (a consideration they have rarely received before) for the better appreciation of the fine points of Capablanca's play, and have given credit to those who have anticipated my findings.