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Most In-depth Study ( Must Have )

Thursday, July 17, 2008

Tips For Learning Chess Part 6 - Pieces

1.Bishop is usually stronger than knight in open positions. Knight is better then bishop in closed positions, when bishop is restricted. In semi open position, when knight has supporting square (reinforced by pawn) in the center, and can’t be attacked with the opponent’s pawn - knight excels bishop and almost equal to a rook.
2.Passed pawns should be advanced as rapidly as possible.
3.Move your rook to the open file.
4.Doubled, isolated and blockaded pawns are weak: avoid them!
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Tips For learning Chess Part 5 - Playing Principles

1.Opening fighting directed to the capture of the center. Pieces control and attack the maximum number of squares from the center. One of the advantages in center possession is in ability to transport the game to the flanks more easily.
2.Development is to be understood as the strategic advance of the troops toward the frontier line (the line between the fourth and fifth ranks). Develop all your pieces rapidly and castle quickly, preferably on the kingside. You can’t attack if your pieces are not out and it is much harder for your opponent to attack you successfully if your king is safely out of the center. There is no time for pawn hunting in the opening, except for centre pawns.
3.To be ahead in development is the ideal to be aimed for. Don’t move the same piece twice in the opening. Develop another piece. A pawn move must not in itself be regarded as a developing move, but merely as an aid to development.
4.Develop harmoniously! Play with all your pieces. Remember that the poor placement of even a single piece may destroy the coordination of the other pieces.
5.Don’t develop your Queen too early, it’s could be an option only when you could achieve a good target.
6.Maintain the balance in the center. This can mean controlling the center with pawns and pieces in the classical style, or by attacking the center with pieces from long distance, called the hypermodern method. The pawn centre must be mobile.
7. Capablanca principle: “Develop knights before bishops” - Knights have relatively obvious squares for their first moves, but a bishop’s best square depends very much on what your opponent does.)
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Tips for Learning Chess Part 4 - Opening Principles

1.Opening fighting directed to the capture of the center. Pieces control and attack the maximum number of squares from the center. One of the advantages in center possession is in ability to transport the game to the flanks more easily.
2.Development is to be understood as the strategic advance of the troops toward the frontier line (the line between the fourth and fifth ranks). Develop all your pieces rapidly and castle quickly, preferably on the kingside. You can’t attack if your pieces are not out and it is much harder for your opponent to attack you successfully if your king is safely out of the center. There is no time for pawn hunting in the opening, except for centre pawns.
3.To be ahead in development is the ideal to be aimed for. Don’t move the same piece twice in the opening. Develop another piece. A pawn move must not in itself be regarded as a developing move, but merely as an aid to development.
4.Develop harmoniously! Play with all your pieces. Remember that the poor placement of even a single piece may destroy the coordination of the other pieces.
5.Don’t develop your Queen too early, it’s could be an option only when you could achieve a good target.
6.Maintain the balance in the center. This can mean controlling the center with pawns and pieces in the classical style, or by attacking the center with pieces from long distance, called the hypermodern method. The pawn centre must be mobile.
7. Capablanca principle: “Develop knights before bishops” - Knights have relatively obvious squares for their first moves, but a bishop’s best square depends very much on what your opponent does.)
Subscribe to Chess Blog | The Pulse of Chess     If you liked the article kindly Digg it, Stumble it, Add to Technorati, bookmark it and please consider subscribing through  "Subscribe by Email"  and have articles & a  Everyman Chessbase eBook delivered right to your inbox! OR "Subscribe to Chess Blog Feed" in a Fead Reader of your choice OR Subscribe to "SMS Alerts" & Get Article Headlines & Updates delivered to your Mobile Phone for free.

Tips For Learning Chess Part 3 - How To Annotate Your Own Games?

While everyone prefers to learn from the mistakes of others, this is not very realistic when it comes to chess - Annotate Your Games!
A chessplayer’s strength is measured by his or her successes in tournaments. Sport has a single criterion - the result. Should we disagree with it, or bring in some other criteria, the very essence of sport is nullified. Comments such as this guy is more talented,but :
  • blundered in a time trouble
  • lost a won position
  • incredible error
  • accidentally, etc.
are for the fans (and media ). No “incredible” events occur. If something happened it was possible! It is necessary to try and understand the cause of what happened. You must analyze your own games in greater detail to identify the types of mistakes you made and to find out in which situations you need to improve your decision making process.
From childhood one must get used to analyzing and annotating every game played. Analysis of games, conceptualization of their content, explanation, assessments, motivations behind moves played, threats and what caused them create a powerful incentive for a chessplayer’s growth! Analysis is necessary for rapid chess games as well.
I consider that rapid chess gives even more information about the merits and drawbacks of a chess player. When there is more time to think, these drawbacks can be concealed by longer thinking, whereas in rapid chess and in blitz games all the pros and cons reveal themselves more vividly. A. S. Nikitin, Garry Kasparov’s coach, wrote that the future world champion even annotated his blitz games. Timing is of great help in identifying weaknesses of a chessplayer. It assists in understanding and explaining the chess player’s drawbacks and their causes, and is particularly demonstrative as it rates the time required to make this or that decision.
After each tournament it is necessary to report on all games played by a player in the Chessbase special Database.
Spend 10-15 minutes after each game writing brief notes, including thoughts, variations and assessments that were going through his mind during the play, and compare these with the results of subsequent calm analysis.
The five critical goals that you are trying to accomplish in your deep analyze are: Checking your Opening preparation. The opening part should end with a brief theoretical reference pointing out the best variations for continuing the struggle and with an “exemplary” game of this variation played by grandmasters.
Discovering the turning points and assessing your decisions making at those points. Particular attention should be drawn to the phase when the game passes from the opening to the middlegame, and it is worthwhile showing the extent to which the middlegame events correlate with opening structure logic.
Finding and classifying your own mistakes and other problems (Tactical, strategic, while attacking, defending etc, psychological problems etc); Develop your analyzing skills by uncovering new ideas and better moves, which could have happened if they were played.
The comments of each game should be finalized with an assessment of one’s own play and conclusions (reasons for win or loss, including non-chess factors; what to do in order to avoid these).
Showing your game to the coach for reviewing your analyzes.
Such work on the annotations should last for 4-5 hours. At a higher level, it is useful to annotate other players games, though it is more complicated due to a difficulty of understanding motives behind moves without observing the playing process directly.
Contributed by : A.Vaysman Honored coach of Ukraine
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Tips For Learning Chess Part 2 - Playing The Classics

It seems to me that a chess-player should first of all learn to play the classical openings, rather than openings such as the English opening, the Reti opening, Pirc-Ufimtsev Defense – the so-called “anti-openings”. These openings imply that the real combat begins only after the 15th move. You can also regularly provoke some interesting positions when playing these openings (the way M.Botvinnik and V.Smyslov did), but only on condition that you have had a very good practical experience and the knowledge of classical openings.
In some “anti-openings” you can move your pieces “to and fro” with no trouble. Those who like the process of playing chess as sport, rather than studying the theory of openings and the logics of the game, are really fond of playing “anti-openings”.
There is a rule in art: the professionalism of an actor is proved by means of classical, ever-lasting performances. If an actor cannot play a classical role, he is just an amateur. However, if an actor is able to perform classics, but unable to give the role some of his own individuality, the actor is no more than a good professional, but not a creative one.
Mostly the classics are difficult to play because the spectators have already seen them, so that you won’t get them interested by the text or the plot. What they want is to see the way a classical role is played. To arouse the audience’s applause (or win a game of chess) you should find significant nicities of the role, which is impossible if you lack talent.
Chess is an art as well, and so this rule can be applied to it. A chess-player should learn and play classical openings if he wants not only to achieve success as a sportsman, but also to become an artist. THERE IS NO OTHER WAY TO BREAK THROUGH. If you only stick to Ruy Lopez, Scotch Game, Reti Opening or Sicilian Defense, you might make certain progress and then wonder why you are not developing and improving your results. One should acquire a lot of technical skills, study a lot of typical positions to achieve success in classical chess. To master classical chess means to know how to play “right” chess. “Anti-openings” in turn cause a “to-and fro-game”.
A coach who teaches classical chess is supposed to know quite a lot about both classical openings and general culture. If a coach does not meet this requirement, his pupil is bound to study no more than 2 – 3 openings and neglect the theory of openings.
Playing an opening is in many ways like putting on a play. If an opening (or a performance) is badly organized, the actors’ playing won’t help. In that case, excellent moves are very rare and they seem as out of place as a tank at a horse show.
A young chess-player should learn to CREATE complicated positions instead of involving himself in the game where positions of this kind might be created.
It is very boring (especially for the young) to study classical openings, but that is valuable practice. And, as we know, practice makes perfect.
Today it is extremely hard to get even “+/= ” playing an opening, so if you have managed to turn the position to suit your tastes, the opening is considered successful.
Classical openings contain a lot of strategic and tactical approaches, they provide a chess-player with innumerable lines and situations. Nearly every move of classical openings is based on gaining the upper hand. “Anti-openings” are far less interesting. A lot of their moves are deprived of any ideas, because they are not aimed at winning a game. Ruy Lopez resembles in a way a classical waltz, and Reti Opening is very much like a twist, where the partners don’t depend on each other and dance for themselves.
Contributed by : A.Vaysman Honored coach of Ukraine
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Tips For learning Chess Part 1 - Talent & Hard Work

The Greatest World Champion Mikhail Botvinnik considered the success in chess as a combination of 4 factors.
* Special Chess Talent
* Good Physical conditions (Health).
* Strong Character
* High working skills
To achieve success in modern chess requires being a universal style chessplayer, playing all stages of a game confidently, and mastering typical positions in various openings.
Such a training program takes several years of strenuous work under the guidance of a qualified and thoughtful coach. For instance, in order to play the ending confidently, it is necessary for a junior player to remember the right way to play thousand typical endgame positions, requiring something like two years of the most arduous study.
First of all, a chessplayer must be able to work hard consistently. How many sparkling talents never made it to the top because of the absence of this skill?
I always remind my pupils: Talent has one advantage the right to work more than the others. A simple reasoning convinces you: Suppose a talented boy needs just ten minutes to master some chess material. A less talented player needs 20 minutes. If the talent will not spend these ten minutes and the other one will spend his 20 minutes, then who will be at an advantage?!
Only those children who are fanatically devoted to chess canbe expected to spend long hours at the chess board at home, reading chess books every day, and solving an enormous number of various tactic or dull endgame positions.
Garry Kasparov once wrote: I perceived all too early that you have to pay for everything in your life. A talented child has just a single thing to pay thats his childhood.
Nobody has ever found any other formula for that of success: TALENT + HARD WORK!
Contributed by : A.Vaysman Honored coach of Ukraine
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Tuesday, July 15, 2008

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Sunday, July 13, 2008

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Saturday, July 12, 2008

Useful Links for Chess Enthusiates


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