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JOHN M. RICE
MICHAEL LIPTON
BARRY P. BARNES
by
7
Preface
In this book we have used the algebraic notation for recording
the moves, partly because it is briefer and simpler than the
English (descriptive) notation, and partly because it is used
exclusively in all problem periodicals and most problem sections
of chess magazines. For those who are not yet familiar with
algebraic it is explained in a note below.
The reader will find a number of references to a previous
Faber chess problem book, Chess Problems: Introduction to an
Art, by Michael Lipton, R. C. 0. Matthews and John M. Rice,
published in 1 963. This work is entirely separate from the
present volume, and contains an almost completely different
selection of problems..
We have received help and suggestions from a great many
people in preparing this book, and we should like to express our
thanks to all of them, but especially to Messrs. Hermann
Albrecht, Bob Burger, Edgar Holladay, Jeremy Morse and
Chris Reeves.
9
Notation
Two notations are used in this country for writing down chess
pieces, squares and moves. Many chess players use the des
criptive notation, but the algebraic notation, which we use in
this book, has been universally adopted among problemists,
and is rapidly gaining currency with players of the game.
Unlike descriptive, algebraic notation sees all squares and
moves from White's point of view. As will be seen from the
accompanying diagram, the ranks (horizontal rows of squares)
are numbered 1 to 8, starting with the rank where White's
pieces begin the game. The files (vertical rows of squares) are
lettered a to h, from left to right. The pieces are given letters:
K = King, Q = Queen, R = Rook, B = Bishop, S = Knight
and P = Pawn. The 'S' used for the Knight is derived from
the German "Springer". If White has Ss on cl and e l (QB l
and K l in descriptive notation), and moves the latter two
squares up and one to the left, we write the move eSd3. When
a capture is made, algebraic notation shows on which square
the capture takes place, rather than what piece is taken. Thus
if Black has Rs on al and a8 which can capture a white B on
a5, the capture by the R a8 is written 8 R x a5. The symbol....,
indicates that a piece moves "at random" (i.e. to no square
in particular), while + is used for check. Castling is written
0-0 (King's Rook) or 0-0-0 (Queen's Rook).
11
Introduction
"So you've had another chess problem published, eh ? Well,
well-you'll be playing against the Russians next!" That's the
sort of remark made by people who have no idea what a chess
problem really is. It is like saying, "You paint beautiful
pictures, so why don't you come and decorate my house for
me ?" Certainly a chess problemist and a chess player have
something in common : just as an artist and a decorator both
use paint, so a problemist and a player both use the same board
and pieces. But they have little else in common. And if you
are one of those people who have been playing chess for years
without ever giving a minute's thought to what a problem is all
about, we invite you to read this book, and we hope that what
we have to say will introduce you-and convert you !-to a
different side of chess.
There are some things you have to know before you can start.
We assume that you know the moves of the pieces and the aims
and rules of the game of chess. If the algebraic notation we are
using in this book is unfamiliar to you, do not let that put you
off. It is all explained on page 1 1, and once you are used to it
(which does not take long), we think you will agree that it is
much simpler and more practical than the descriptive notation
which it is fast replacing in this country.
The expression "two-move chess problem" refers to a com
posed position in which White, to move, can mate Black with
his second move against any black defence. We have called it
a "composed" position because a chess problem does not have
to be-and nearly always isn't-the sort of position you would
come across in a game. Just take a look at some of the diagrams
in this book, and try to imagine the game that led up to them !
But a problem must be a possible position, one which could
conceivably have arisen in a game-even if the players had
played absurd moves ! So both Ks must be on the board, and
neither side may have more than eight pawns, and so on.
Such requirements form the basic rules of the chess problem.
13
Introduction
But as well as the rules, there are a few conventions. One of
these concerns the use of promoted pieces, which most problem
ists agree should be avoided. And it is also a convention that
every piece in the diagram should have some function in the
problem-but more about that later.
White's first move-the move that solves the problem-is
called the key. Composers do their best to avoid a strong key,
e.g. a capture of a black piece. A problem usually has only
one key, unless more are deliberately intended (as, for example,
in No. 354). It sometimes happens-far too often, alas !-that
a problem is published containing an additional white move
which also solves the problem, in that it, too, leads to mate by
White on his second move, whatever Black does. A key not
intended by the composer of the problem is called a cook. All
the problems in this book have been solved and tested by
eagle-eyed cook-hunters, but that doesn't mean we guarantee
that every single one is absolutely sound.
We must distinguish between threat-problems and block
problems. In a threat-problem, White's key threatens a mate
which he can deliver on his second move if Black makes no
effort to stop him. Any move by Black which defeats the
threat (i.e. prevents it from mating ) is called a defence. Every
time Black plays a move to defeat the threat, he weakens his
own position in some way, thereby allowing White to make a
different mating move. A black defence, taken together with
the new mate that it introduces, forms a variation.
In a block-problem White threatens nothing, but whatever
move Black makes, White is able to mate straight away. A
complete block is a problem in which, if it were Black's turn to
play, White could mate on the move. Such mates are called
set mates, and the variations are known as the set play. In an
incomplete block only some of Black's moves have set mates,
and White's key arranges mates for the rest of them. A com
plete block is often solved by a simple waiting move, preserving
all the set play. But there is a special kind of complete block,
called a mutate, in which White has no mere waiting move at
his disposal, and so is forced to make a move which disrupts
some-or even all--of the set mates, but which introduces new
mates instead. New mates replacing set mates are known as
14
Introduction
changed mates or changes. Such strategy is not confined to
block problems, as you will discover later.
There are lots of different ways in which Black may defeat a
threat, and in the same way there are lots of ways in which he
may allow a new mate. The variations form part of the prob
lem's tactics. And if the problem is to have any value at all,
the principal variations should be related in such a way as to
produce a theme or idea. For a chess problem is more than
just a puzzle. You, as the solver, have not finished your work
until you have not only solved the puzzle, but also discovered
the problem's theme, the composer's main idea. We do not
propose to give you a great list of the different types of tactics
a problem may show-that is something you can make for
yourself after you have read this book and studied the problems
in it. But what we shall do is to acquaint you with the most
important themes and thematic devices, so that you will know
what we are talking about when you embark on chapter 1 .
Interference: 1 . Black self-interference: A black line-piece
(Q, R or B) may guard a square on which White could otherwise
mate. If any differently-moving black piece (or any pinned
black piece) plays on to the line of guard between the line-piece
and the prospective mating square, an interference takes place.
See chapter 5. 2. White self-interference: White is permitted
by some error on Black's part to close one of his own lines of
guard when mating. The black error may be
Self-block: Black plays a piece on to a square next to his K,
so that White need not guard that square when mating. Or
it may be
Line-opening: Black opens a white line by removing a piece
from that line.
A self-block may take place on a flight, a square to which the
black K may move (see chapter 1 ).
Pin: A piece is pinned if its removal would leave its K in
check. Unpin, as the name suggests, involves the release of a
pinned piece (see chapters 2 and 4).
Check: In a number of problems, Black is allowed a check,
which White parries as he mates. If Black's check is inflicted
by or from a line-piece, White may reply with a cross-check, in
which he plays a piece on to the check-line. Very often
15
Introduction
cross-check problems contain a battery, an arrangement in which
a white line-piece is separated from the black K by another white
piece, which mates simply by moving away; or the two battery
pieces may be black, and may check the white K when the
battery opens. Cross-checks are the subject of chapter 3, and
batteries, though used in conjunction with many themes, are
dealt with particularly in chapter 8 .
You may think from all this that the only interesting things
in a two-move chess problem are White's key, Black's defences
and White's mates. But this is far from being the case. The
majority of two-movers composed nowadays-and indeed
many of those in this book-depend for part of their effect on
thematic tries. These are moves which very nearly solve the
problem, but which are defeated (or refuted) by a single black
defence. Tries have a number of different functions. For
instance, a try may serve to emphasise the set play of a problem
by introducing replies by Black leading to the set mates.
Alternatively, a series of tries, often by the same white piece,
may be of interest because of the way in which each is refuted.
Such tries may be related to each other by having a common
error-that is, each try makes a similar mistake which Black
can take advantage of; or by having a common aim, as in the
White Correction problems of chapter 1 1 . Thirdly, a try may
introduce some completely new play, i.e. new white mates or
new black defences or both. This new play will differ from
the set play, if any, and from the post-key play as well.
All this no doubt sounds rather complicated! But perhaps it
will help a little if we look at a problem at this stage, and see
how all this business of set play, tries and so on, really works.
The accompanying diagram shows a two-move problem by
Valentin Rudenko, one of the most successful Russian com
posers of the present day. It gained first prize in a Dutch
composing tourney. By the way, tourney is the name given to
a competition in which specially contributed new problems take
part. The judge or judges of a tourney will normally award a
certain number of prizes, honourable mentions and commenda
tions. Rudenko's problem illustrates the theme of two self
blocks on a flight-square, an idea which really would not be
very interesting if all there was to the problem were a key, with
16
Introduction
a threat, two black defences and two new mates. But there is
much more to this problem than that. Let us look first at the
set play, i.e. the interesting moves which Black might play if it
were his turn to move (e.g. capture of prominent white pieces,
move of his K, checks, etc.), and see whether any white mates
are set for them. Well, in the first place there is a black K-move
which has no mate set for it, viz. 1 . .. Kxd5. So whatever
V. F. RUDENKO
First Prize,
Dutch Ring Tourney, 1962
20
Introduction
someQne who has had years of experience of composing, solving
and reading problem magazines. If he has kept up to date
with modern trends, he will be able to tell you whether or not
your composition stands any chance of being original.
In preparing this book, we have not made any attempt to
cover exhaustively every two-move theme ever thought of.
Instead, we have selected from this huge field a small number
of themes which have interested the three of us as composers
at one time or another. This may perhaps help to explain the
large preponderance of problems by Barnes, Lipton and Rice!
But we have also thought of this book in terms of a collection
of our own problems-indeed, at one time it was going to
contain nothing but problems by us, to the exclusion of all
others. We abandoned this idea when we realised we should
thereby miss an opportunity of showing you some of the finest
work of other composers. As you will see, each chapter contains
a number of problems-mostly by foreign composers-with a
full commentary in the· text, to explain the theme in its tradi
tional form, if it has ever had one, and to introduce you to its
various developments. There follow problems by each of us
and by some other British problemists as well. We have
deliberately not given these a commentary in the text, in the
hope that you will try to solve them, having read the text and
studied the preceding examples. The solutions, with explana
tions, may be found in the appendix-but be fair! They are
there for you to look at after you have solved the problems
yourself, not before!
21
CHAPTER ONE
Flights
Any square the black K may move to is called a flight. If
White's key lets the K move to a flight, it gives the flight, while
if such a move is prevented, the key takes the flight. It is always
a good thing if White increases Black's mobility, so that a
flight-giving key is usually regarded as a constructional advan
tage. By contrast, a flight-taking key is a defect. Sometimes
White's key is of the give-and-take variety: this deprives Black
of a flight or flights, but gives another or others in exchange. If
White has a mate set for the K-flight, the flight is provided. An
unprovided flight (one with no set mate) is usually a drawback,
since it restricts White's choice of key. It is decidedly bad if
White takes an unprovided flight.
Few good problems are composed nowadays in which the
interest is centred on Black's escape to flight-squares in the
post-key play only. Flights in themselves offer only limited
scope, and the relatively few possibilities they afford were
exhausted long ago. In the second half of the last century Sam
Loyd and many other composers produced great numbers of
problems with flights as a theme, often with keys giving as
many flights as possible. But frequently these problems lacked
variety, for many of the mates were often identical moves. One
of the finest flight-problems of recent times, No. 2, avoids this
weakness with great ingenuity. The key, shutting off both the
Q and the R a5, gives no fewer than four flights, and there is a
different reply to every one of Black's K-moves! Notice how
the Q and the R come into their own on White's second move
as the firing pieces of the indirect batteries which the key sets up.
In the best flight-problems of the post-Loyd era (Loyd died
in 1911), flights are generally combined with some other theme,
as in No. 3, and indeed in a great many of the problems in
other sections of this book, where they occur rather as an
incidental feature than as the central idea. No. 3 shows
22
Flights
self-blocks by the two black Rs on the flight-squares, with mates
by whichever white R Black has not captured. Self-blocks are
found again in No. 4, but this time in the set play only: the
black Ss block the three squares d4, f4 and f6, two of the
resulting mates showing white interference (see page 15). The
2 FLIGHTS
A. G. KUZNETSOV
First Place,
Holland v. U.S.S.R., 1956
Key 1 ScS, threat 2 S x e6
KeS ; 2 S x d3
KfS ; 2 Sg4
K x gS ; 2 Sg8
(Ke3 ; 2 S x e6)
BeS ; 2 SdS
Ba2; 2 S x d3
3 FLIGHTS+ SELF-BLOCKS
C. MANSFIELD
American Chess Bulletin, 1953
Key 1 Sc6, threat 2 SgS
K x f7; 2 Pg8 = Q
K x dS ; 2 Qa2
dR x dS ; 2 Re7
fR x dS ; 2 Rf6
dR x f7 ; 2 Rd6
fR x f7 ; 2 ReS
4 RADICAL CHANGE :
SELF-BLOCKS TO FLIGHTS
F. FLECK
First Place,
A. C. White Memorial Tourney,
1952-3
Set Sd4; 2 Sg4
Sf4; 2 Qh8
Sf6; 2 Rg5
Key 1 Qf2, threat 2 Sg4
Kd4; 2 Sf5
Kf4; 2 Sd5
Kf6 ; 2 Sd5
s STAR-FLIGHTS + PROMOTIONS
J. HARTONG
Probleemblad, 1957
Key I Sd7, zugzwang
Ke8 ; 2 Pxf8 Q
=
Kg8; 2 Pxh8 Q
=
Kxg6 ; 2 Pg8= Q
Ke6 ; 2 Pxf8 S
=
Sxg6 ; 2 Sd6
S else; 2 Pg8= Q
F. MICHEL
7 CHANGED FLIGHTS
V. I. TCHEPIZHNI
First Prize,
Dnepropetrovsk Sports Club, 1958
Set: Kg7 ; 2 Sf5
Ke5; 2 Sf3
R x a8; 2 Sc2
Key 1 Qh1 , threat 2 Qh8
Kg7; 2 dSe6
Ke5 ; 2 Sc6
Rxh1 ; 2 Sb3
9 CHANGED STAR-FLIGHTS
V. F. RUDENKO
27
Flights
10 CHANGED STAR-FLIGHTS
A. ZARUR
Second Prize,
Probleemblad 1 1 4th Theme Tourney,
1964
Set: Kc8 ; 2 Sb6
Ke8; 2 Pd7
Ke6 ; 2 Qf5
Kc6; 2 P x b8 = S
Key 1 P x e7 + , Kc8; 2 eP x d8 = Q
Ke8 ; 2 P x f8 = Q
Ke6 ; 2 P x f8 = S
Kc6 ; 2 PeS= Q
K x c7 ; 2 Sb5
The set play of No. 10 has mates arranged for the star-flights
of the black K. The discovered check 1 P X e7 + upsets them
all, and incidentally gives a fifth flight. Notice that the new
mates for the star-flights are all promotions of the pawn which
makes the key.
Most of the most interesting flight-square problems contain
changes of one sort or another. The problems that follow are
therefore of this kind.
J. M. RICE
5th hon. mention, Skakbladet, 1961
Probleemblad, 1957
28
Flights
M. Ln>ToN 13 J. E. DRIVER 14
Version, 2nd hon. mention, British Chess Magazine, 1962
Die Schwa/be, 1959
R. C. 0. MATIHEWS 15 J. M. RICE 16
2nd prize, British Chess Magazine, 11 Due Mosse, 1961
1951
J. M. RICE 17 C. J. MORSE 18
1st prize, Problemisten, 1961 1st place, Great Britain v. Israel,
1960-1
29
Flights
A. C. REEvEs 19 J. M. RICE 20
Correspondence Chess, 1963 Themes 64, 1963
J. M. RicE . 21 J. M. RICE
4th prize, B.C.F. Tourney 100, Correspondence Chess, 1963
1961-2
30
CHAPTER TWO
The Half-pin
When a composer tries to explain to a beginner what "themes"
are all about-what chess problems are for-he often finds
himself setting up a simple half-pin problem, like Anderson's
lovely No. 23. The key, 1 Ra3, waits for Black to go wrong
-as he must, by virtue of his obligation to go somewhere. A
typical pair of elementary half-pin variations now appears :
1 . . . Sd1 ; 2 Bb1 (mate thanks only to the opening of h8-a1
to pin the R), and 1 . . . Rxb3 ; 2 Bxb3 (mate only because
the R has, in withdrawing from h8-a 1 , pinned the S).
Notice the reciprocal,nature of the half-pin theme. As in the
Grimshaw (see chapter 5), each of two black men permits mate,
in turn, by limiting the power of the other. The popularity of
both themes stems from this inherent unity, which enables a
good example to echo the same idea in several variations and
thus to attain economy without restricted variety. Thus
Anderson here get� a lot more play out of his nine men.
1 . . . Sx a2+; 2 Kd2 is a self-pin by capture and Royal check
as well as half-pin ; 1 . . . Rxc2+ ; 2 Kxc2 makes analogous
use of the half-pin line to complete the second thematic pair
of battery mates. If 1 . . . Rxa2 ; 2 Bxc3 exploits the capture
23 HALF-PIN
G. F. ANDERSON
Good Companions, 1919
Key 1 Ra3, zugzwang
Rb1+; 2 B x b1
R x b3; 2 B x b3
S x a2+; 2 Kd2
R x c2+; 2 K x c2
R x a2; 2 B x c3
Sd1; 2 Bbl
31
The Half-pin
self-pin instead of half-pin ; notice how naturally this arises
from the half-pin mechanism.
Gerald Anderson in many ways embodies the best aspects
of the English problem tradition. He has been producing fine
two-movers, as well as three-movers and self-mates, for around
fifty years, during his long and successful career as an account
ant with the Foreign Service. His work has always combined
restraint and economy with a rare sense of the possibilities of
a position, so that one marvels how much he does with a few
pieces.
Simple half-pins date back at least to 1 855, when the British
composer A. Kempe published the first recorded example in
"Cassell's Family Magazine". American and British composers
experimented with Doublings from around 1 880, and ultimately
even Triplings of the simple theme were achieved (see No. 232
in the Task section). In the early years of this century, an
"Anglo-American" complex two-move style began to take shape
24 HALF-PIN
C. MANSFIELD
of quite equal merit. In this line, the B cuts the line of the
pinned R, c2-c6, allowing White to unpin him on b3 witli
impunity (the so-called "Goethart theme"). Of course the mate
also exploits the opening of h4--a4 to pin e4 (half-pin). There
is another half-pin-interference 1 .. Bd2; 2 Qxc2, and a pair
.
33
The Half-pin
1 ... Se2; 2 Pd3, with interference and unpin-interference as
well as half-pin, is clearly subsidiary to the paired mainplays.
The varied ways of combining half-pin with other themes are
well illustrated by Ellerman's trio of unpinning masterpieces.
In No. 26, the key thematically pins d7, and each black B
unpins it in turn by interference along g7-a7, allowing a
promotion by the unpinned P to exploit the pin of the unmoved
black B. In No. 27, both thematic unpins are executed by the
black Q, giving checks crossed by the white S to exploit the pin
of the black B. (This combination, half-pin+ unpin+ cross
check, is sometimes called the Tuxen theme.) Although the
main thematic interest is centred on the play of the black Q,
there is no impression of incoherence, because the black B
gives a similar semi-symmetric pair of echoed variations,
combining half-pin this time with simple self-block. There is
a useful extra interference unpin I . . Se5, and an astonishingly
.
good key.
26 HALF-PIN + UNPIN OF WHITE
A. ELLERMAN
Tijdschrift van der K.N.S.B., 1919
Key 1 Ka7, threat 2 P x b6
Bf7; 2 Pd8 = S
Be7 ; 2 P x e8 =Q
34
The Half-pin
first, the simple half-pin pair, 1 ... Bg4 and 1 .. . Sf3; in each
case the white Sa2 takes the moving piece, allowing h1 to
discover mate because of the pin of its partner. Second, there
is the pair of unpin defences, 1 ... Be4; 2 Qxg5 (not 2 Qh8 ?)
and 1 ... Se4; 2 Qh8. Unity is here achieved by the physical
identity of the pieces involved in the two variation pairs.
_
27 HALF-PIN COMBINATION
A. ELLERMAN
Fourth Prize, Observer, 1920
Key 1 Sf3, threat 2 Qg4
Qa7+; 2 Sd7
Q x gl + ; 2 Sg4
BfS ; 2 Qe3
B x f3 ; 2 Be3
SeS; 2 Sh5
Q x f6 + ; 2 R x f6
28 HALF-PIN BLEND
A. ELLERMAN
Second Prize ex aequo,
Good Companions, 1922
Key 1 Rd4, threat 2 Rh4
Sf3; 2 S x f3
Bg4 ; 2 S x g4
Se4; 2 Qh8
Be4; 2 Q x gS
35
The Half-pin
and 1 . . . Q X g5-both of which stop the threat by square
vacation of lateral flights. The systems a5-f5 and fl-f5 are
bound together with hoops of steel. Notice how, in alternate
lines of play, e4 and e7 do mating and guarding duty in turn
-a sure sign of expert construction.
29 DOUBLE HALF-PIN
A. MARI
Second Prize,
Good Companions, I924
Key I Bc6, threat 2 Q x d7
Bc4 ; 2 S x d6
Sd4; 2 SgJ
eB-; 2 B x d7
Q x g5 ; 2 Q x g5
30 CHANGED HALF-PIN
K. HASENZAHL
The Problemist, 1957
Set: S x e6+; 2 R x e6
Rf7+; 2 P x f7
Key I Rd5, threat 2 Rd7
S x e6+; 2 Q x e6
Rf7+ ; 2 Q x f7
Pb6; 2 Qd8
Pb5 ; 2 S x c6
J. M. RICE 33
Observer, 1963 The Tablet, 1963
37
The Half-pin
J. M. RICE 34 M. LIPTON
1st hon. mention, Sun Herald, 1st hon. mention, Israel
1961 Tourney, 1955
M. LIPTON 37
The Problemist, 1952
J. F. LING 38 C. MANSFIEID
4th prize, B.C.P.S. Ring Tour 1st prize, The Observer, 1965
ney, 1962
38
The Half-pin
M. LIPToN 42
Die Schwa/be, 1964
39
C H A P TER THREE
Cross-check
Whatever his level of experience or sophistication, the solver
always finds special pleasure in cross-check problems (see p.
1 5). Beginners are amazed that White, with only two moves
to force mate, can allow Black to cramp his style by checking
especially if the aggressor can be neither captured nor punished
with a K-battery. Even seasoned solvers, who look for keys
allowing interesting-looking black checks, are often surprised
at the wide variety of original effects still obtainable from the
theme. There are many gaps in the classical achievement,
waiting for ambitious composers to fill them,* and the theme
can also lend itself to clear expression in modern form.
The British tradition has always emphasised clear ideas with
solver-appeal-never at the cost of experiment, though some
times, perhaps, too much at the expense of rigorous economy
of force. Thus it is not surprising that, since Blake, Heathcote
and Mackenzie, cross-checkers have been central in this tradi
tion. Mansfield's No. 44 is one of the most famous two-movers
of all time. After a perfect thematic key, the unpinned black S
forces four distinct interpositions on the checking line-though
only three can be called cross-check variations, since 1 . . . Sd2+
is followed by the threat. The flight-giving element of the key
is meritorious, despite the dual after the flight. There are duals
after loose, yet thematic, black S checks, and there is no byplay.
Of course this is carping criticism, for the problem is amazingly
rich for its 16 men, perfectly keyed, and light and open in
construction.
Jan Hartong was the great Dutch "Good Companion" . Like
his Danish counterpart, K. A. K. Larsen, but unlike Mansfield
• For example, nobody has yet shown more than four forced cross-checking
replies, other than the threat, to moves of a single black man. (Four have been shown
for discoveries by black R, black B, black S and black K.) Nor has anyone shown
more than three cross-check mates following black interferences, and the same applies
both to self-pins and to self-blocks.
40
Cross-check
and Ellerman, he is also an active and first-class three-move
composer (does his two-move style show traces of this talent ?).
In No. 45, he shows three self-blocking cross-checks allowed by
the key. There are actually two more cross-checks, one in the
post-key play, and one a set self-block ; if, in the initial position,
CROSS-CHECK
C. MANSFIELD
First Prize,
Good Companions, 1917
Key 1 Be4, threat 2 S x c4
S x d6 + ; 2 Bd3
S x e3 + ; 2 SbS
SeS + ; 2 Rd3
(Sd2+ ; 2 Sc4)
45 CROSS-CHECK
J. liARTONG
First Prize,
The Problemist, 1927
Key 1 K X a6, threat 2 SbS
aS x c3 + ; 2 RaS
eS-+ ; 2 Rc4
eS x c3 + ; 2 RbS
P x eS + ; 2 Rc6
47 CROSS-CHECK + HALF-PIN
G. GUIDELLI
Second Prize,
L'Eco degli Scacchi, 1916--7
Key 1 Kf7, threat 2 Qb8
PeS + ; 2 Sd5
fB-+ ; 2 3Sf5
Be5 + ; 2 7Sf5
B x e7 + ; 2 B x f4
Ke5 ; 2 Sc4
J. M. RICE
2nd prize, B.C.P.S. Ring Tourney, 2nd hon. mention,
1962 British Chess Magazine, 1962
44
Cross-check
M. LIPTON B. P. BARNES 53
British Chess Magazine, 1964 Correspondence Chess, 1961
A. R. GOODERSON 54 J. M. RICE 55
1st commend., B.C.P.S. Tourney, 1st hon. mention, Observer, 1962
194S
J. M. RICE B. P. BARNES 57
1st prize, McWilliam Tourney, Die Schwa/be, 1964
19S6
45
Cross-check
N. A. MACLEOD 58 B. P. BARNES
Sth prize, (after G. HEATHCOTE)
Yugoslav Chess Federation, 1950 Correspondence Chess,
1964
G. F. ANDERSON 60 M. LIPTON 61
lst prize, The Observer, 1961 Correspondence Chess, 1962
46
Cross-check
M. LIPTON 64
4th place, Great Britain 11. Israel,
1960-1
47
C H APTER F O U R
65 UNPIN OF WlllTE
(BY INTERFERENCE)
F. GAMAGE
First Prize,
Tidskriftfor Schack, 1 9 1 4
Key 1 gRg5, threat 2 Qh6
Rc3 ; 2 Re3
Rd4 ; 2 Re4
Sd4; 2 Re2
48
Unpin of White by Black
problems to be found, and this is one of them. 1bree times the
black Q unpins the white S, and on each occasion White is
able to shut off her control of the B + S battery : 1 Qa2 ; . . .
here is not thematic, for the Se3 is already pinned in the diagram
position, but it has the considerable merit of giving the black.
K a flight, f4, leading to an unusual interference.
66 UNPIN OF WIUTE
(BY WITHDRAWAL)
A. S. BILNER
Fifth Prize, 64, 1930-1
Key 1 Sf8, threat 2 Qh6
Qa2; 2 Sc2
Qh2; 2 Sg2
Qf6; 2 SfS
Pf6; 2 Se6
Kf4; 2 Qf6
67 PIN-UNPIN RESTORATION
F. GAMAGE
First Prize,
British Chess Magazine, Theme Tourney,
1944
Key I ReS, threat 2 RdS
Q x c5 ; 2 Sc4
Q x f4; 2 Se4
Q x b5 ; 2 Se4
K x cS ; 2 Sd3
M. LIPTON 76
Problemist, 1952 (version) 1st prize, Deutsc/re Schachzeitung,
1957
J. M. RicE 77 ]. M. RICE
3rd commend., Die Schwa/be, Die Schwa/be, 1960
1960
J. M. RICE 80
Problemist, 1960 Problemist, 1 965
54
Unpin of White by Black
A. c. REEVES 81 C. MANSFJELD 82
Version, Problem, 1963 Commended, Die Schwa/be, 1955
A. R. GOODERSON 83 J. M. RICE 84
Correspondence Chess, 1960 American Chess Bulletin, 1960
85 M. LIProN 86
J. M. RICE (after M. WROBEL) 11 Due Mosse, 1959
British Chess Magazine, 1962
55
Unpin of White by Black
M. l.IPTON 88
8th commend., Die Schwa/be, British Clu!ss Magazine, 1966
1962
M. L!PTON 89 J. M. RICE 90
The Prob/emist, 1965 6th prize, B.C.P.S. 40th Anni
versary Tourney, 1959-60
so that 2 Qf4 will not work, while the latter is a direct pin of
the Rf6, preventing 2 Rf4.
At one time it was thought that it would be impossible to
achieve three Grimshaw-interference pairs in a single problem
without some serious constructional weakness, such as an over
powerful key. Brian Harley, in his Mate in Two Mot'es (193 1),
quotes an example from 1930 by W. and S. Pimenov, where
the weakness is a P=Q key. In the previous year, however,
58
Grimshaw and Nowotny
Loshinski had produced his now famous 1 3-piece 3-fold
Grimshaw, with a fine waiting key (No. 4 in CPIA) ; and two
years earlier F. L. Simkhovich had composed No. 95, admittedly
a heavy setting but nonetheless a superb achievement. Observe
how skilfully the mates are differentiated after interference on
the same line, e.g. : 1 . . Bd7 ; 2 Sf7-not 2 Qg7 ?, because of
.
95 TRIPLE GRIMSHAW
F. L. SlMKHOVICH
Trud, 1928
Key 1 Qg5, threat 2 Pf6
Re3 ; 2 Pd4
Be3 ; 2 Sd3
Rf7; 2 Sg6
Bf7 ; 2 Qg7
Rd7 ; 2 S x c6
Bd7 ; 2 Sf7
Sd7; 2 Qe7
96 CHANGED GRIMSHAW
L. S. !'ENROSE
Third Prize,
Good Companions Complete Block
Tourney, 1920
Set : Bg4 ; 2 Qf4
Rg4 ; 2 R x e2
(Bf3 ; 2 Qa7)
Key 1 Sg5, zugzwang
Bg4 ; 2 R x e4
Rg4 ; 2 Qf3
(Rf4 ; 2 Qa7)
S. SUllRAHMANYAM and
M. PARTHASARATHY
First Hon. Mention,
B.C.F. Tourney, 1963-4
Try 1 Qh5 ?
Bf2; 2 Qf3
Rf2; 2 Qh4
Bd7; 2 B x d6
Rd7 ; 2 Se6
ReS !
Bg3 !
Key 1 Qe6 !, zugzwang
Bf2 ; 2 Rf3
Rf2; 2 Rh4
Bd7 ; 2 Q x d6
Rd7 ; 2 Q x f5
99 CYCLIC INTERFERENCES
H. WEENINK
Good Companions, 1 924
Key 1 Be6, threat 2 Qe3
Qd4; 2 Qcl
Rd4 ; 2 Qf8
Bd4; 2 Re4
(Sd4 ; 2 Sd3)
100 NOWOTNYS
W. JI/JRGENSEN
Fifth Prize,
Tchigorin Memorial Tourney, 1950
Try I Pc6 ?, threats 2 Sg6/Sd5
Bf8 !
Try 1 Bc6?, threats 2 Qd6/Qd4
Bg7!
Key I Sc6 !, threats 2 Qf6/eRf3
101 NOWOTNYS
Touw lirAN BWEE
Version, Fourth Prize,
1 5th Olympic Tourney, 1962
Try 1 Rf7?, threats 2 Se6/Sf5
B x f4 !
Try I dSf7 ?, threats 2 R x d5/Qf6
Qb3 !
Try 1 Bg3?, threats 2 3Rf4/Rd3
Qbl !
Key I Rg3 !, threats 2 Be5/Sf3
104 NOWOTNY
L. SzWEoowsKI
Second Prize,
Prob/eemblad, 1959
Set : Bd3 ; 2 Q x f3
Rd3 ; 2 Qe4
Key I Rd3, threats 2 Pe4/Se3
Sd6 ; 2 Q x f3
Bd6; 2 Qe4
care to come back to this problem after they have studied the
examples of the Rukhlis theme in chapter 1 0.
M. LIPTON 106
3rd prize, B.C.P.S. McWilliam
Tourney, 1955
64
Grimshaw ·and Nowotizy
A. C. RBEVFS
The Tablet, 1965 2nd prize, Die Schwa/be, 1963
65
Grimshaw and Nowotny
C. MANSFIELD
1st prize, Die Schwa/be, 1956 U.S. Problem Bulletin, 1963
66
CHAPTER S I X
Focal Effects
Klett's pioneer No. 1 1 7, distinguished by the fine key
1 Rg3 !, shows the classical Focal Theme. The black Q is forced
to abandon one or the other of its lines of control along which
lie squares b2 and h8-and White mates 2 Qb2 or 2 Qh8
accordingly. The black Q is said to "focus" White's potential
mating squares b2 and h8, which are called the "foci".
A feature of Klett's problem which we feel is desirable in all
focal problems is a White focus, as well as a Black focus, of
117 FOCAL THEME
P. KLETI
Schach-Probleme, 1878
Key 1 Rg3, zugzwang
Q- on file; 2 Qb2
Q- on rank ; 2 Qh8
Kg6; 2 Bd4
68
Foc#l.Effeits
In the l940's, try play became a means of giving added depth
to problem ideas-and more than two pairs of focal mates after
the moves of a single black line-moving piece became possible.
There are three pairs in the Zagoruyko framework of No. 120.
In the set play, White mates 2 fSd6 and 2 Se3 on the foci of
the black Q. Any waiting try is defeated by 1 . . . Q x b6 !
The plausible try . 1 Bd4 ! ? alters the foci so that 2 eSd6 and
2 Sd2 become the mates. The surprising key 1 Sd4 ! adds
guards to b3 and b5. Now, 2 Qc8 or 2 Rei follows black Q
moves. No. 128 shows four different pairs of focal mates.
J. ALBARDA
Second Place,
Holland v. Germany, 1954
Set : Q- on rank ; 2 Se3
Q- on diagonal; 2 fSd6
Try 1 Bd4 ? Q- on rank ; 2 Sd2
Q- on diagonal ; 2 eSd6
Qf4 !
Key 1 Sd4 !, zugzwang
Q- on rank; 2 Rei
Q- on diagonal; 2 QcB
N. G. G. VAN DIJK
Third Prize,
Schweizerische Schachzeitung, 1963
Try 1 Qd1 ?, threat 2 Bc2
R x d1 ; 2 Sf7
Q x b1 ; 2 Se4
Pc2 ; 2 Q x d2
Pd4 !
Try 1 Qf5 ?, threat 2 Bdl
Q x f5 ; 2 Se4
Rxbl; 2 Sf7
Pd4 ; 2 Qc5
Pc2 !
Try 1 Qg7 ?, threat 2 Se4
Q x g7 ; 2 Bdl
R x e7 ; 2 Bc2
Ra6 !
Key 1 Qe2 !, threat 2 Sf7
R x e2 ; 2 Bc2
Q x e7 ; 2 Bd1
Pc2 ; 2 Q x d2
Ra6; 2 Q x b5
V. BARTOLOVIC
First Prize,
Die Schwa/be Theme Tourney, 1964
Try 1 Be5 ?, threat 2 Qe6
Q x e5 ; 2 Qc5
Q x d3 !
Try 1 Bd4 ?, threat 2 Qc5
Q x d4 ; 2 Qe6
Rc4 ; 2 Q x c4
B x d6 !
Try 1 Ba5 ?, threat 2 Q X aS
R x a5 ; 2 Qc4
Qa7 ; 2 Qe6
Qe8 ; 2 Qc5
R x f4 !
Key 1 Bb4 !, threat 2 Qc4
R x b4 ; 2 Q x as
Qd4 ; 2 Qe6
Qe4 ; 2 Qc5
70
Focal Effects
It was Nils van Dijk who, in an article in Die Schwa/be, 1 963,
suggested that the idea of No. 121 could be shown without
battery mates. Three tries and a key are to threaten the four
focal mates in turn ; ideally, the remaining three mates not
threatened should appear as variations in each phase. In No.
123 FOCAL SHUT-OFF TRIES
Touw HlAN BWEE
Die Schwa/be, 1964
Try 1 DeS ?, threat 2 Q x e4
Q x e5 ; 2 Q x g5
B x el !
Try 1 Bf6 ?, threat 2 Q x g5
Q x f6 ; 2 Q x e4
Bd2 !
Try 1 gSeS ?, threat 2 Q x e4
Q x e5 ; 2 Q x g5
B x d7 !
Try 1 gSf6?, threat 2 Q x g5
Q x f6 ; 2 Q x e4
Pg1 = Q!
Try 1 dSe5 ?, threat 2 Q x e4
Q x e5 ; 2 Q x gs
S x g4 !
Key 1 dSf6 !, threat 2 Q x g5
Q x f6 ; 2 Q x e4
1 22, the white B breaks the focal control of the black Q and
black R, but successfully only after 1 Bb4 ! This problem is
not thematically complete because the four thematic mates,
2 Q x aS, 2 Qd4, 2 Qc5, and 2 Qe6, do not all occur in every
phase of the play. However, this small weakness is offset by
the double focus by the white Q which delivers all the mates.
No. 1 33 is one of very few thematically complete examples.
Both white and black Qs focus e4 and g5 in the age-old focal
matrix of No. 123. But a modernist has been at work ! The
solver, for whom, according to some critics, the modernist has
scant regard, is asked to make the interesting and puzzling
choice of the right shut-off move at e5 or f6 from the six avail
able. Each time, one of the two mates 2 Q x e4 and 2 Q x g5
is threatened, and the principal interest of the problem is centred
on the way in which the five tries are defeated.
71
FCJCal Effects
A well-known change-effect which can be thought of as
extending the Focal theme to the play of a black S and black
P is worth mentioning in this chapter.
The Focal Theme requires that Black should initially focus
at least two potential mating squares and, on moving, lose
72
Focal Effects
N. A. MACLEOD 116
(after H. MUSANTE)
3rd hon. mention, B.C.P.S.
RIDg Tourney, 1961
N. A. MACLEOD 127
5th hon. mention, B.C.P.S. 2nd prize, American Chess
RIDg Tourney, 1962 Bulletin, 1958
B. P. BARNES 130
3rd prize, Probleemblad, 1 960 lst prize, Die Schwa/be, 1960
73
Focal Effects
Separation
(a) D U A L A V O I D A N C E
This chapter deals with various ways i n which Black compels
White to choose carefully from a number of second moves.
This element of Black action, affecting White choice, is essential
to any worthwhile two-move theme. It is Black who carries out
the avoidance of duals ; White, in giving a single mate, always
avoids nonmates, and this can't logically constitute a theme.
Often, White has to be careful about his choice of mates in a
systematic way : but this alone, however interesting it is, does
not suffice for dual avoidance. No. 1 37, a brilliant unpinner, is
A. MARI
First Prize,
11 Problema, I932/I
Key I Rei , threat 2 R x e3
Bd3 ; 2 Sf4
Be2; 2 Sg5
Re2 ; 2 Sh4
Rd2 ; 2 S x e3
F. BOHM
Jornal Portuges, 1932
guard, he will avoid any mate that might close another. Thus
1 . . . Sc5 (or 1 . . Bd6) stops the threat; seems to allow the
.
144 HERPAI
First Prize,
Vart Hem, 1940/IV
Key 1 Bb1, threat 2 ReS
PdS ; 2 QeS (Sd6?, Qe4?)
fSdS ; 2 Sd6 (Qe4 ?, QeS ?)
cSdS ; 2 Qe4 (QeS?, Sd6 ?)
each half of the dual in turn. Thus in No. 143 1 . . . eSfS closes
h5-e5 and f8-f4, apparently allowing 2 R x eS or 2 R x f4 ; but
the first is forced (and the second avoided) by opening c1-f4.
1 . . . dSfS is analogous. The pair of interference unpins of
d3-avoiding duals by vacating squares against line-closures
constitutes subtler, if as yet unjargonized, dual avoidance
(compare the variation 1 . . . ScS ; 2 S x c6 (Sf3 ?) in No. 140).
Elevation to "hyper-Herpai" status duly takes place in No.
144. If a dummy, with no power save to close lines, arrived
79
·separation
on d.5, it would stop the threat, but interfere with the black Q
(allowing 2 Sd6), the Rb5 (allowing 2 Qe5) and the Ba8 (allowing
2 Qe4). The specific arrivals on d5 of the black P, and both
Ss, stop every possible pair from this trio of permitted mates,
forcing each, in turn. Duals are avoided by the opening of
defensive lines of guard and pin, and by direct guard.
Recent though dual-avoidance themes may be, they have not
been immune from modernisation. No. 145 shows, not so much
a correct dual-avoidance theme, as the way such themes give
stimulus to the changed-mate composer. In the Herpai proper,
double interferences give single mates. In No. 145 the key
changes three mates after double interferences, so that a
different one is used before and after the key.
145 SET/ACfUAL HERPAI EFFECTS
E. I'EDERSEN
Skakbladet, 1944
Set : Sb5; 2 Sc5
Sg5 ; 2 Qf4
Se6 ; 2 Qe5
B x eJ + ; 2 R x e3
Key 1 Qc5, threat 2 Qd4
Sb5 ; 2 Qc2
Sg5 ; 2 Sg3
Se6 ; 2 Sd6
B x e3 + ; 2 Q x e3
(b) B LA C K CORRECTION
In Dual Avoidance, Black's moves are "equal" : each seems
to permit a choice of mates, but prevents all permitted choices
save one. In Black Correction, this equality vanishes. One
black move is a simple mistake, committed in defending a
threat or discharging the obligation to move. A second move
repeats the mistake, prevents its dire results by a dual-avoidance
device (Black Correction), but permits a new mate by a further
error.
Thus in No. 146 any withdrawal of the Se6 is a primary
defence by pinning White's Q (opening g4-c8). A random move
of this S-say 1 . . Sd8-com.mits a double primary error,
.
E. HOLLADAY
Hon. Mention,
B.C.P.S. Tourney, 1947-8
Key 1 Sc3, threat 2 B x d5
Pe4 ; 2 Sd2
5S�; 2 eP x d3
Se4; 2 S x e5 (eP x d3 ?, Sd2 ?)
6S�; 2 eP x d3
Sb4; 2 Pb3
* A term used by Brian Harley to denote tries which, while not thematic, lead
the solver to suspect a cook.
82
Separation
Sf3 to allow 2 S x e5. Now consider the sequence 1 . . . Pe4,
2 Sd2 and 1 . . . Se4 ! 2 Se5 ! (not 2 Sd2), and the last defence
is seen as secondary in two correction sequences, one arrival
and one departure.
No. 1 49 shows five interference unpins of White's Q : dual
avoidance is combined with black correction, the latter with a
new type of primary error-neither departure of a piece nor
arrival on a square, but arrival on the pin-line bl -h7. Random
arrival-say 1 ... Sg6-would allow either 2 Qe3 or 2 Qd4
(not a serious dual, as 1 . . . Sg6 ? fails to deal with the threat,
149 ARRIVAL CORRECTION
(UNPIN OF WIDTE)
V. BERNSTEIN and G. GAIDAROV
Hon. Mention,
Issaev Memorial Tourney, 1933
(version)
Key 1 Bh2, threat 2 Bg1
Pf5 ; 2 Qd4
eSf5 ; 2 Q x d5
dSf5 ; 2 Qb5
Se4; 2 Qc4
Pc2; 2 Q x a3
M. WROBEL
First Prize,
Lwowskie Kolo Problemistow, 1942/1
Key 1 Rf4, threat 2 Qd4
dS�; 2 Se4
eS- ; 2 SdS
dSc4 ; 2 Se2 (Qd3 ?)
eSc4 ; 2 Qd3 (Se2 ?)
RdS ; 2 S x dS (Se4?)
Re4 ; 2 S x e4 (SdS ?)
ReS + ; 2 S x e8
RhS + ; 2 S x hS
R. TUMP
First Prize,
Chess Correspondent Theme Tourney,
1 946
Key I Q x c6, threat 2 Q x dS
gS�; 2 Pf4
Se3 ! ; 2 Rd2 (Pf4 ?)
Sf4 ! ! ; 2 Pf3 (Rd2 ?, Pf4 ? ?)
R-; 2 Qc4
Rd6 ! ; 2 Ra4 (Qc4 ?)
ReS ! ! ; 2 Qe4 (Ra4?, Qc4 ? ?)
L. KISS
Fifth Prize, Raketa, 1941
Set : S--; 2 Rd3
Sf3 ; 2 Qe4
Sc6; 2 QcS
Key 1 Q x f6, threat 2 Q x eS
s--; 2 Qd4
Sf3 ; 2 Be4
Sc6 ; 2 Bb3
(c) FLECK T H E M E
In No. 1 58, there are three threats, each forced, without duals.
This idea-several threats, each forced-is called the Fleck
theme. When these threats are primary (made by the key itself),
87
Separation
like the three Q mates threatened in No. 1 58, we have a primary
Fleck. An eightfold rendering of this theme (i.e. with eight
threats, each forced) has been shown without concurrent
mates,* but task Flecks are seldom attractive. In No. 1 58, we
also have a secondary Fleck: any removal of g5 (to defeat all
primary threats by opening the black R's line) seems to let in
three new mates, but the specific arrivals of the black S force
each in turn. The masked-self-pin key, thematic but bad, is the
only weakness of this fine work : primary Flecks tend to have
bad keys.
88
Separation
2 Rf5. Each of this black R's moves forces a different threat
eliminating the other two by arrival. The Bb4 provides an
analogous trio. Withdrawals of the Rd7 also force three mates,
two allowed by withdrawal and separated by arrival in highly
thematic fashion ; but, as 2 P x d8 = Q cannot happen until the
R has played to d8, it is not a secondary threat. "Three or
159 SECONDARY FLECK
J. HARTONG and J. A. W. SWANE
Third Hon. Mention,
Schakend Nederland, 1961
Key 1 Qd7,
threat 2 QfS
eS.-.. ; 2 Rg3/Qf7/Qh3/Qd5/Qd3/Qd1
S x d7 ; 2 Rg3
Sf7 + ; 2 Q x f7
Sg6 ; 2 Qh3
Sg4; 2 QdS
Sd3 ; 2 Q x d3
Sc4 ; 2 Qd1
S x c6+ ! ; 2 Q x c6
J. HARTONG
First Prize,
Il Due Mosse, 1962
Key 1 S x c4,
threats 2 cSd2/Sd6/Re3/Rf4
Ph4; 2 cSd2/Sd6/Re3/Rf4
B x c2; 2 cSd2/Sd6/Re3
Qgl ; 2 cSd2/Sd6/ Rf4
Se8 ; 2 cSd2/ Re3/Rf4
Qdl ; 2 Sd6/Re3/Rf4
Se6; 2 cSd2/Sd6
Pg5 ; 2 cSd2/ Re3
Sf5 ; 2 cSd2/ Rf4
R x c2 ; 2 Sd6/Re3
Qel ; 2 Sd6/ Rf4
Q x g2 ; 2 Re3/Rf4
Q x h2 ; 2 cSd2
Qcl ; 2 Sd6
Qfl ; 2 Re3
R x b3 ; 2 Rf4
P x c4 ; 2 Bb7 !
SECONDARY COMBINATIVE
SEPARATION
J. HARTONG
I/ Due Mosse, 1958
Key 1 Bb7,
zugzwang
Rd7 ; 2 Qa3/Qb4/Qc5
Rd5 ; 2 Qa3/Qb4
R x d3 ; 2 Qa3/ Qc5
R x e6 ; 2 Qb4/Qc5
Rb6 ; 2 Qa3
Rc6 ; 2 Qb4
Rd4 ; 2 Qc5
Rd8 + ; 2 Q x d8
R x�+; 2 Rx�
N. A. MACLEOD 175
2nd special prize, M. LIPTON & E. HoLLADAY
Christian Science Monitor, 1948 (after F. GAMAGE)
(Gamage version : 3rd prize,
De Maasbode, 1939)
179 180
M. LIPTON (after J. R. HOOLE) M. LIPTON (after G. GUIDELLI)
The Tabkt, 1961 Observer, 1962
95
Separation
R. C. 0. MATIHEWS 183
3rd prize, Stratford Express, 1 950 British Chess Magazine, 1956
(Version by E. HOLLADAY)
A. R. GOODERSON 188
4th place, Great Britain v. British Chess Magazine, 1948
Holland, 1956
J. M. RicE 196
Die Schwa/be, 1965 3rd prize, B.C.F. Tourney, 1964
98
CHAPTER E I GH T
Half-battery
One of the many useful classifications of two-movers could be
based on "units separating a line-piece from the K of opposite
colour". White K, white intervening unit and black rear-piece
give the white self-pin and black unpin themes (chapter 4).
Change the colour of the intervening piece and we have cross
checkers like Nos. 44-64. Two white men on the line give a
white half-pin (No. 72) : one white and one black might produce
defences by pin of White with dual avoidance (No. 147). A
black K, separated by a single white man from white R or white
B, introduces black self-pin or white battery play. One black and
one white man gives a masked battery (No. 76) ; one black
unit yields numerous possible black self-unpin themes ; two,
and we have a half-pin; two black and one white, a masked
half-pin ; and so on.
This is more than a game; it suggests (a) the relationship
among various themes, and hence the possibilities for unified
combinations of themes; and (b) possible groups of themes that
have escaped attention. One could pretend that the traditional
context of the half-battery was evidenced by Alain White's
incidental, and somewhat undistinguished, 1 9 1 1 rendering; but
the real intellectual ancestor of the half-battery is the half-pin.
Intensive work on the half-battery really dates from 1 957,
when Ahues, Lipton and Raring (in that order by a matter of
weeks-not that it is of any importance!) published examples.
Two years later, an article by Lipton in Die Schwa/be led to a
theme tourney of great strength (several prizewinners are cited
in CPIA) and for some years many of the better two-move
tourneys have been dominated by half-battery problems. In
more casual publications, the theme was often handled with
scant imagination. A justified solver-reaction has set in against
those dreary half-batteries where a pair of white Rs separates
white B from black K, and a pair of black Rs attacks the
99
Half-battery
battery to move away in turn, producing repetitive pairs of
tedious unguards in try and key. But, as we hope to show, good
half-batteries are not like that at all. Properly handled, the
theme is almost as varied and fruitful as its ancestor, the
half-pin.
197 HALF-BATTERY
C. MANSFIELD
Second Prize,
Il Due Mosse, 1960
Try 1 Bd4 ?, threat 2 Qc5
Rc2 ; 2 Bh3
Rcl ; 2 Bg4
Qc4; 2 Qd7
Rg7 !
Key 1 Bd7 !, threat 2 Qc6
Rc2; 2 Bh2
·Rc1 ; 2 Bg3
Qc4; 2 Qd6
J. M. RicE 205
Die Schwa/be, 1961 M. LIPToN, B.
J. M. RICE
4th commend., B.C.P.S. Ring
Tourney, 1960
103
Half-battery
A. C. REEVES 213
Probleemblad, 1963 1st prize, Problemisten, 1963
(a)diagram
(b) move pawn h3 to hS
M. LIPTON 216
Problem, 1964 Co"espondence Chess, 1963
105
Half-battery
224
2nd prize, B. P. BARNES & M. LIPTON
Problem Theme Tourney, 1964 Version, British Chess Magazine,
(a) diagram 1962
(b) add black pawn g7
106
Half-battery
M. LIPTON 226
Observer, 1962 Commended, Die Schwa/be, 1962
107
CHAPTER NINE
Tasks
108
Tasks
four flights (including f3, d3 and d5) and gives 5 mates (including
one at d4) in the course of the play. The key is a little per
functory, but not actually bad.
The great unattained S task is undoubtedly the Interference
Wheel-8 distinct mates forced by black S interferences. So far
this has not been shown without promoted force. No. 228 is
227 BLACK S WHEEL
H. V. TUXEN
First Prize,
Deutsche Schachzeitung, 1919
Key 1 Sf3, threat 2 Sd2
Sc2; 2 Qd3
Sb3; 2 Qxb1
SbS; 2 Bxb7
Sc6; 2 QdS
Se6; 2 ReS
SfS; 2 Rg4
Sxf3; 2 Pxf3
Sxe2; 2 Qxe2
First Prize,
Good Companions, 1922
Key 1 QeB, threat 2 Qxe4
Sc3; 2 Sb4
Sd2; 2 2Sc3
Sd6; 2 Qxc6
Sf6; 2 Qe6
Sf2; 2 Rd4
ScS; 2 Sxb6
SgS; 2 QeS
First Prize,
Shakhmaty w SSSR, 1936
Key 1 Pg6, threat 2 Qh6
QaS; 2 Bd4 (2 SdS ?)
Qb4; 2 fSdS (2 bSdS ?)
QeS; 2 Pd4 (2 SdS ?)
Qxf6; 2 bSdS (2 Pd4 ?)
Pxg6; 2 Sg4
(Qc4; 2 Pxc4
QcS; 2 QxcS)
M. R. VUKCEVIC
Fourth Prize ex aequo,
Die Schwa/be Theme Tourney, 1961
Try 1 Pc4 ?, threat 2 Pd3/4
BxeS; 2 Pd4
PgS; 2 Pd3
Pxc4 e.p.; 2 Pxc3
Se3; 2 Pxe3
Sd3; 2 Bxd3
Pb3!
Key 1 Pd3!, threat 2 Pc3/4
BxeS; 2 Pc3
Bg8; 2 Pc4
Sxd3; 2 Pxd3
Pb3; 2 Pxb3
Se3; 2 Qxe3
237
1st prize, B.C.F. Tourney, C. J. MoRSE (after A. C. WHITE)
1964-5 The Guardian, 1960
E. LERTORIA 241
Observer, 1962 Probleemblad, 1965
The key 1 dSxe3! puts a white piece on the B's mating square,
so that 2 B x e3 will now wm:k only after this piece has been
captured. So this extraordinary problem has five phases
altogether, with 2 B xe3 appearing after five different defences!
The problem was shown some years ago, without comment, at
a meeting of the British Chess Problem Society in London, and
the assembled problemists were invited to discover the theme.
It was a long time before anyone tumbled to the composer's
idea, which is more a reflection on the obscurity of the problem
than on the solving expertise of those present! In all fairness to
Hermanson, however, the concept of mate transference was
very little known in this country at the time. Happily this is no
longer the case.
Rather unexpectedly, one of the earliest known examples of
mate transference (No. 249) is by Comins Mansfield. The set
mates for 1 . P/RxbS and 1 . PxcS reappear after the
. . . .
No. 250 has a pair of white mates which reappear after differ
ent black defences in three phases. Note that this problem does
not illustrate the Zagoruyko theme, which requires that the
mates, and not the defences, shall be changed. In No. 251 three
mates are transferred, but only from set to actual play.
No. 252 illustrates an elaboration of the idea of mate trans
ference. The self-blocks by the black Q and Sc3 on e4 are
1 17
Mate Transference and Rukhlis
followed in the·set play by mates by the white Q on a7 and by
the 7S on e6 respectively. The key 1 Se5 requires the white Q
to hold e5, thereby destroying the set mates. But these mates
now occur after the self-blocks on e5 by the two Ps: 1 . . .
mate transference. But the set defences, which also defeat the
250 MATE TRANSFERENCE
�=--;;;---,
E. LIVSIDTS
Set: gS-; 2 Be4
gSf5; 2 Bf7
Try 1 Qg11, threat 2 Qxg3
dS-; 2 Be4
dSf5; 2 Bf7
Rb4 !
Key 1 Rg2!, threat 2 Rxg3
Pc2; 2 Be4
Bf5; 2 Bf7
251 RUKHLIS
E. LIVSlllTS
153 RUKHLIS
L. I. ZAOORUYKO
1 19
Mate Transference and Rukhlis
in the set play, and after 1 . Rxe4 and 1 . B X e4 following
. . . .
the key. These new defences have 2 Sf3 and 2 Sb3 as set mates,
and the original defences acquire, after the key, the mates
2 Qxe5 and 2 Qxe3.
RUKHLIS
M. PARTH ASARATHY
Second Commendation,
B.C.P.S. Ring Tourney, 1963
Set: 6S�; 2 gSe7
4S�; 2 Sf6
B�; 2 Pc4
Key 1 Bxe5, zugzwang
6S�; 2fSe7
4S�; 2 Se3
B�; 2 Qd4
6S xe5; 2 gSe7
4Sxe5 ; 2 Sf6
Bxe5; 2 Pc4
125
CHAPTER ELEVEN
the general error is the removal of the S's guard on g3. With
2 Bg3 no longer available, 1 . .eS random! becomes the
.
TIIREAT CORRECTION
P. TEN CATE
Schweizerische Schachzeitung, 1956
Try 1 dR-?, threat 2 Bd3
Kxe3+; 2 Bc4
Pc4!
Key 1 Rd6!, threat 2 Re6
Ke5+; 2 Rd4
Kxe3+; 2 Bc4
Pxd6; 2 Qe8
Pe5; 2 Bd3
Correction. The set play 1 ... Rg2; 2 4Rb5 and 1 ... Pf6;
2 6Rb5 is brought to the solver's attention by the need to move
Sc3, bringing the white Q into play and threatening 2 Qe5
mate. But the general error of 1 cS random? is to fail to
prevent the general defence 1 .. . Qa5! from defeating the
threat. A correction 1 Sb5! ? nullifies the general defence-and
there are mates 2 Sd4 and 2 Sd6 after 1 ... Rg2 and 1 ... Pf6
respectively. 1 ... R x f4! (2 4Rb5?) defeats 1 Sb5!? because
this try has committed the secondary error of blocking the fifth
rank. The correction key 1 Sd5!! again nullifies the general
defence and, although making the same secondary error, pro
vides for the secondary defence by adding a guard on f4.
1 ... R X f4 is met by 2 R x f4-and for the third time there is a
different pair of mates (2 S x e3 and 2 Se7) after 1 ... Rg2 and
1 ... Pf6.
No. 276 shows an idea closely related to White Correction-
9 129
White Correction and Threat Correction
Threat Correction. 1 dR random? threatens 2 Bd3 mate but the
general error is a failure to provide for 1 . . . Pc4 !, an effective
general defence. White can make no ordinary correction to
keep 2 Bd3 as an adequate threat, so he corrects not the general
error but the threat itself. 1 Rd6 ! corrects to create a new
threat 2 Re6-2 Bd3 being ruled out because of the new flight
at e5. It is interesting to note that whereas White Correction
failed to threaten 2 Bd3, this initial threat is brought in by mate
transference after 1 . . . PeS and 1 . . . R x f5. Most composers
agree that mate transference (see chapter 1 0) is a very desirable
feature in Threat Correction problems.
2TI THREATCORRECTION
J. HANNELWS
Second Prize ex aequo,
Die Schwa/be, 1950/11
Try 1 eS--?, threat 2 Bc3
Rxc5!
Try 1 Sd2!?, threat 2 Rd3
Bxc5!
Key 1 Sd6!!, threat 2 Sb5
Rxc5; 2 Rd3
Bxc5 ; 2 Bc3
Kxc5; 2 Sb5
threatens 2 Rd4 but 1 ... Qe2! The key 1 Se3 ! threatens 2 Qc2
and now the very defences which defeated 2 Sf4 and 2 Rd4 in
the try play give those same mates in the actual play when the
black B and Q play to defeat 2 Qc2-1 . . . Bd2; 2 Sf4 and
1 ... Qe2; 2 Rd4! Problem No. 290 enriches the paradoxical
Dombrovskis Theme-by providing changed mates for the non
defeating thematic defences.
P. c. AsBURY-SMITH 279
Correspondence Chess, 1957 2nd prize,
British Chess Magazine, 1963
131
White Correction and Threat Correction
A.C.R�v� � J. M. RICE
2nd bon. mention ex aequo, 6th hon. mention,
British Chess Magazine, 1965 Probleemblad, 1964
J. E. DRIVER
4th commend, Die Schwa/be, 1st prize, B.C.P.S. Ring Tourney,
1962 1963
132
White Correction and Threat Correction
133
CHAPTER TWELVE
Patterns
We have already discussed a number of problems in which
much of the interest is centred on the recurrence of mates in
different phases of the play. TheRukhlis problems in chapter
10, for example, depend for their effect on the fact that the same
mates occur after different defences in the two phases, with new
mates following the original defences after the key. In this
chapter on pattern play, we come to problems whose theme is
the relationship between moves, rather than the strategy of the
moves themselves. Unfortunately, not all problemists agree
that problems of this kind 1;1.re valuable. We invite you to study
the examples we discuss, and then make up your own mind.
First Prize,
Dnepropetrovsk Tourney, 1957
Set s-; 2 Sc6 (A)
Se4!;
2 Rd3 (B)
Key 1 Qf5, threat 2Qe5
S- ; 2 Rd3 (B)
Se4! ; 2Sc6 (A)
1
White mate in reply, after
Black defence
I S random ? 1 1 Sf3 ! ? 1 1 Sg4 ! ? 1 1 Sg6 ! ? I Key 1 Sd3 ! !
1 . . . Sd6 none 2 Sc3 2 Sf6 none 2 Sc3
1 46
Patterns
nature of the theme), White has seven different mating moves
bear in mind that three different mating moves are the uninter
esting minimum. A problem illustrating three-fold cyclic
refutation can have nine different mating moves, but the ideal
is very hard to attain.
1 47
Patterns
or sometimes even by capture. In Visserman's example, the
three thematic black pieces (Rd6, Sd4 and Be4) control between
them the mating squares d5, c6 and f3, and can also defend a
threat of 2 Sc4. The above tabulated solution shows what
happens when each of these three pieces becomes pinned in
turn in the three phases.
The second basic method of setting this theme is found in
No. 3 1 1 . Here Black has three line-pieces all controlling a
white R+S battery. In the two tries and the key White's Rg3
closes one of these lines ; Black, in defending against the threat
of 2 Qg2 by pinning the white Q, himself destroys a second
control ; and finally White shuts off the remaining control in
mating. A good feature of this problem, the best in the tourney
in which it gained only 5th hon. mention, is that the half-pin is
complete after the key.
REDUCED ZAGORUYKO
C. J. MORSE 315
1st hon. mention, B.C.P.S. Ring 4th hon. mention,
Tourney, 1959 British Chess Magazine, 1962
C. J. MORSE 318
Problemist, 1965 2nd prize,
British Chess Magazine, 1962
151
Patterns
N. A. MACLEOD 323
Correspondence Chess, 1962 Commended,
British Chess Magazine, 1961
1 53
Patterns
B. P. BARNES
Jrd prize, Skakbladet, 1961 American Chess Bulletin, 1960
B. P. BARNES 344
1st prize, B.C.P.S. McWilliam L . DAWSON & c. P.
Tourney, 1958 FARLOW
Die Schwa/be, 1962
M. LIPToN 35:Z
/1 Due Mosse, 1957 2nd hon. mention,
Problem Theme Tourney, 1961
1 57
Solutions to Problems for Solving
CHAPTER 1
11. Set : 1 . . . Ka4 ; 2 Kc3. 1 . . . Kc5 ; 2 Kb3. Try 1 S ran
dom + ?, Kc4 ! Try 1 S x d6+ ! ?, Kc5 ! Key 1 Sa3 + !,
Ka4 ; 2 Kb2. 1 . . . Kc5 ; 2 Kd3. 1 . . . K x a3 ; 2 Ral .
Changes, with the thematic mates delivered by indirect
Royal batteries (white piece + white K) in each phase
impossible without a checking key.
12. Try 1 cS x d4 ? (threat 2 Bc6/c4), Kc5 ; 2 S x e6. 1 . . .
Ke5 ; 2 S x f3 . 1 . . . Qc5 ! Key 1 eS x d4 ! (threat 2
Bc6/c4), Kc5 ; 2 Sb3. 1 . . Ke5 ; 2 Sc6. 1 . . . Pc5 ;
.
1 58
Solutions to Problems for Solving
Key 1 S x d3 ! (threat 2 Q x f5), Ke6 ; 2 Sf4. 1 . . . Ke4;
2 S x f2. 1 . . . Be6 ; 2 S x f2. 1 . . . Sg4 ; 2 Sc5. The S sets
up a different battery in each phase. Regrettably, the Rd8
and the Bh1 are idle after the key.
17. Set : 1 . . . K x h5 ; 2 Q x g6. 1 . . . Kf5 ; 2 B x e6. Try
1 S x e6 ?, K x h5 ; 2 Sf4. 1 . . . Kf5 ; 2 Sd4. 1 . . . Kf3 ;
2 Sg5. 1 . . . Pg5 ! Key 1 S X g6 ! (zugzwang), K X h5 ; 2 Sf4.
1 . . . Kf5 ; 2 S x e7. 1 . . . Kf3 ; 2 Se5. Three flights
changed from virtual to actual play, with set mates for two
of them. Perhaps this problem was rather lucky to win a
first prize ?
18. Try 1 Qg7 ?, Kc5 ; 2 Qa7. 1 . . . Ke5 ; 2 Rh6. 1 . . . Ke3 ;
2 6Rf3. 1 . . . Kc3 ; 2 6Rf3. 1 . . . Pc3 ! Key 1 Qg1 !
(zugzwang), Kc5 ; 2 2Rf5. 1 . . . Ke5 ; 2 Re2. 1 . . . Ke3 ;
2 Rg2. 1 . . . Kc3 ; 2 Qa1 . 1 . . . Pc3 ; 2 Re2. Changed
star-flights, with three of the four flights given by try and
key. A fine conception, marred only by the double appear
ance of 2 6Rf3 in the virtual play.
19. Try 1 Qa8 ?, Kc6 ; 2 Sc5. 1 . . . Kc4 ; 2 Sa5. 1 . . . Ke4 ;
2 Sd6. 1 . . . Ke6 ; 2 R x e5. 1 . . . Pf6 ! Key 1 Bg2 !
(zugzwang), Kc6 ; 2 S x e5. 1 . . . Kc4 ; 2 Sd2. 1 . . . Ke4 ;
2 Sh4. 1 . . . Ke6 ; 2 Q x f7. Changed star-flights again.
The Rc2 is an unpleasant constructional necessity.
20. Try 1 Qdl ?, Kc4 ; 2 Sb2. 1 . . . Kc6 ; 2 S x e5. 1 . . .
K x e6 ; 2 Sc5. 1 . . . Ke4 ; 2 Sf2. 1 . . . Pe4 ! Key 1 Qa2 !
(zugzwang), Kc4 ; 2 Ra3. 1 . . . Kc6 ; 2 Rb6. 1 . . . K x e6 ;
2 Rb7. 1 . . . Ke4 ; 2 Rb4. 1 . . . Pe4 ; 2 Rb6. Yet more
changed star-flights ! The (unintentional) try 1 Rb7 ?
(1 . . . Pe4 !) gives two more changes.
21. Set : 1 . . . Kc5 ; 2 dSe4. 1 . . . Ke5 ; 2 S x f7. 1 . . . Ke3 ;
2 Sf5. 1 . . . Kc3 ; 2 Sb5. Key 1 Qg4+ , Kc5 ; 2 Qc4.
1 . . . Ke5 ; 2 Qe4. 1 . . . Ke3 ; 2 Qf4. 1 . . . Kc3 ; 2 Qb4.
The set play has mates by the Q + S battery. The checking
key replaces them by Q-mates on the fourth rank.
22. Set : 1 . . . K x c4 ; 2 Sb6. 1 . . . Ke4 ; 2 Sf6. 1 . . . Ke2 ;
2 Sf4. 1 . . . Kc2 ; 2 S x e3. Key 1 Sc7 + , K x c4 ; 2 Qb5.
1 . . . Ke4 ; 2 Qd4. 1 . . . Ke2 ; 2 Qd2. 1 . . . Kc2 ;
2 Qdl . Similar to No. 21, but here the battery S delivers
the check, to let the Q through down the file.
1 59
Solutions to Problems for Solving
CHAPTER 2
32. 1 Qa2 (zugzwang). 1 . . . R x c3 + ; 2 K x c3. 1 . . . gRf2 ;
2 Pg8 = Q. 1 . . . fRg3 ; 2 Ka3. 1 . . . Sc2 ; 2 Kb2. 1 . . .
Sd3 ; 2 Pc4. Note the change from the set 1 . . . R x c3 + ;
2 S x c3. A simple one to start with.
33. 1 Ke3 (zugzwang). 1 . . . Re6 + ; 2 Be5. 1 . . . Rc4 ; 2 Pc3.
1 . . . Rb4 ; 2 Sc3. 1 . . . R X c2 ; 2 Q x c2. 1 . . . Rc3 + ;
2 B x c3. 1 . . . Rbl ; 2 Bb2. The first and last variations,
with crosscheck and critical move respectively linked to
half-pin, are the best : in crossing the critical square b2,
1 . . . Rb1 allows the white B to cut off the wandering
Rook. Six halfpin variations, with extra battery variations
and checks, the last allowed by the key. Unfortunately
there are some multiple choices of mate after silly moves
like 1 . . . Rc6 ? ?
34. 1 bRa5 (zugzwang). 1 . . . R x a5 + /S x a5 ; 2 b x a5.
1 . . . Rb5 ; 2 Qc4. 1 . . Rc5 ; 2 P x c5. 1 . . . R on file ;
·.
CHAPTER 3
50. 1 S x g5 (threat 2 Qf4). 1 . . . R-.. on file + ; 2 Sf3. 1 . ..
R on rank + ; 2 Bf3. 1 . . . Rd4+ ; 2 Se4. 1 . . . Qd4 ;
2 Bfl . I . . . PeS ; 2 Se6. The key opens the black B + R
battery, to give three distinct checking variations. Unfor
tunately it also provides for the flight at d4, but the by-play
is of more interest than is usual with cross-checkers.
5 1 . 1 Qe2 (threat 2 Rd5). 1 . . . R x f5 + ; 2 Rc3. 1 . . . Rd5 + ;
2 Se5. 1 . . . ReS + ; 2 cSd4. 1 . . . R on file + ; 2 fSd4.
The four cross-checks are combined, in turn, with unguard,
interference, White interference and line-opening. Thematic
key, but no by-play, and-perhaps more seriously-a pawn
position that cannot be explained unless there were promo
tions in the game that produced it.
52. 1 Pg5 (threat 2 Bf3). 1 . . . Rb2+ ; 2 Sd2. 1 . . . Rc2+ ;
2 Be2. 1 . . . Bc5 + ; 2 Se3. The first two variations
combine cross-check with half-pin and black interference,
the last with interference alone. The key provides for
1 62
Solutions to Problems for Solving
t . . . Rc2+, a serious drawback, but how does one avoid
it ? The Pf4 stops two more unprovided checks and could
as well be a black Pf6, but the composer felt that, for once,
economy of black force mattered more.
53. 1 S x e5 (threat 2 Qd3). 1 . Bd4+ ; 2 Qc6. 1 . . . B else
. .
CHAPTER 4
75. Key 1 Qc3 (zugzwang), Pe5 ; 2 B X d7. 1 . . . Pd5 ; 2 B x e6.
Two unpins of the white B, with several minor variations,
including a Gamage unpin of the black Q : 1 . . . Pd6 ;
2 Qh8.
76. Set : 1 . . . Q x b5 ; 2 Sc5. 1 . . . Qb8 ; 2 eSc7. 1 . . . Qh8 ;
2 Sg7. 1 . . . Qh5 ; 2 Sg5. 1 . . . Qg3 ; 2 Sf4. Key 1 eS x d4 !
(threat 2 R x e5), aSc3 ; 2 Sc2. 1 . . . eSc3 ; 2 Sf5 (not
2 Sc2 ?). 1 . . . Sg3 ; 2 Qf3. Radical change : the set
strategy, defences and mates are destroyed, and replaced
by an unpin-combination with dual-avoidance.
77. Set : 1 . . . Rc4 ; 2 Re5. 1 . . . Sc4 ; 2 5Rd4. Key Q1 b7 !
(threat 2 Q x e7), Rc4 ; 2 Rc5. 1 . . . Sc4 ; 2 Rb5. Direct
mates by the R in the set play, battery mates after the key.
78. Set : 1 . . . Qc6 ; 2 Q x c6. 1 . . . Qd6 ; 2 Q x d6. Try
1 Qe3 ? (threat 2 Sf4), Qc6 ; 2 Qh3. 1 . . . Qd6 ; 2 Q x e5.
1 . . . Pe4 ! Key 1 Qf2 ! (threat 2 R x f6), Qc6 ; 2 Qf5.
1 . . . Qd6 ; 2 Q x f6. 1 . . . Pd4 ; 2 Qa2. The Q mates are
changed by her moves along the pin-line. Based on a
two-phase problem by E. Pedersen.
79. The white K is in check ! Try 1 Sd5 ? (threat 2 Qb3), Sd6 ;
2 Se3. 1 . . . Sd4 ; 2 Sb6. 1 . . . Qg3 ! Key 1 Sd3 ! (threat
2 Qb3), Sd6 ; 2 Se5. 1 . . . Sd4 ; 2 Sb2. Two unpins in
165
Solutions to Problems for Solving
each of two phases of any piece other than the Q on the
same line can only be achieved with the white K in check
in the diagram position, unless twin settings are used.
80. Try 1 Q x c4 ? (threat 2 S x d3), Bc2 ; 2 Q x c5. 1 . . . Be4 ;
2 Q x e4. 1 . . . Be2 ; 2 Q x e2. 1 . . . B x c4+ ; 2 S x c4.
1 . . Bfl ! Key 1 Q x c6 ! (threat 2 Rd5), Pe6 ; 2 Q x c5.
.
giving key.
84. Try 1 S x d7 ?, Be7 ; 2 Se5. 1 . . . R x c8 ; 2 Sc5. 1 . . . S
any ; 2 R x b6. 1 . . . Pd4 ! Key 1 P x d7 ! (zugzwang),
Be7 ; 2 Pd8 =S. 1 . . . R x c8 ; 2 P x c8 =Q. 1 . . . S
random ; 2 Qe6. 1 . . . Sd6 ! ? ; 2 Sd4. White self-pin by
capture in try and key. Regrettably the Sf8 is idle in the
actual play.
85. Try 1 Q X e7 ? (threat 2 Q/B X e3), Se6 ; 2 Qb4. 1 . . . Se5 ;
2 Qc5. 1 . . . Sg2 ! Key 1 S x e7 ! (zugzwang), fS random ;
2 Q x d5. 1 . . . Se6 ! ? ; 2 Sc6. 1 . . . dS random ; 2 Q x f6.
1 . . . Se5 ! ? ; 2 S x f5 . 1 . . . Ke5 ; 2 Sc6. The self-pin of
the Q carries a threat, while that of the S sets up a block
position.
1 66
Solutions to Problems for Solving
86. Try 1 2R x d3 ?, Qc1e1 ; 2 3Rd4. 1 . . . Qd1 ; 2 Rc3 . 1 . . .
S x d5 ; 2 Q x d5. 1 . . . Qc2 ! Key 1 S x d3 ! (zugzwang),
Qc1 ; 2 Se5. 1 . . . Qe 1 ; 2 S x b2. 1 . . . Qc2; 2 R x c2.
1 . . . S x d5 ; 2 Qe4. White self-pin by capture, followed
by withdrawal unpins.
87. Try 1 B x c4 ? (threat 2 Bd5), Q x c2 ; 2 Bb5. 1 . . . R x c2 ;
2 S x c2. 1 . . . Kf4 ; 2 Sd5. 1 . . . R x b4 ! Key 1 S x c4 !
(threat 2 Bf3), Q x c2 ; 2 Sb6. 1 . . . Kd5 ; 2 Se3. Inter-
esting unpin and battery strategy ; the very strong defence
to the try is a blemish.
88. Try 1 Bd8 + ?, B x f8 ; 2 P x f8 = Q. 1 . . . Sf7 ! (2 S x d4 ?).
Try 1 S x d4+ ?, B x d4 ! (2 Bd8 ?). Try 1 S x f4 ?, R x h5 !
Try 1 S x g5 ?, Sc6 ; 2 Bd8. 1 . . . Pd6 ! (2 B x e5 ?). Key
1 Sd8 ! (threat 2 R x e5), eS,._, ; 2 Q x d7. 1 . . . Sc6 ;
2 B x d4. 1 . . . Bd6 ; 2 Be7. 1 . . . Pd6 ; 2 B x e5. White
and Black half-pin combined. The check-tries fail because
of the pin of the other thematic piece. Note set play.
89. Try 1 B x d6 ?, Rc6/Rf2 ! Try 1 S x d6 ?, Rf2 ! Try 1 B x g5 ?,
Rc6 ! Key 1 S x g5 ! Two withdrawal unpins in each of
four phases, with mate-transference elements. The double
refutation of 1 B X d6 ? is an unfortunate but inevitable
feature of this task.
90. Try 1 B x e4 ?,. eS random ; 2 Qe2. 1 . . . Sc4 ! ? ; 2 Bf3.
1 . . . Sg4 ! ? ; 2 B X g6. 1 . . . R X h3 ! Key 1 S X e4 !
(zugzwang), Sc4 ! ? ; 2 Sf6. 1 . . . Sg4 ! ? ; 2 Sg3. Tertiary
play by the black S i n each phase (see page 86). The setting
has many defects : the Q and Rc6 do little, and the key
piece is right out of play.
9 1 . Try 1 Bc8 ?, Kc4 ; 2 Ba6. 1 . . . Sc4 ; 2 Bf5. 1 . . . Pc5 !
Try 1 B x c6 ?, Kc4 ; 2 Bb5. 1 . . . Sc4 ; 2 Be4. 1 . . . Sd1 !
Key 1 S x c6 ! (zugzwang), Kc4 ; 2 Se5. 1 . . . Sc4 ; 2 Sb4.
1 . . . Sd 1 ; 2 Ba6. 1 . . . aS random ; 2 bR x c3. Zago
ruyko, with white self-pin in two of the three phases. Note
that one of the unpins is effected by the black K himself.
92. Try 1 P x g6 ? (threat 2 Pg7), Qh7 ; 2 P x h7. 1 . . . Q x f7 ;
2 P x f7. 1 . . . Qh8 ; 2 Q x h8. 1 . . . Q x d8 ! Try 1 S x g6 ?
(threat 2 Be7), Qf8 ; 2 S x f8. 1 . . . Q x d8 ; 2 Sh8. 1 . . .
Q x f7 ! Key 1 B x g6 ! (zugzwang), Qh7 ; 2 B x h7. 1 . . .
Qf7 ; 2 B x f7. 1 . . . Q x d8 ; 2 Be8. 1 . . . Qf8 ; 2 Q x f8.
1 67
Solutions to Problems for Solving
1 . . . . Qg7 ; 2 Qg5. Self-pin in all three phases, with unpin
by withdrawal. Unfortunately the try-pieces play no part
after the key. The following version of this setting has only
two phases, but jive unpins of the key-piece, two of them
with cross-check : 3S2ql/5B2/3PlkpQ/7P/5Pl S/8/6Kl/8.
1 . P x g6 ? Q x d8 ! 1 B x g6 !
CHAPTER 5
105. Set : 1 . . . Bf7 ; 2 Q x f8. 1 . . . Rf7 ; 2 Sg8. Key 1 Pg7 !
(threat 2 Qh5), Bf7 ; 2 P x f8 =Q. 1 . . Rf7 ; 2 Pg8 = S.
.
CHAPTER 6
125. Try 1 4Sa3 ?, K x c5 ; 2 Qc7. 1 . . . cB moves ; 2 Sb4 or
2 Sd4. 1 . . . S x c5 ! Key 1 2Sa3 ! (zugzwang), K x c5 ;
2 Qd6. 1 . . . cB moves ; 2 Se5 or 2 Sa5. 1 . . . Bb7 ;
2 Qd6. 1 . . . aB else ; 2 Qc8. 1 . . . S any ; 2 Qb6. The
black B loses focal control in masked indirect half-battery
setting. The full use of the white Q is clever-as is the
change after 1 . . . K X c5.
126. Try 1 Sd3 ?, Q moves ; 2 Se7 or 2 Sd4. 1 . . . Qb7 ! Try
1 Se6 ?, Q moves ; 2 S x g7 or 2 eSd4. 1 . . . Qa1 ! Key
1 Sd5 ! (zugzwang), Q moves ; 2 S x e3 or 2 dSe7. 1 . . . eS
any ; 2 Pe4. Only after the key is the black Q unable to
retain focal control. A beautiful Zagoruyko in Meredith
setting.
127. Try 1 Sd6 ?, B moves ; 2 dSb7 or 2 Sc4. 1 . Bb3 ! Try
. .
2 C. 1 . . . S X b3 ; 2 Q x b3 ! Three-fold secondary
I2
1 77
Solutions to Problems for Solving
combinative separation after black S defences. The old
BS wheel here runs along a multi-lane motorway.
193. 1 Rd6 (zugzwang). 1 . . . Bf6 ; 2 Qe4 (A), 2 Qe3 (B) or
2 Qe2 (C). 1 . . . B x b2 ; 2 AB. 1 . . . Bf4 ; 2 AC.
1 . . . B x d6 ; 2 BC. 1 . . . Bc3 ; 2 A. 1 . . . B x g3 ; 2 B.
1 . . . Bd4 ; 2 C. Seven combinative "variations" from a
black B. Set 1 . . . B ....., ; 2 Re3.
194. 1 Q x c7 (zugzwang). 1 . . . Rh6 ; 2 Qe5 (A), 2 Qf4 (B) or
2 Sg5 (C) . . . and you should complete the list accordingly
for the black R's other moves. The constructional
difficulty in these problems is to stop the thematic Black
piece from duplicating variations and thus confusing the
issue.
I95. 1 S x d6 (threat 2 Q x e5). 1 . . . dR x d4 ; 2 P x c4 (A),
2 Se3 (B) or 2 Qf7 (C). 1 . . . bS x d4 ; 2 AB . 1 . . . B x d4 ;
2 AC. 1 . . . eR X d4 ; 2 BC. 1 . . . P x d4 ; 2 A. 1 . . .
eS x d4 ; 2 B. 1 . . . Q X d4 ; 2 C. The last three variations
show the Stocchi theme, in which three (or more) self
blocks on a flight-square lead to separation of three mates.
Here this is part of the mechanism of three-fold combin
ative separation, by arrival on the flight, of those mates.
The flight itself gives a new mate : 1 . . . K x d4 ; 2 R x d2.
196. 1 B X c4 (threat 2 QG5). 1 . . . P x e5 ; 2 Pc3 (A), 2 Se2 (B),
2 Sb5 (C), 2 Rd6 (D), 2 S x f5 (E) or 2 Pd8 =Q (F).
1 . . . 6S x e5 ; 2 ABCDE. 1 . . . 4S x e5 ; 2 ABCD.
1 . . . B X e5 ; 2 ABC. I . . . Q x e5 ; 2 AB. 1 . . . R x e5 ;
2 A. Six mates after the "dummy" block of P x e5 are
progressively reduced to one. In a sense this is Black
Correction-certainly each defence in the above sequence
is better than the last, and one might perhaps regard the
sequence as "sexary" ( ! ?) on the lines of tertiaries, etc.
The Sa3 is a pity. 1 . . . K x e5 ; 2 Qc5.
CHAPTER 8
203 . Try 1 B x b5 ? (threat 2 B x d7). 1 . . . Qe7 ; 2 Sf3.
I . . . R x g7 ; 2 Sd3. 1 . . . Qd6 ; 2 Qg8. 1 . . . P x e5 ;
2 Q X e5. 1 . . . Pd4 ! Key 1 eSf7 ! (threat 2 Sd8). 1 . . .
Qe7 ; 2 Bf3. 1 . . . R x g7 ; 2 Bd3 . 1 . . . Qd6 ; 2 Q x d6.
1 . . . Ke7 ; 2 Sg5. 1 . . . Pd6 ; 2 Qe8. 1 . . . Pd4; 2 Bc4.
1 78
Solutions to Problems for Solving
1 . . . Pf4 ; 2 Bg4. Even with simple unguards of the half
battery, the theme need not be dull. Here the changed
unguards, in the first two variations of each phase, are
supplemented by a good deal of other play ; the key gives
a flight and is thus unlikely to be tried first.
204. Diagram : Try 1 Ke2 ? Ra4; 2 Sa3 (threat). Rc4 ; 2 Sc3
(threat). 1 . . . R x d2+ ; 2 S x d2. 1 . . . Pe3 ! Key
1 Sc3 ! (threat 2 Ke2). 1 . . . Ra4 ; 2 0-0-0. 1 . . .
R x d2 ; 2 K x d2. 1 . . . Pe3 ; 2 Se2. Twin (board turned
90° anticlockwise) : 1 Sf3 ? Re i ! 1 Kg5 ! The "one
way" nature of a P move explains why the try fails in the
diagram but works in the twin ; the "one-way" nature
of castling explains why the key in the initial position
fails in the twin. The half-battery enables a quite complex
idea to be presented in Meredith form.
205. Try 1 Rg7 ? (threat 2 Q x d7). 1 . . . Rh8 or Kd6 ; 2 Rf6.
1 . . . Kc7 ; 2 Rc4. 1 . . . B x a4 ! Key 1 Rf7 ! (threat
2 Q x d7). 1 . . . Rh8 or Kd6 ; 2 Rg6. 1 . . . B x a4 or
Kc7 ; 2 Rc3. Indirect half-battery points at black K
flights instead of his initial square. It can open in two
ways : to guard the flight, with check given by the battery
opening man ; or on to the black K after he takes the
flight, with check given by the rear piece. Here both are
shown. ·
1 80
Solutions to Problems for Solving
with changed interferences, of an unusual type : each of
two black pieces unguards a battery and immobilises a
line-piece guarding it from the rear, so White can mate by
capturing the other piece that guards the battery. The
need to stop cooks made for ugly construction.
212. Try 1 Sd5 ? (threat 2 Qc3). 1 . . . Qa3 + ; 2 Bd3. 1 . . .
Qf4+ ; 2 S x f4. 1 . . . Qf8 + ; 2 Bf5. 1 . . . Q x d5 ;
2 B x d5. 1 . . . P x d5 ! Key 1 Bd5 ! (threat 2 Qc4).
1 . . . Qa3 + ; 2 Sd3. 1 . . . Q X f4+ ; 2 R X f4. 1 . . .
Q x d5 + ; 2 S x d5. 1 . . . P x d5 ; 2 Se6. 1 . . . Q x g6 ;
2 S x g6. Try and key unpin the Queen to give three
checks, with half-battery play. It is a pity the try is
defeated by the capture of the piece that makes it.
213. (a) 1 Rg3, K x c6 ; 2 fSe5. 1 . . . Kc4 ; 2 Sd2. 1 . . . Ke4 ;
2 Sh4. 1 . . . Ke6 ; 2 S x d4. Not I Sh4 ? P x g2 ! (b)
1 Sh4, K x c6 ; 2 gRg7. 1 . . . Kc4 ; 2 Rc2. 1 . . . Ke4;
2 Rg3. 1 . . . Ke6 ; 2 Rg6. Not 1 Rg3 ? Ph4 ! Without
the twin, the try, with its obvious defence, could easily be
missed. Alternatively, Edgar Holladay suggests : (c)
remove h3-to leave a sound "mate in two, in two ways".
214. Try 1 Pc3 ? S random ; 2 Sal . 1 . . . Sd3 ! ?; 2 Sd4.
1 . . . Sc2 ! Key 1 Sal ! (zugzwang) S random ; 2 Pc3.
1 . . . Sd3 ! ; 2 Pc4. Only after e4-f2 is closed does White
need to guard b5 by unpinning the black Bishop ; but
then he can afford to !
2 1 5. Try 1 Sal ? Pb5 ; 2 Pc3. 1 . . . Q x h4 ; 2 Pc4. 1 . . .
P x a5 ! Key 1 Pc3 ! (zugzwang). 1 . . . Pb5 ; 2 Sal .
1 . . . Q x h4 ; 2 Sd4. Closely related to the last problem,
but this time the unpinning move is allowed by unguard,
not interference.
216. Try I S x g5 ? B x c4; 2 Rf5. 1 . . . B x e6 ; 2 Rd3.
1 . . . PaS ! (2 Pb5 ?). Key 1 Ra3 ! (threat 2 R x a6).
1 . . . B x c4 ; 2 Sd6 (2 Sc3 ?). 1 . . . B x e6 ; 2 Sc5 (2 Sf6 ?).
A combination of two Mansfield ideas. In the try the
black B opens lines as it unmasks the battery for the white
R ; in the actual play the white S must avoid unpinning
the self-pinned black B to guard the flight.
217. Try 1 dS x e3 ? (threat 2 Qc4). 1 . . . B x e5 ; 2 Sd4.
1 . . . Q x e5 ; 2 Sd6. 1 . . . R x a3 ! (2 Qb4 ?, 2 Sd4 ?).
1 81
Solutions to Problems for Solving
Key 1 fS x e3 ! {threat 2 Qc4). 1 . . . B x eS ; 2 Sc3.
1 . . . Q x eS ; 2 Sd6. Another way to show the half
battery combined with self-pin-the mates unmask the
pin-line itself instead of the mating piece as in No. 2 1 6.
Here this is combined with defence by pin of White and
incomplete half-pin, active again after 1 . . . Bd4 ; 2 Qfl .
2 1 8 . Try 1 S x f6 ? (threat 2 Sf any). 1 . . . dR x d3 ; 2 ReS.
1 . . . fR x d3 ; 2 Rf2. 1 . . . R x h3 ! Key 1 Rg2 ! {threat
2 RgS). 1 . . . dR x d3 ; 2 Sd6. 1 . . . fR x d3 ; 2 Sg3.
Same theme as the last problem, in a simpler version.
The key permits 1 . . . Rf2+ and we thus hope you saw
the try first !
219. Try 1 Sc3 ? (threat 2 Q x dS). 1 . . . R x d4 ; 2 Be6.
1 . . . Q x d4 ; 2 B x e2. 1 . . . K x d4 ; 2 BfS. 1 . . .
R x eS ! Key 1 Bd7 ! {threat 2 Q x dS). 1 . . . R x d4 ;
2 S x d6. 1 . . . Q x d4 ; 2 Sd2. 1 . . . K x d4 ; 2 Sf6.
This time, because the self-pins on the half-battery line
occur next to the black K, it was possible to work in an
indirect-half-battery mate after the flight-but at a huge
cost of force and space.
220. Tries : 1 bS random ? Ra8 ! 1 Sa4 ! ? PdS ! (2 Qa6 ? ?).
1 dS random ? Rh2 ! 1 Sc2 ! ? Bf7 ! (2 gR x f7 ?). Key
1 Se2 ! White Correction (see chapter 1 1) by both half
battery pieces, which close black and white lines.
221 . Tries : 1 bR random ? Bf6 ! 1 Rd4 ! ? Bel (2 Qd8 ?). 1 eR
random ? Be7 ! 1 ReS ! This very simple setting is con
sidered a bore by one of the authors who did not compose
it, and a gem by the other.
222. Tries : 1 Sd3 ? Ka3 ; 2 BcS. 1 . . . KaS ! 1 BcS ? Ka3 ;
2 Sd3. (KaS ; 2 Sc6). 1 . . . KbS ! 1 SdS ? KaS ; 2 Bc3.
(PaS ; 2 BcS). 1 . . . Ka3 ! Key 1 Bc3 ! (threat-PaS,
Ka3 ;-2 Sc2). KaS ; 2 SdS. (KbS ; 2 Sd3. P x bS ;
2 a8 = Q). Between the first two tries, and between the
third try and the actual play, double sequence reversal is
carried out : in this theme, the first move in each phase
becomes the second move in the other phase. There are
several incidental changes, and one more in the try 1 Be3 ?
K x bS ; 2 Sc6 (but 1 . . . Ka3).
1 82
Solutions to Problems for Solving
223. (a) 1 Ba3 (threat 2 Ke2). 1 . . . Rb4; 2 0-0-0. 1 . . .
R x d2 ; 2 K x d2. Not 1 Ke2 ? Q x g2 ! (2 Se2 ? ?). (b)
1 Ke2 (threat 2 B any). 1 . . . Rb4 ; 2 Bb2. 1 . . . R x d2 + ;
2 B x d2. 1 . . . Qa8 ; 2 Ba3. NoT 1 Ba3 ! ! ? Rb4 ! ! ! and
2 0-0-0 is illegal ! How did the black R reach h 1
without checking the white K , making him move and thus
removing his right to castle ? Only by promotion from
h7-and there are not enough White pieces missing to
provide the captures that would permit this way out, if
the black g-pawn is once added. The promoting journey
would be from the e-file-and, what with Ph2 as well, too
many captures are needed.
224. 1 Sb2 ?, Qg2 ! ; 2 0-0-0 ? ? ? ?. 1 dSf2 ? Q x g6 ! ; 2
0-0-0 ? ? ? ?. 1 Kd2 !. To get those Pawns on the a-file,
White must have captured a promoted black Pawn, which
checked at d2. So White can't castle.
225. 1 S x a6 ?, Q x a6 !. 1 bSc6 ?, P x b5 !. 1 Sb7 ! ! which,
despite all appearances, does NOT fail to 1 . . . 0-0, since
this can be proved illegal !
226. Try 1 Sd8 ?, R x c5 ; 2 R x c5. 1 . . . Rd6 ; 2 R x d6.
(R x e5 ; 2 R x e6). 1 . . . R x d4 ! Try 1 Rd6 ?, R x c5 ;
2 S x c5. 1 . . . R x d6 ; 2 S x d6. (R x d4; 2 R6 x d4).
1 . . . R x e5 ! Key 1 Qa4 ! (zugzwang). 1 . . . R x c5 ;
2 P x c5. 1 . . . Rd6 ; 2 Pd5. (R x d4 ; 2 Q x d4). Life is
not always real and earnest. This is a Zagoruyko, heavily
(very heavily) disguised as a half-battery. The white
Rc6 and Sb7 are pure spoof after the key-and it is
essential to the point of both the problem and the joke
that they should be.
CHAPTER 9
236. 1 Pc8 =S (zugzwang). 1 . . . Bg5 ; 2 Qf5. 1 . . . Rg5 ;
2 R x f4. 1 . . . Pf5 ; 2 Q x e5. 1 . . . Pf3 ; 2 Sg3. 1 . . .
Pd3 ; 2 Rel . 1 . . . Bb3 ; 2 Re2. 1 . . . Bc4 ; 2 R x d4.
1 . . . Rb4 ; 2 Sd6. 1 . . . Rc4 ; 2 Q x d5. For years
composers thought that no more than eight black inter
ferences could be achieved in a single-phase orthodox two
mover, but this brilliant problem raised the total to
1 83
Solutions to Problems for Solving
nine, in a setting whose only real weakness-and a relat
ively small one at that, since this is a task problem-is a
key which slightly increases White's strength. Since this
problem was composed, others have equalled this record
task achievement (see No. 247).
237. Set : Rc4 ; 2 Pc3. 1 . . . ReS ; 2 Pc4. 1 . . . Rb3 ; 2 P x b3.
1 . . . Rd3 ; 2 P x d3 . Key 1 Qh l (threat 2 Qh7). I . . .
ReS ; 2 Pg4. 1 . . . Rc7 ; 2 Pg3. I . . . Rf3 ; 2 P x f3.
I . . . Rh3 ; 2 P x h3. Compare No. 23S ; here the double
Albino is spread over two phases, and interest is added
by the black R's defences to the threat. The changed mate
after 1 . . . ReS shows an odd sort of reciprocal effect : in
the set play, the P guards dS and the Q guards fS, and in
the actual play the roles are reversed. A. C. White's
pioneer was published in the American Chess Bulletin in
I 94 I : 2K3BS/B7/3pp l Sl / I p1 P3R/4K3/RSq 1/S1 P3Pp/7Q.
I Qbl .
238. Set : 1 . . . Qh8 ; 2 P x h8 =S. 1 . . . Qd6/Qe7 ; 2 Pg8 =Q.
I . . . Kg8 ; 2 P x f8 = Q. 1 . . . Q x g7+ ; 2 R x g7. Key
I Q x h7 (threat 2 P x f8 = Q). 1 . . . Qh8 ; 2 P x h8 =Q.
I . . . Qd6/Qe7 ; 2 Pg8 = S. 1 . . . R x dS ; 2 P x f8 = S.
I . . . Q x g7+ ; 2 Q x g7. 1 . . . K x f6 ; 2 R x f3. 1 . . .
Qg8 ; 2 Qg6. Two �hanged unpins of a promoting Pawn,
which makes all its possible promotions in either set or
actual play. The changed check, black K self-pin and
black Q self-block all add interest to this fine example of
transatlantic co-operation.
239. 1 Qd6 ?, R x a4 ; 2 Qd2 (threat). 1 . . Sd3 + ; 2 Q x d3.
.
CHAPTER 10
260. Try 1 R x fS ? (threat 2 QdS). 1 . . . K x f5 ; 2 Qe6.
1 . . . Kd4 ; 2 Qc4. 1 . . . Se5 ; 2 Rf4. 1 . . . Be5 ! Key
1 R x d3 ! (threat 2 Qd5). 1 . . . KeS ; 2 Qe6. 1 . . . K x d3 ;
2 Qc4. 1 . . . Sd4 ; 2 Re3. The try and the key give
different pairs of flights, but the two mates following the
flights remain the same. An attractive example of mate
transference.
1 86
Solutions to Problems for Solving
2�1 . Set : 1 . . . dSe5 ; 2 Sg5. 1 . . gSe5 ; 2 Sd2. Key 1 B x d4
.
CHAPTER 11
279. Try 1 6B random ? (threat 2 Be6), Rd7 ! Try 1 Be7 ! ?
(threat 2 Rf6), Rd6 ! Try 1 Bd4 ! ? (threat 2 Rf6), Re2 !
Key 1 Bg7 ! (threat 2 Rf6), Rd6 ; 2 Se7. 1 . . . Re2 ;
2 Sd4. An extremely clear rendering of Secondary White
Correction in which the corrections by the B involve
neatly related square-blocking secondary errors.
280. Try 1 R random ? (threat 2 Bb5), Be4 ! Try 1 Re5 ! ?
(threat 2 Bb5), Be4 ; 2 R x e4. 1 . . . Sd6 ! Try 1 Rd3 ! ?
(threat 2 Bb5), B x a4 ! Key 1 Rb5 ! (zugzwang), B moves ;
2 Qb3 or 2 Qd3( x d3). 1 . . . fS any ; 2 Se5. 1 . . . bS
any ; 2 Qc3. 1 . . . Pe5 ; 2 Bd5. A curious form of
Secondary White Correction in which White can cope
with the pinning general defence 1 . . . Be4 only by
creating a block position.
281 . Try 1 K random(b5) ? (threat 2 Sc4), Pf4 ! Try 1 Kc5 ! ?
(threat 2 Sc4), Pf4 ; 2 Re8. 1 . . . Pg1 = Q ! Try 1 Kd3 ! ?
1 89
Solutions to Problems for Solving
(threat 2 Sc4), Pf4 ; 2 Rd5. 1 . . . Rh3 ! Try 1 K x b3 ! ?
(threat 2 Sc4), Pf4 ; 2 Qal . 1 . . . Rh3 ! Key 1 K x b4 !
(threat 2 Sc4), Pf4 ; 2 Bc3. 1 . . . Kf4 ; 2 Q x h2. The
white K is perhaps the least likely piece for an intensive
rendering of Secondary White Correction. Four correc
tions by the K, giving four different mates after the
general defence 1 . . . Pf4, may be a task record
282. Set : 1 . . . B x e6 ; 2 Sc3. (1 . . . K x e6 ; 2 Q x c4.) Try
1 K random (b8) ? (threat 2 Sc7), B x e6 ! Try 1 K x b7 ! ?
(threat 2 Sc7), B x e6 ; 2 Bc6. 1 . . . Rbl ! Key 1 Kb6 ! !
(threat 2 Sc7), B x e6 ; 2 Sb4. 1 . . Rb1 ; 2 Sf4. 1 . . .
.
CHAPTER 12
3 1 4. Key 1 Be6 ! (zugzwang), 1 . . . Q random ; 2 Rg4 (A).
1 . . . Qf4 ! ; 2 Rd5 (B). 1 . . . B random ; 2 Rd5 (B).
1 . . . Bd6 ! ; 2 Rg4 (A). 1 . . . Sh4 ; 2 Q x h4. 1 . . . Sf4 ;
2 Ph4. Reciprocal correction in actual play with the
combination of withdrawal and interference unpin errors.
It is a pity that the white K cannot be on d8, with the
variation 1 . . . BaS + ; 2 R x aS ; but the white B must
be prevented from playing beyond e6.
3 1 S. Key 1 Bg7 ! (zugzwang), 1 . . . fR random ; 2 Qg4 (A).
1 . . . fRfS ! ; 2 Bh6 (B). 1 . . . dR random on file ; 2 Bh6
(B). 1 . . . Rd3 + ! ; 2 S X d3 (C). 1 . . . dR random on
rank; 2 Sd3 (C). 1 . . . ReS ! ; 2 Qg4 (A). 1 . . . PeS ;
2 S x dS. 3-fold cyclic black correction by two black
pieces.
3 1 6. Key 1 Pf4 ! (zugzwang), 1 . . . R random ; 2 B x e6 (A).
1 . . . Rf6 ! ; 2 RgS (B). 1 . . . Pe4 ; 2 RgS (B). 1 . . .
P x f4 ! ; 2 Sh4 (C). 1 . . bB random ; 2 Sh4 (C). 1 . . .
.
this theme.
325. Key 1 Bc5 (threat 2 5Sb6), P x c5 ; 2 7Sb6 (A). 1 . . .
B X c5 ! ; 2 Bfl (B). I . . . P X d5 ; 2 Bfl (B). 1 . . B X d5 ! ;
.
200
General Index
Certain problem themes and effects, such as Batteries, Black Checks, Dual
avoidance, Line-opening, etc., occur too frequently as incidental features
to warrant a comprehensive list in this index. Readers are therefore
referred only to problems where these themes or effects occur as the prin
cipal feature.
Active dual avoidance, p. 76, no. Common aim (to relate tries),
1 38 p. 1 6 ; no. 273
Actual play, p. 1 8 error (to relate tries), p. 1 6
Added mate, p . 5 1 Complete block, p . 1 4
Albino, no. 235, 237 Concurrent mates, p . 8 8
Anticipation, p. 20 Cook, p . 1 4
Arrival correction, pp. 82, 1 4 1 ; Cook-tries, p. 8 2
nos. 1 1 5, 283, 301 ; (Black) Critical move, p. 1 60, n o . 33
no. 301 ; (White) nos. 1 1 5, 283 square, p. 1 60, no. 3 3
Arrival Fleck, p. 9 1 , nos. 1 63, 195 Cross-check, pp. 15, 40 ; nos. 44-64
and passim ; tasks, p. 40n
Battery, p. 1 6 Cyclic change, p. 1 50, nos. 3 1 3, 354,
Bivalve, p . 3 6 355
Black Correction, p . 80, no. 146 and Black correction, p. 1 3 7 ; nos.
passim 295-297, 3 1 5-320
Interference, p. 1 5 (see Inter Interferences, p. 6 1 ; nos. 99, 1 10,
ference) 111
S-Wheel, p. 108 ; nos. 1 92, 227, mating permutation, p. 147, nos.
242, 243 3 1 0, 3 1 1 , 347-3 5 1
Block problems, p. 1 4 refutation, p. 1 46 ; nos. 309,
British Chess Magazine, p. 1 3 8 344-346
British Chess Problem Society, p. shift, p. 1 44 ; nos. 308, 343
116 virtual Java, p. 1 74 ; no. 1 74
By-play, p. 1 9
Defence, p. 14
Castling, nos. 64 , 204, 223 Dombrovskis theme, p. 1 30 ; nos.
Change of theme, no. 261 278, 289, 290
Changed mates (changes), p. 15 Double sequence reversal, p. 103,
Check, p. 1 5 no. 202
Checking key, p . 27 ; nos. 10, 1 1 , Dual, p. 24
2 1 , 22, 268 Dual avoidance, p. 75 ; nos. 1 38-
Combinative separation, p. 89 ; 145 and passim
nos. 1 6 1 , 1 62, 1 88-195
Commendation, p. 1 6 Economy, p . 20
201
General Index
Fleck theme, p. 8 7 ; nos. 1 58-166, Java, p. 77 ; nos. 1 4 1 , 1 42, 1 70, 1 7 1 ,
1 87-196 1 73, 1 74
Flight (= Flight-square), pp. 1 5,
22 and passim Key, p. 1 4
Focal effects, p. 67; nos. 53, 1 1 7-
1 36, 266 Line-opening, p . 1 5 ; thematised,
Focus, p. 67 no. 244
Four-hands-round, p. 58 ; no. 292 Line-piece, p. 1 5
Linear shift, p. 93
203
Index of Names
Problem nwnbers in brackets indicate either that the named composer
is responsible only for the version, or that substantial changes have been
made in his original position.
204
Index of Names
Heathcote, G., p. 40; no. (59) Mansfield, C., pp. 32, 33, 40, 101,
Hermanson, H., nos. 200, 248, 300 1 1 3 ; nos. 3, 24, 25, 39, 44,
Hesselgren, A., p. 1 12 ; no. 232 82, 1 1 3, 1 25, 197, 201, (244),
Holladay, E., nos. 70, 148, 1 52, 1 76, 249
238 Mari, A., p. 35 ; nos. 29, 1 37, 1 5 1
Hoole, J. R., no. (179) Matthews, R . C. 0., nos. 1 5, 1 83,
1 87
Janet, F., p. 63 Michel, F., no. 6
J0rgensen, W., no. lOO Millins, L., no. 146
Morse, C. J., pp. 1 36-1 38; nos. 1 8,
Kardos, T., no. 1 24 1 10, 237, 238, 241, 244, 245,
Kempe, A., p. 3 1 3 1 5, 3 18, 3 1 9
Kidson, H. E., no. 291 Moseley, A., no. (229)
King-Farlow, C. P., no. 345 Musante, H. L., nos. 74, (126)
Kiss, J., p. 60
Kiss, L., no. 1 55 Nanning, F. W., no. 3 1 2
Klett, P., no. 1 17 Neukomm, J . R., no. 229
Knoppel, J., nos. 144, (292) Novejarque, F., no. 46
Knuppert, H., no. 202
Kofman, R. M., no. 142 O'Keefe, J. J., no. 1 19
Kuznetsov, A. G., no. 2 Ovchinnikov, V., no. 69
Overkamp, P., no. 301
Larsen, K. A. K., p. 40; no. 141
Latzel, G., no. (1 74) Paalanen, E., no. 7 1
Lebedev, A. N., no. (1 19) Packer, G . F . H., p . 1 9
Lertoria, E., no. 242 Parthasarathy, M., pp. 60, 1 3 8 ;
Ling, J. F., p. 161 ; no. 38 nos. 97, 254, 296, 297, 3 1 1
Lipton, M., p. 99 ; nos. · 1 1 , 1 3, 35, Pedersen, E., no. 145
36, 37, 40, 42, 43, 52, 61, 62, 64, Penrose, L. S., p. 59 ; no. 96
75, 76, 86, 88, 89, 91, 106, 128, Petrovic, N., no. 166
1 67, 1 69, 171, 1 72, 1 73, 1 74, Piatesi, A., no. 1 1 8
1 76, 1 78, 1 79, 1 80, 1 82, 1 84, Pimenov, W. & S., p. 58
1 85, 206, 207, 208, 209, 210,
2 1 1 , 216, 217, 218, 219, 222, Rayner, J., p. 135
224, 226, 240, 261 , 263, 264, Reeves, A. C., nos. 19, 81, 87, (107),
265, 266, 267, 271, 288, 328, 109, 1 12, 1 14, 1 16, 1 77, 1 9 1 ,
329, 333, 335, 341 , 342, 348, 2 1 3 , 246, 265, 269, 270, 282,
349, 352 283, 322, 324, 337
Livshits, E., nos. 250, 252, 256, 257, Rice, J. M., nos. 12, 1 6, 1 7, 20, 2 1 ,
259, 299 22, 32, 33, 34, 40, 50, 55, 56,
Loshinski, L. I., pp. 59, 87; nos. 63, 77, 78, 80, 84, 85, 90, 91,
156, 231 , 307 92, 105, 108, 1 1 1, 1 1 5, 1 68, 1 8 1 ,
Loyd, S., pp. 22, 28, 63 1 82, 190, 193, 1 94, 1 95, 196,
203, 205, 206, 212, 214, 239,
Mackenzie, A. F., pp. 32, 40 243, 262, 263, 268, 284, 3 14,
Macleod, N. A., nos. 58, 126, 127, 3 1 6, 320, 331, 336, 350, 351 ,
1 3 1 ' 1 75, 192, 323, 326, 343 354, 355
205
Index of Names
Rudenko, y. F., nos. 1, 9, 1 57, 251 , Trilling, A., no. 273
257, 305, 308 Tump, R., no. 1 54
Rukhlis, E., p. 1 18 ; no. 102 Tura, W., no. 103
Tuxen, H. V., pp. 77, 108 ; �o. 227
Salai, L., no. 298
Savalle, A., no. 73 Vaughan, C., no. (336)
Schiffmann, J. A., no. 93 Visserman, E., p. 136; nos. 198,
Segers, M., no. 49 293, 294, 295, 310
Selb, N., p. 61 ; no. 98 Vukcevic, M. R., no. 235
Simkhovich, F. L., p. 59 ; no. 95
Stocchi, 0., nos. 1 39, 1 58, 1 64, 1 65 Weenink, H., no. 99
Subrahrnanyam, S., nos. 97, 3 1 1 White, A. C., pp. 32, 34, 99, 1 84 ;
Swane, J. A. W., no. 1 59 no. (237)
Szoghy, J., no. 272 Wrobel, M., nos. (85), 1 53
Szwedowski, L., nos. 104, 255
Zagoruyko, L., p. 1 9 ; no. 253
Tchepizhni, V. 1., nos. 7, 305, 3 1 3 Zappas, B., no. 72
Touw Hian Bwee, nos. 1 0 1 , 123 Zarur, A., no. 1 0
206
CHESS PROBLEM S :
Introduction to an Art
MICHAEL LIPTON
R. C. 0. MATTHEWS
JOHN RICE
42s net