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By Alfonso Romero
In a groundbreaking paintings, a Spanish grandmaster explains how creativity can be utilized to beat technical stumbling blocks at the chessboard. when they have got a bonus, too many avid gamers make the error of assuming that the exploitation of this advantge will simply be a question of strategy, requiring accuracy, yet little mind's eye. Romero exhibits, through studying the play of the good chess champions, that the other is frequently the case: occasionally it's the paradoxical resolution that works, while the mechanical strategy could dissipate the well-deserved virtue. via following Romero in his research of the various remarkable useful examples during this publication, readers will unavoidably bring up their figuring out of chess technique ordinarily and fine-tune their intuition for sensing these serious moments whilst non-standard strategies are precious.
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Extra info for Creative Chess Strategy
Example text
On the other hand, the right to move is also a responsibility, for in a zugzwang position, the enforced tempo (legal compulsion to move) is often a losing liability. "). He has reduced the number ofelements to one dynamic and three static. It seems Evans is mixing apples with oranges when he includes pawn structure. This approach is in structive, but falls short as a theory, and I don't believe Evans intended it to be. Nevertheless, a computer program that takes into account Evans' elements should do well.
In this pawn structure there is a clear majority. Jtxc6 dxc6. The appraisal of a piece's value in a given position is much more complex. Castling on opposite sides creates a basic imbalance in king position. Here A proper evaluation is possible by con sidering each applicable element, and is strongly position-dependent. is a position from a recent student game that featured opposite-side castling in the Exchange Variation of the French ' Defense: , .. ,. When evaluating an entire position's material, there is one additional but all important complexity, that of imbalance.
L;Ie51 and the white king has the necessary tempi either to aid in the promotion of the pawn after 3 ... 'itt d 6 or to prevent B l ack from promoting after 3 . 'ittf4. In the 68 The Elements line 3 . h3 4. 'ittd6 the white king gets to d6 from h8 in four moves via e5, while in the line 3 ... 'ittf4 it gets to f4 in four moves, also via e5. Thus the equal shortest distance to both key points d6 and f4 can be through e5. This stunning example is a perfect il lustration that on the chessboard, a strictly Euclidian evaluation of speed could be misleading by as large a factor as '1/2 (the ratio of the distance of one square along the diagonal to one square along the horizontal or vertical).