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1、CHESS PROBLEMSMADE EASYHOW TO SOLVE - HOW TO COMPOSEbyT. TAVERNERChess Editor, aDaily NewsWith 250 illustrations by theauthor & famous composersAn Electronic EditionAnders Thulin, Malmo 2004-02-22INTRODUCTIONChess Problem composing and soMng have a charm peculiarly their own. Whether they add to or
2、take from a players capacity for the game is a matter of opinion as to which all that need be said is that it depends upon the nature of the interest awakened, the opportunities available, and, ultimately, the relative amount of time devoted to each side of the game.The advantage of the Problem Art
3、is that it may be entered into without the limitations attaching to the personal presence of an opponent, that it broadcasts what has well been called “the poetry of Chess for the benefit of thousands who would otherwise be beyond the reach of its intellectual uplift, and that it throws open the doo
4、r of entertainment and interest at times when actual play with an opponent over the board may be out of the question.Assuming that the reader is a lover of Chess and that his inclination turns towards problems, of which he seeks to acquire a working knowledge, our aim is the elementary one of settin
5、g him in the way of constructing and solving them. The two processes are allied. In learning how a problem is created the student is bound to perceive how he may best approach the solution of others; in disentangling the complexities produced by good composers he acquires a constructive knowledge an
6、d ability of his own.Unless otherwise stated the positions are by the author, those marked by a star being prize winners in different tourneys. The lessons on composing are actual constructional experiments showing how problems are evolved and built up, and are a practical effort to assist students
7、to meet difficulties they find themselves up against. In every diagram3#CHESS PROBLEMS MADE EASYthe White pieces move from the bottom of the board, and, unless the contrary is stated, it is Whites turn to play. “Mate in two means that White must effect mate on his second move; “Mate in three” that B
8、lack defeat must be completed on the third move. The ordinary notation has (except where positions are given in Forsyth notation, which will be described) been adhered to, “x all through standing for “takes.It must be understood that the author makes no claim to have dealt exhaustively with the subj
9、ect. He has limited himself to Two and Three Move Problems because the work is designed largely in the interests ofbeginners.Notes to Electronic EditionIn this edition, all positions originally given in Forsyth notation have been given in full diagrams. Also, the move notation in the text has been c
10、hanged from descriptive notation to modern algebraic, using the letter S to indicate the knights, according to modern problem standards.All problems have been checked for correctness, using the Problem- iste computer program, with the exception of problem 35. Found errors have been indicated in the
11、stipulation as follows: * indicates more than one solution, a short solution, and f a problem that cannot be solved in the stipulated number of moves. Further details are given, also in brackets, in the solution.CONTENTSChapter ITechnical Terms7II More Terms Illustrated10III On Solving14IV On Compos
12、ing18V Composing a Simple Theme Problem. 21VI Study on the Half-Pin24VnA More Difficult Theme27VTTTExamples of the Same Theme30IX Pins and Interferences32X Composing a Three Mover36XI A Sacrifical Three-er38XII A Set of Three Move Brilliants41XIII Remarkable Positions45XIV Self-Mates47XV Notes on Se
13、lected Positions49XVI More Notes and Comments52Problems by the Author55Selected Problems71Solutions 93CHAPTER I1.Mate in twoTechnicaltermsPassing at once into the realm of practical study； set up the Two-Move Problem below. It is designed with the sole object of illustrating terms with which both th
14、e solver and the composer must become familiar.The opening move or Key is Sh5. IfBlack replies with QR, the White B, at e5, moves to f4, discovering check from the White R and, by preventing the Black Q from capturing the now attacking R, delivering mate. The necessity for the key move is now appare
15、nt. If the White S was not now guarding f6 the Black K could escape. We leave the student to work out the mates for the other variationsi.e. the different lines of play which White is forced to have recourse to in effecting mate in reply to Blacks defensive moves.Examination reveals that RxQf also m
16、ates in two. If Black replies PxR, the B at e5, PrevioUSly pinned by the Black Q, can move on the diagonal to the right and discover mate. BxQf also mates in two. The K must now reply by taking P at d6, whereupon B moves to e5, double check and mate. Further Pg5 dis. ch is also effective for, on the
17、 S covering； BS. These are cooksunintended solutionswhich at once vitiate a position as a problem. The cause in each case should be noted by solvers and student composers alike.There is also one defence OfBlackthat is not provided for. I after the intended Key； Black plays RXR Whites proposed mating
18、 move, SxS, fails,7TECHNICAL TERMS#because the Black Q, no longer pinned by the White R, replies by capturing the checking S. This is an instance of no solution, for cases of which solvers must be watchfully alert in tourneys, and against which composers have ever to be carefully on guard.Two other
19、instances of another, and rarer, form of unsoundness. Impossible positionsthose which could not havebeen possibly brought about by legalMate in Twomoves in a gameare ruled out of allcomposing tourneys. It will be noticed that, with the Black pawns in their present position Blacks B at b8 could not h
20、ave been played there.Another instance of this particular form of unsoundness exists in theposition. Only one White piece has been taken off the board, but analysis will show that the Black pawns could not have got into their present position with fewer than three captures. Whites position is also i
21、mpossible though less obdously. It could only have been brought about by three captures. Three Black pieces have been taken; but two of these, originally pawns at h7 and g7, could only have assisted after being promoted. Both could not have been promoted without captures which have not taken place.L
22、ook further into the position. If Black plays RXQ, PxR, becoming either a Q or B, mate. If SXS PxS or Pg5, discovered mate. These are duals.If PP, then BQ, or B to d4 or c3, dis. mate. If Qg6, then Bf4, Bg3 or Bh2, dis. mate. These are triples.When Black plays Sd4 the White B is freed from the pin o
23、f the Black Q as the result of the intervention or interference of one of the defending piecesa tricky resource of composers which should, even thus early, be carefully borne in mind. White can now mate by Bf% Bg3 or Bh2 or Sf4. If Rd8, Pf8 (becoming Q, R, B or S) dis. mate. These are quadruples. An
24、y case in which a pawn, Queening, may either directly or by discovery effect mate by becoming any piece, produces a multiple mate accordingly. These choices shouldbe avoided wherever possible by composers; in theory they are a species of unsoundness, as there ought only to be one way of mating after
25、 any defence. Though often of no account from a constructional standpoint, they must always be noted in soMng tourneys in which duals, etc., count.After Rc8, either PR or Pf8 mates, the capturing pawn becoming Q or B and the advancing pawn any one of four piecesa sextuple.In the event of Re8, the ma
26、ting moves may be Pe8 or f8, each giving four choicesan octuple.There are other forms of duals, etc., as, for instance； when Q, R, B, S or P are able to mate directly or by discovery on different squares. The King, which can only deliver mate by discovery, produces the same effects when able to deal
27、 the fatal blow by moving to different squares.MORE TERMS ILLUSTRATED15MORE TERMS ILLUSTRATEDIn Three Move Problems, duals, etc., are always counted on the second move (choices on the mating move not being noted from a solving point of View, though they, of course, enter into the final judgment of t
28、he merit of the composition). They are choices which enable White to go on and mate in three. Hence they are called dual, etc., continuations. In these positions it is sometimes possible on certain moves of Black to mate on the second move. There have been prize winning positions, the keys of which
29、threatened mate after Blacks first move. Whereever mate on the first move of Black is possible it is known as a short mate. It is not taken into account in solving because arising from a purely suicidal defence. Duals are only regarded as serious from a composing standpoint as they enter into the ma
30、in-playthe central idea of the problem. They may then cause solvers to miss the intended beauty of the conception. Important or not important, however, dual, etc., continuations must always be noted in solution tourneys.There are other terms. As many of them only relate to technical description, we
31、shall only note a few:Pure Mate. Where the Black King on being mated is only commanded on each square by one piece; as in the following positions.In (a) S mates by moving to f5.In (b) Re4 mates. In each case no square is guarded by more than one piece. In (b) the King could escape but for his own Q.
32、 This piece is said to have produced a self-block.Model Mate. A mate which, besides being pure, is so economical that every piece on the board takes part, as in both (a) and (b). The White K, and sometimes pawns are ignored when calculating a Model Mate.(b)Purity and economy have been so completely
33、exploited in Two Move Problems that the only way to avoid risks of having been forestalled is by resorting to the combination of ideas and to complexity. In Three Movers, as will be seen, purity and economy are still delightful assets.MirrorMate. Mate in which, as in (a)； none of the eight squares i
34、mmediately round the Black King is occupied by any piece.Threat Problems are those in which Whites Key move makes a direct attack and would mate next move were it not that Black may make a move preventing it, the point being that in so doing he opens the way to mate from another direction. Here is a
35、 simple example.(It is suggested that in each of these and all the following illustrative positions the student should cover up the key and explanation and endeavour to solve it first hand. This will immediately school him both in composing and solving).The Key is Sd4 If Black makes no active defenc
36、e Rei mates. Either Black S can so play as to be ready to prevent this; but if Sg3 it so interferes with, or cuts off, the Black B that Pf4 mates. If Sf4 it self-blocks that square enabling Q to mate at g7 If Sf6 it again blocks aNo. 2Mate in twosquare guarded by Q and releases it to mate at c. If S
37、d5, it blocks that square leading to Sc6. The moves of the Black B likewise lead to RSMate in twoMate in two3. *4. *or QP. Duals are not regarded as so serious in Threat-Problems as in others except when in the principal variation.Block Problems, often called pure Waiters. These are positions in whi
38、ch, if it were Blacks turn to play, White could mate on any move possible. The Key simply throws a move away. Here is an example (dia-gram 3).The Key is Bc5. Apparently sacrificing itself； it forces Black to move. IfRf5, Qd4. If Rf Rd4. If RS, Qh7, and so on.Incomplete Blocks are often called Block-
39、Threats. The nomenclature does not matter. These are generally positions in which the composer suggests a waiting key, but in which some strategic move has to be made that introduces a fresh element of attack, as in diagram 4.If it were Blacks turn to move there would be mate in all variations excep
40、t SB. The key meets this by Sd2 giving a flight square and added variations.The student should set up each position, play over every possible variation and discover the reason for each piece. Unfortunately the White King could only effectively be used in one position, and then only to prevent the ad
41、vance of a Black pawn. It will be found that invery many themes the White K cannot be of much more service than holding a Black pawn or, because of some check, preventing a cook.Change Mates or Mutates are positions in which the key changes mates for which provision is apparently made and creates ot
42、hers. A pretty example is one by T. Warton, London, as follows:* Problems marked with a * are prize winners in different tourneys.The Key (Qe2) changes the surface character of the whole problem.T. WartonMate in 2CHAPTER IIION SOLVINGOne of the first points in solving is to find whether the problem
43、is a Threat or a Waiter. As a rule this may be discovered by glancing at the number ofBlack pieces and the moves they may make. The presence of Black pieces which are moveable without there being any effective reply from White immediately suggests an attacking move which leaves only the alternative
44、of instant defence or surrender. In Two Movers the Threat is immediate as in No. 2. In Three Movers it prepares for an attack on the second move, as in No. 19.The next thing is to note the position of the Black K, to see whether it can move, and if so, whether there is some line which leads to mate
45、after that move. If there be a move for the K, and nothing leading to mate though this must be tested from the outset or time may be wasted and discouragement createdit will be clear that the key must make provision for this move, either by preventing itin which case it may be taken as a rule that a
46、nother square must be opened to the K in exchangeor by so moving a piece that mate may be delivered in the required number of moves. In either case some clue is afforded and the mind looks for some manuvre which will meet the necessity thus perceived.It is important to note, next； whether the White
47、K is open to check as the position stands, or after any particular move has been made. It will repeatedly be found that after the Black K has been forced on to a square on which, it seems possible to deliver mate, its movement has discovered a check on its White adversary. Sometimes this is a defenc
48、e. Often, as we shall repeatedly see, it is part of the idea. Where the White K enters into the solution in Two-ers it will usually be readily perceived17ON SOLVING19and not infrequently act as a pointer. In Three-ers it is generally used in protecting squares to which Black has access. In both classes of problems the K may serve as key, or as second move in the longer problem, by moving out of the way, either that a piece may pass the square on which it stood or that it may be placed on that square.Where a complicated Three Mover has