Alekhine's Defence is a sharp and controversial opening in which Black attacks from the very first move, provoking White into lunging forward in the center. White is often able to construct an impressively large central pawn formation, but Black's hope is that this becomes over-stretched and disintegrates in the face of a vicious counterattack. Unsurprisingly, Alekhine's Defence has always been a favorite amongst uncompromising players such as Fischer and Alekhine himself, while more recently it's been utilized by the likes of Ivanchuk and Short. In this easy-to-read guide, openings expert John Cox goes back to basics, studying the essential principles of Alekhine's Defence and its numerous variations. Throughout the book there are an abundance of notes, tips and warnings to guide the improving player, while key strategies, ideas and tactics for both sides are clearly illustrated. *User-friendly lay out to help readers absorb ideas *Concentrates on the key principles of Alekhine's Defence *Ideal for the improving player
Timothy Taylor takes a contemporary look at one of Black's most ambitious counters to 1 e4, the Alekhine Defence. He constructs a practical repertoire for Black, ideal for the modern-day player.
Chess is a mental game, but you don't have to strain your brain to learn the basics—not with this guide that shows you how to play. Teach Yourself VISUALLY Chess covers how to set up the board, how each piece moves, opening strategies and variations, attacking themes and common sacrifices, and more. Photos of the board let you see strategies in action. For hands-on practice, you can even set up your board and make your moves as you learn. With this book and practice, you'll be saying "Checkmate" in no time. Concise two-page lessons show you all the steps to a skill and are ideal for quick review Each move or tactic is clearly explained Explanations accompany each photo Color photos and diagrams show key positions, strategies, and moves Helpful tips provide additional guidance
Alekhine Defense is a bold choice for Black, challenging the classical chess rules from the very beginning of the game yet proving itself to be a flexible system. Black can choose to head for mind-boggling complications or carefully manoeuvre within the 6th to 8th ranks, waiting for the right time to strike out at the center. Although once a favorite of Bobby Fischer and occasionally played by Magnus Carlsen, the lack of Alekhine Defense games at the level of elite Grandmasters today means that many lines and ideas remain untested in practice. As a result, this opening leads to lively, often open positions with chances for both sides. With l...Nf6 Black signals that he is playing to win.This book, consisting of 16 parts and 87 chapters, not only covers the traditional Alekhine lines but also takes a comprehensive look at variations rooted firmly in the 21st century. Moreover, thanks to the use of modern technology and the authors' deep analysis the evaluations of many well-known lines have been revised. The authors have strived to write a lively work which is useful for both players with high ELO ratings and club players.
>Building on his ever creative ideas, Christian Bauer found a way to take a fresh look at the current status of the Alekhine Defense. It's clear that Christian has a definite weak spot for Knights. Surely you will appreciate his best efforts to bamboozle your opponents into self-destruction by using the Alekhine.
One of the important issues players face - both relatively inexperienced ones at the beginning of their career as well as seasoned ones as they realize their chess craves change - is choosing an opening repertoire. As a player and a coach, I have seen many approaches to this question, both remarkable and mistaken. Some players believe that the opening is something to ignore, that everything is decided in the middlegame. Others think that studying opening traps is what wins games.Some tend to follow their favorite world-class player''s recommendations, while others like to sidestep well-known opening theory early on, preferring unpopular side-lines.To me, opening choice is about all those decisions. I think that many openings are good; there are some dubious ones, but they can also yield formidable results overall or in specific situations if chosen and handled carefully. I firmly believe that your opening repertoire should mostly be based on your playing style and other personal traits, such as memory and work ethic. It is important to evaluate yourself as well as your strengths and weaknesses properly in order to be able to build the right repertoire that would not only suit you well, but also improve your overall chess.The little detail, though, is in the word "mostly". Namely, I firmly believe that there are a few classical, rock-solid openings with an impeccable reputation, such as 1.e4 e5 as a response to 1.e4 or the Queen''s Gambit and Nimzo as an answer to 1.d4 that players of all styles and standards should try, no matter what their style is. This will enable players to learn, appreciate and practice some of the key chess values, such as the importance of space, lack of weaknesses, bad pieces, and comfortable development and so on - you name it. I, myself, started out as a keen Sicilian player. Just like all youngsters, I cheerfully enjoyed complications, tactical massacres and everything else that the Sicilian is all about. However, as I was developing as a player, my style was changing also. Eventually, I realized I was much more successful with positional play, so it was time to change the outfit - and 1.e4 e5 suited me well. I have used this move as a response to 1.e4 nearly exclusively in recent years, both versus weaker and stronger opposition, with fantastic results. If only other openings would grant me such results as well! I have not only studied these variations myself but have also shown them to numerous private students. To be frank, we have almost always concentrated on White''s most dangerous possibilities, such as the Ruy Lopez, Italian and Scotch. Occasionally, we have also analysed the side-lines - either as a part of preparation for specific opponents or to make sure my students become more universal players and gain more all-round knowledge. Eventually, I realized that the knowledge I gained from 1.e4 e5 can and should be shared with more players, and this is how my book came to life. Of course, the readers will differ, so there is a no "one-size-fits-all" solution. But, I have carefully and diligently tried to achieve the same goal I used when working with my students: to keep my recommendations both theoretically sound as well as practical and accessible. I expect not only titled players but club players and the less experienced readers to equally benefit from this book. So, sometimes you will find razor-sharp novelties, but in many cases, we will rely on positional understanding, typical structures and standard ideas. I believe the opening is not all about memorization, so I have taken a different approach from many authors by keeping the balance between recommending objectively good variations as well as making sure an adequate amount of work will suffice to get you started. You won''t need to spend years studying the material, fearing there is still much more to learn. 1.e4 e5! is not just an opening. It is repertoire that represents our game as a whole. It is something players of all styles will enjoy due to the countless possibilities 1...e5 provides. Hopefully, learning 1...e5 will also make you a better player. And, finally, I hope the book you are now holding in your hands will not only give you joy but illustrate a passion for chess with the variations presented in this work.
In this book, the first to focus on these issues, Steve Giddins provides common-sense guidance on one of the perennial problems facing chess-players. He tackles questions such as: whether to play main lines, offbeat openings or 'universal' systems; how to avoid being 'move-ordered'; how to use computers; if and when to depart from or change your repertoire. Giddins argues that from novice to grandmaster, a player's basic task when choosing a repertoire is the same: he needs to select openings that suit his playing style and that he can play with confidence. The repertoire should not require more memory work and study than he is capable of, or has time for. The book is rounded off with a look at the use of 'role models' and an investigation of the repertoires of leading players past and present.