In my last article, I mentioned a trait that distinguishes experienced chess players from beginners; an understanding of the pawn’s importance. At the game’s start, pawns are often considered the least valuable member of our army but as the game progresses their value increases. This increase in value can also be applied to the Bishops, Rooks and Queen, because at the start of the game, these pieces are trapped behind a wall of pawns which must be moved in order for them (the pieces) to gain access to the board. Knights are excluded because they can jump over pawns and pieces allowing immediate board access. Pawns can grow greatly in value as the path to their promotion square becomes less cluttered with opposing pawns and pieces. We’re now going to continue our exploration of the pawn by looking at simple pawn promotion.

We’ll start with some basic terminology necessary to understanding how to effectively promote pawns. All pawns have the ability to promote to a Queen, Rook, Knight or Bishop upon reaching their final rank (the eighth rank for white or the first rank for black). Upon reaching the end of its journey, the pawn must promote. A pawn may not remain a pawn nor can it promote to a King. You can think of pawn promotion as a metamorphosis of a caterpillar into a butterfly.

One type of pawn stands out from the others, the passed pawn. A passed pawn is a pawn that faces no opposition on the same file or adjacent files. A passed pawn has a clear path to its promotion square. The only way to stop a passed pawn is by using a piece (if one is available) to either capture or block the pawn. If you’re in the endgame phase and have only your King, you may not be able to stop it (depending on where the King is in relation to the pawn). If you have a piece able to block or capture a passed pawn, that piece loses its effectiveness because it has to deal with the passed pawn. Therefore, if a player has many pieces remaining on the board, dealing with a passed pawn is less of a problem. However, a player with fewer pieces on the board will find it more difficult to corral the passed pawn. The closer a passed pawn comes to its promotion square and the fewer opposing pieces there are to stop it, the greater the pawn’s value.

As mentioned in my last article, beginners will often try to promote pawns early in the game. Because there are so many opposing pawns and pieces on the board during the game’s early stages, the poor pawn marching towards its promotion square is typically captured which can greatly discourage the novice player. The beginner often asks “when should I attempt to promote a pawn?” An experienced player will know the answer to this question immediately, “during the endgame of course!” Here’s why:

A passed pawn does a player no good if it cannot get to its promotion square. Unlike other members of our chess army who can move in any direction to get out of harm’s way, the pawn can only move forward. Therefore, once you move a pawn, it’s committed since that pawn cannot retreat if a position becomes dangerous. The pawn is also slow moving. After a pawn’s first move, where it has the option of moving one or two squares forward, the pawn lumbers along one square at a time. This makes the pawn an easy target. However, if you worked through the pawn positions from my last article, you’ll know that pawns can protect one another using pawn chains as a support system. If you put all this together, you’ll realize that you must choose the right time to start a pawn’s journey towards promotion.

Pawns tend to be pushed towards their promotion square during the endgame when there are fewer pieces on the board. In our example, a student game, we’re going to use a single pawn with our King in the role of the pawn’s escort. Trying to stop our pawn from promotion will be the opposition’s King. Let’s take a look at a new term, opposition. An understanding of opposition is critical to successful endgame promotion.

Endgame “King” opposition occurs when the two Kings face each other on a rank or file with only one square between them. Kings can never be on squares directly adjacent to one another. If we have the white King on e4, that King controls d5, e5 and f5. If black’s King is on e6, the black King also controls the d5, e5 and f5 squares. However, unlike the other members of your chess army, neither King can move to a square controlled by the opposing King. King opposition plays a decisive role in endgame pawn promotion. White’s goal is to use the King to escort the pawn to its promotion square while black’s job is to stop the promotion. Kings must be used in the endgame!

In the example below (a student game so you can see how my beginning students tackle this type of promotion), white starts by moving the King in front of his pawn rather than pushing the pawn first. The white King needs to be in front of its pawn to successfully promote. After 1.Kd2…Ke7, 2.Ke3…Ke6, 3.Ke4, it’s black’s turn. White controls the critical squares d5, e5 and f5 which means the black King cannot occupy any of these three squares. Black also controls those squares but, since its black’s turn, the black King must abandon its position and counter control of the critical squares, moving to either d6 or f6. Let’s say that the black King moves to f6 (4…Kf6). White plays 4.Kd5, controlling the critical squares, e5 and e6. Notice that the white pawn remains on its starting square until the black King is driven back. Black plays 4…Ke7, trying to stay in front of the pawn. On move five, white brings the King to an opposition square with 5.Ke5. Black moves the King to f7 on move five (5…Kf7). White then plays 6.Kd6. Black tries to lodge his King on e8 (6…Ke8). Black’s King must not be allowed to remain on e8 or the game will end in stalemate. White smartly places his King in opposition to black’s King with 7.Ke6. Now the Black King has to move off of e8 (7…Kd8). White now pushes the pawn up the e file as the black King tries to reoccupy the e8 square. However, we reach an important moment on move ten. On move ten, white‘s pawn can advance no further. White needs to keep the black King off of e8 so he moves his King to f7 which cuts the black King off from e8. This move allows white’s e pawn to march to its promotion square. Play through the remaining moves. One point to note is that white must keep the black King off of the promotion square because this can lead to stalemate. We’ll look at stalemate in my next article. For now, play through this endgame and then try placing the two Kings and pawn on different squares and attempt pawn promotions.

Hugh Patterson

18th Century chess player and musical composer Philidor once said that “pawns are the soul of chess.” Perhaps the most misunderstood participant in a beginner’s chess game is the mighty pawn. For the master, an extra pawn or two can mean victory in the endgame. The master knows the true value of the pawn. For the beginner, the pawn is often considered an expendable member of his or her army. Why do the views of the pawn differ so greatly between beginner and master? We have to look at the beginner’s viewpoint to answer this question. The beginner is taught that the pawn is the piece of lowest relative value (one point) and that each side starts the game with eight pawns. The pawn is also the one unit in chess that only moves forward, plodding along one square at a time (except on its first move where it can advance one or two squares). Low value plus plenty of pawns plus limited movement can equal a skewed view of the mighty pawn. While the pawn is the only unit in chess able to promote to a piece of greater value, many beginners discount this amazing ability. Their attempts at promotion are often dashed because they try to move a pawn to its promotion square early on when there are plenty of opposition pieces to capture it before it gets to promote. The pawn may be the most maligned fellow in beginner’s chess.

Most beginners send their pawns out on the board unsupported which leads to the subsequent capture of those undefended pawns. “No worries,” the beginner will say, “I still have plenty of pawns left.” This kind of thinking can lead to disaster very quickly. To remedy this problem, I devote many lessons early on to pawns, namely pawn structure. There are a few basic terms or concepts that must be understood by the beginner in regards to the mighty pawn. Grab a chessboard and pieces.

We’ll start by looking at the simplest pawn structure, the pawn chain. Place white pawns on a2, b2 and c2. These three pawns, alone on the board, are unprotected. Of course, since there are no opposing pieces on the board to attack our three pawns, we don’t have to worry. Now, let’s introduce an opposing piece into the game. Place a black Rook on b7. The Rook is attacking the pawn on b2. Place a white Rook on h1. Often, when asking the beginner to defend the pawn, he or she will move the white Rook from h1 to b1, which does defend the pawn. However, you greatly restrict the Rook when you assign it the job of babysitting a pawn. There is a better way to defend the b2 pawn. If we simply move our b2 pawn to b3, it is now protected by both the a2 and c2 pawns, leaving white’s Rook free to move elsewhere. Pawns are excellent at protecting other pawns! Let’s say the black Rook moves to c7. The white pawn on c2 is now under attack. Moving the c pawn to c3 does no good since the Rook can still capture it. However, since pawns can move one or two squares forward on their first move, pushing the c pawn to c4 allows the b3 pawn to protect it. We now have a simple pawn chain in which the pawn on a2 (remember pawns capture diagonally) protects the pawn on b3 which in turn protects the pawn on c4. However, there is one weak link in this pawn chain and that’s the a2 pawn. This pawn can be protected by moving the white Rook to a1 should black’s Rook move to a7. Therefore, when creating a pawn chain, make sure to protect the base of the chain and when attacking a pawn chain try to go after the chain’s base.

Sometimes, pawn structures are weak. Remove the pieces from the board. Place a white pawn on c4, d3 and e4. Notice that the single pawn on d3 is protecting both the c4 and e4 pawns. While these two pawns are protected by the d3 pawn, it is considered a weak spawn structure, because should the d3 pawn be captured, the remaining pawns will have no immediate protection. We call the d3 pawn a backwards pawn which is a liability. Should the d3 pawn fall, additional pawn protection will be required. By delegating the job of pawn protection to your pieces, you’re reducing the protecting piece’s power. You want to avoid backwards pawns. A black Rook on d7 will quickly take advantage of the backwards d3 pawn and there is no way to protect it using the c4 or e4 pawns. Remove the white pawns.

Set the three white pawns up on a4, c4 and e4. Now the pawns are separated from one another by an open file. This means that these pawns have no other pawns to protect them making them a target for opposition pawns and pieces. We call these pawns, isolated pawns because they’re isolated from their fellow pawns, leaving them open to attack.

Pawns work best when they work together. Pawns form clusters during the game which we refer to as pawn islands. A pawn island is a pawn or group of pawns separated by at least one file. The more pawn islands you have, the more difficult they are to defend. The fewer pawn islands, the better your position (in most cases). If you place white’s pawns on a2, b3, c4, e5 g4 and h3, you have a total of 3 pawn islands. The lone pawn on e5 is especially weak because it is isolated. Going left to right, we see that the pawns on a2, b3 and c4 protect one another in a pawn chain. The e5 pawn is isolated, requiring some form of protection. Finally the pawn on g4 is protected by the h3 pawn.

One last pawn problem occurs when pawns are doubled (or even tripled) on the same file and unable to protect one another. Often an exchange of Bishop for Knight will lead to doubled pawns during certain openings or as the result of a pin being broken.

To get used to creating pawn chains, play the pawn game. Set up only white and black’s pawns on their starting squares. Try to safely get a pawn across the board to its promotion square. When one of your pawns reaches the promotion square, promote it to a Queen. Use that Queen to eliminate the opposing pawns. The first player to eliminate all of their opponent’s pawns wins the pawn game. You can play the pawn game against other individuals or alone. Here’s a game in which the mighty pawn plays a crucial role in the mating of the opposition’s King. Next week we’ll look at the role of pawns in the endgame.

Hugh Patterson

The art of attack in chess is truly a fine art! Like any fine art, painting or drawing for example, you have to learn the fundamentals before creating a masterpiece. The same holds true for chess and a strong attack can be a masterpiece in itself. Both beginners and seasoned players love to attack their opponent’s pieces. However, beginner’s attacks often fall apart before they build up any steam which can be discouraging. What starts as a promising assault on the enemy can turn into a disaster in a single move. Why does this happen? It’s caused by L.P.S. or Lone Piece Syndrome.

L.P.S. occurs when a beginner uses a lone piece to attack an opposition piece which leads to an exchange of material with the attacker usually ending up on the losing side of the transaction. Again, beginners love to attack their opponent’s pieces any time the opportunity arises. However, an experienced chess player knows how to set up a successful attack. I say “experienced chess player” rather than strong chess player because what separates a strong chess player from a novice chess player is experience and it’s important for beginners to understand that chess success comes with gaining experience. Using words like bad or weak to describe a chess player can discourage beginners and I never want to do that. What is a successful attack for the beginner?

A successful attack is a coordinated effort involving two or more pieces. In fact, the more pieces involved the better the attack (within reason). For beginners, the first step in learning how to launch a successful attack is to understand the importance of pieces working together. It’s at this point in my lectures that I give the following analogy:

You and three other chess students attempt to leave the classroom but you find that the exit is blocked by a large crate weighing 200 pounds. Trying to push the crate out of the way alone will not suffice since a single youngster doesn’t have the strength to move it. However, if your classmates lend a hand, all working together, then the crate can be moved. The same holds true for attacks in chess. A lone piece might not be able to launch a successful attack but when that lone piece has some co-conspirators (bodyguards), the Attack Success Rate or A.S.R. increases sharply.

A.S.R. is a method we use to keep track of successful and unsuccessful attacks during a game of chess. We take a single sheet of paper and divide it into two columns, one for successful attacks and one for unsuccessful attacks. Every time a student launches an attack, the results are written down on our attack ledger. A “+” equals a successful attack and a “-“ an unsuccessful attack. The results are gone over after the game has finished. By keep track of attacks results, students can see whether or not they’re getting positive results (successful attacks).

While tactics such as forks pins and skewers allow for lone piece attacks that work, beginners still have problems with straight forward attacks or mating attempts because they send their attacking piece in to do the job without any backup or protection. To curb this problem, we start out by going over the relative value of the pieces again, replacing a point value with a monetary value. Therefore, a pawn is worth a $1.00, the Knight and Bishops are worth $3.00, the Rooks are worth $5.00 and the Queen is worth $9.00 (the King is considered priceless). I ask my students if they’d trade $9.00 for $1.00 and even the youngest child will tell me it’s a bad deal. I ask a second question, if given the choice, would you attack a Knight, knowing your attacking piece will be recaptured, with a pawn or a Queen. Knowing the attacking piece will be lost my students conclude it is better to lose a pawn than the Queen! This mindset helps students prepare their attacks.

There is something to be said about strength in numbers in chess. Good attacks will have two or more pieces on the attacking side. The piece that does the attacking is the assassin (a student coined term). The remaining pieces are the bodyguards. There can be more than one bodyguard but there has to be at least one for the attack to be successful. The bodyguard is just as important as the assassin because the bodyguard protects the assassin and without protection, the assassin could simply be captured by the piece under attack. When launching an attack, your pieces must work together in teams made up of two or more pawns and/or pieces. Teamwork is critical in chess and nowhere is this more apparent than in launching successful attacks.

Students now have two pieces of critical information needed for launch their attacks, piece value and the concept of teamwork. Now we can look at the mechanics that underlie a good attack. Too often, students memorize a series of moves that lead up to a successful attack without understanding the underlying mechanics that make the attack successful. Because I primarily work with beginners, I choose very simple examples to demonstrate the underlying mechanics of an attack. Grab a chessboard and pieces and set up the following position:

The white King is on d1, the white Queen is on f3, white’s two Rooks are on b4 and f6, and the white Bishops are on c6 and d4. There are white pawns on a6 and c7. Black’s King is on g7. There is a black Rook on h8 and Black’s Queen is on a8. While this is an overly simplified position, it serves to make a point. Black’s Queen is trapped on a8. When I show this position to my beginning students, many will look at the board and find the assassin, the Bishop on c6. Then I ask them who the bodyguard is and they respond “the Queen of course!” We see that a $3.00 Bishop is attacking a $9.00 Queen who is trapped. Then I ask them to change the pieces around so the white Queen is on c6 and the Bishop on f3. I ask them if the attack still works. The answer is no! Why doesn’t this new attack work? It doesn’t work because you’re trading a $9.00 Queen for a $9.00 Queen rather than a $3.00 Bishop for a $9.00 Queen. The attack is only successful provided you attack the Queen with a piece of lesser value (the $3.00 Bishop) and have a bodyguard to protect the assassin, the Queen.

In this extremely simple example we see that our attack works only because we’ve coordinated our pieces so they work together harmoniously and we’ve chosen the correct piece to lead the attack and defend the attacker. Here’s a game with some great coordinated attacks that lead to victory. Create your own A.R.S. ledger and write down successful and unsuccessful attacks within this game. You’ll find that the player with the more successful attacks goes on to win the game. Try this with your own casual games as well.

Hugh Patterson

One of the questions most asked by my student’s parents is “how can my child quickly become a better chess player? Many of the parents asking this specific question are referring to their Kindergarten age children attending my classes. The parents of my students expect results. I had one parent ask me why their Kindergartener didn’t have a better grasp of opening positions! I was speechless. When I was first asked these questions I was new to teaching chess and a bit shocked that the parents of children so young would have such unrealistic expectations. Of course, many of these parents thought that chess would make their child smarter and if their child didn’t take to chess like a duck to water, it was a reflection on the family gene pool.

I decided to do some research into the biggest factors affecting a child’s ability to play real chess (as opposed to simply pushing pawns and pieces around the board) and one problem stood head and shoulders above the rest, concentration. While there are a plethora of small problems that affect a beginner’s ability to play good chess, the biggest overall problem standing in the way of chess success for younger players is concentration. Whether it’s a child or adult, a lack of concentration almost always ensures a lost game. Getting younger players to concentrate can be a daunting task at best. However, I tried a number of methods to increase my student’s concentration levels and found a rather unique way that works quite well, creating a bond between the student and the pieces on the board.

You cannot play good chess unless you are fully concentrating on the game. This means putting everything else out of your thought process except playing chess. Young children’s minds are filled with disjointed or fragmented thoughts as they take in the world around them. Because they’re so young, they haven’t developed the ability to focus on a complicated task such as a game of chess. It is unrealistic to expect a six year old to have the mental discipline to shut out the entire world and focus on their chess game. However, I have found a way to bond children to each game they play while they’re learning the art of focusing on the task at hand. Here’s how it works:

I start with an analogy: “A game of chess is like a movie, a movie that you (the student) are making. This means that you have to create characters and a story. Therefore, I want you to name your characters (the pawns and the pieces).” My students will come up with all sorts of interesting names for the pawns and pieces. The “e” pawn becomes Edward while the Kingside Knight might be named “Mr. Horsey.” The idea is for each student to build up a relationship with the material on the board. Young children (based on my observations) tend to care a bit more whether their pieces are lost during a game if they have even the smallest bond with them.

After the pieces are named, it’s time to get to the interesting part, the story. Because many of my students are so young, I offer them a starting point for their stories. “It was the morning of the great battle between the Kingdoms of Jacob and Bayden (the names of two of my students). King Jacob (playing white) has decided to start this epic drama by sending one of his foot soldiers out onto the battlefield. The white King meets with his trusty “e” pawn and they secretly plan their first move.” The idea is to get my students emotionally invested in their pawns and pieces as well as the moves they make. After a little effort, pawns and pieces are no longer lifeless hunks of plastic, they have identities and my students have a bond with them.

I have a contest for the best chess story as told by the game being played. The stories can have drama, excitement and/or humor, the crazier the better. Many of my students reduce the rate at which they hang pieces because they have developed a relationship with them. Concentration greatly improves because my students are busy creating a story out of the game they’re playing so they are forced to focus. Of course, they don’t see it as being forced to focus. They see it as a chance to create a miniature world on the chessboard, a world in which they control the story.

Focus is the key point of this particular exercise. Children tend to focus on whatever they’re interested (or obsessed) in. Children can also demonstrate a great deal of focus when they love something. Watch a child playing a video game and you’ll see great focus, even at the youngest of ages. Why do children focus so greatly on their video games? Because many of them have a plot and back story that creates an exciting world within the game. Add to this a cast of interesting game characters and you’ll find any child captivated by that game. If you take the idea of plot/back story, add some colorful characters into the mix and apply this to chess, you’ll find younger children paying a lot more attention to their game. As they become older they will start to drop the story line and get on with the business of playing good chess without a back story. However, for young children, the idea of a fantasy world contained within the 64 squares of the chessboard is intoxicating.

Rather than give simple game annotation for the demonstration game below, I’m going to have you create a story around the game. Here are the rules: Each pawn and piece should have a name. Each move made should become part of the story line. Here’s an example: A brave little pawn named Edward (white’s e pawn) raised his hand when the white King asked for volunteers to start the battle. The King bestowed this task to Edward, who promptly marched out to e4. Edward jumped with joy because he alone controlled the board’s center. That is until black’s e pawn, Eugene, appeared on e5. Edward cried out for help. Suddenly, he heard the sound of a horse’s hoofs and the clanking of armor. The white Knight rode onto f3 and announced “I am here to protect you young Edward!” Now it’s your turn!

Hugh Patterson

One of my favorite periods in chess history is the 19th century. This was a period in which gambits and wild tactical attacks were the order of the day. Players from this period would concoct breathtaking sacrifices and create unusual checkmates. Any student of chess would be remiss not to examine this period of chess history. Any beginner wishing to learn about early positional advantages must examine the gambit. While gambit openings are not played at the highest levels they are highly educational, especially for the beginner. We’ll start by defining some key terms needed to understand the basics of gambits.

By definition, a gambit is the sacrifice of a pawn in the opening game in order to acquire a positional advantage or gain the initiative. While you don’t get any material for your lost pawn you get something better if your gambit is successful, you get a positional advantage early on. By positional advantage, I mean a greater control of the board’s center. When employing a gambit against an opponent, your opponent must decide whether or not to take the pawn you’re offering. If they take the pawn, they accept the gambit. If they decide against taking the pawn, they decline the gambit. Therefore, gambits can be “accepted” or “declined.” If you become a connoisseur of gambits, you’re known as a gambiteer!

I introduce gambits to my students early on because it helps build a foundation for later positional thinking and planning. While playing gambits will in no way make you a master positional player, it will start you thinking outside of the mechanical box many beginning players find themselves in. Many novice players will memorize openings, not understanding the underlying mechanics of each move. They go through the motions and are suddenly in unfamiliar territory when their opponent plays something unexpected. Learning gambits helps students solidify their understanding of opening mechanics and positional thinking. I stick to the most straight forward gambits to start, such as the Evan’s Gambit, the King’s Gambit and the Danish Gambit (a favorite of my students). I hold back on the Queen’s Gambit and Benko Gambits until a student has a decent grasp of the first three gambits.

Let’s take a look at the Evan’s Gambit. This gambit was named after a Welsh sea captain William Davies Evans in the early 1800s. Set up a chess board and play through the moves. The game starts out with 1.e4…e5 2.Nf3…Nc6 3.Bc4…Bc5 4.b4. At this point I discuss the concept of tempo or time with my students. Since the opening phase of the game is a race to gain control of the board’s center before your opponent does, any time you waste will work against you. On move four, white attacks the Bishop on c5 with the b pawn. Black has to make a decision, capture the pawn or retreat the Bishop. If the Bishop moves away, declining the gambit, black loses time (a tempo) having to move the Bishop to safety. This loss of tempo (black would rather be developing additional pawns and pieces towards the center) allows white to further his or her control of the board’s center. Knowing that moving the Bishop a second time will allow white to gain further control of the center, beginner’s will often take the pawn. I’ve asked students why they took the pawn when playing black against the Evan’s gambit and they told me that they might as well get something for having to move the same piece twice in the opening. Let’s say black plays 4…Bxb4. White reveals the gambit’s true intention by playing 5.c3! The poor black Bishop has to move again. However, forcing the Bishop to move around isn’t the real reason for playing 5.c3. The pawn on c3 allows white to push his d pawn to d4, attacking black’s foothold in the center. Now let’s look at the Danish Gambit.

We see a variation of the Danish gambit first played in a famous correspondence game London-Edinburgh in 1824 (1.e4 e5 2.Nf3 Nc6 3.d4 exd4 4.Bc4 Bc5 5.c3 Qe7 6.0-0 dxc3 7.Nxc3) The Danish gambit I teach starts out with 1.e4…e5 2.d4…exd4 3.c3…dxc3 4.Bc4…cxb2 5.Bxb2. White gives up two pawns but has a lethal pair of raking Bishops both aimed at the black Kingside. This gambit provides an excellent way to introduce the idea of central square control from a distance and early positional advantages. If you look at white’s two Bishops you’ll see that white trades two pawns for a superior position. This gambit also helps to reinforce the idea that getting greedy (as black does) can lead to trouble. After the key concepts are learned, we look at a number of variations of this gambit.

Using gambits in classroom lectures really helps reinforce opening principles. It teaches students the art of planning in the opening. If you’re offering the gambit to your opponent, you have to be prepared for both scenarios, the gambit being accepted or declined. This means having a plan “a” and a plan “b.” Often, beginners have only one plan which is often too rigid. Learning how to play gambits helps teach the concept of flexible planning. For the player on the receiving end of a gambit, a great deal can be learned about defense (as well as planning). Gambits are extremely enjoyable for young players and they help beginners learn the art of opening attacks. Here’s a short game in which Paul Morphy plays the King’s gambit. Morphy is playing without his Queenside Rook and Knight to make the game challenging. I would never wish to be on the receiving end of one of Morphy’s viscous attacks. Play through it and pay particular attention to the way in which white attacks and black defends.

Hugh Patterson