Black to Play, a retrospective introduction by the author (2012)
The book, first published in 1994, was the idea of the publisher Friedrich Chlubna (1946-2005),
a very good friend whom I had known for more than thirty years. He expected a serious study but
was typically good-humoured when he received something quite different! He later assured me that
this book was the most successful of all his publications, but I know neither by what criterion hewas judging nor whether he was perhaps erring on the side of kindness; that would have been incharacter. In fact it was his publishing schedule which determined the nature of the book! He wasby then largely financially dependent on his chess publications and could therefore allow me only a
few months to produce the typescript; also, as is always the way, it happened at a time when I was
extremely busy with career work. So the book was written in a tearing hurry, which explains its
most noticeable characteristics. First, there are numerous mistakes: for example, I completely
overlooked the imperfect white economy in problem 26 and was therefore too hard on problem 27.
Next, lacking time for serious research and assuming that the book would be decidedly ephemeral, I
chose a provocative approach, putting forward some views which I do not espouse in the hope ofstimulating others to take a more critical approach to the often facile helpmate genre. Thus I findpromotion themes quite interesting but I decided to disparage them because they had been grossly
overworked in the orthodox helpmate: goading composers into trying something new was part of
my idea. The most serious part of the book is probably chapter 9; in essence it had already been
written (as material for a potential series of articles) before the book was thought of. Finally thechatty style, with spoken-language contractions such as “don’t” etc., was chosen to fit the
provocative intentions: I can write proper English when necessary, as (I hope) my translation workand my articles in Orbit and numerous other magazines demonstrate! Although I believed (andbelieve) that the text contains sufficient signposts directing the reader away from gravity into moresubversive paths, I cannot deny feeling a curious mixture of admiration and amusement when I
recall the reactions of a few readers who took everything in dead earnest… unless of course they
were pulling my leg?
Certain incorrect problems were quoted intentionally (and explained in the text) but there weretwo (40 and 116) whose unsoundness was not known to me at the time. Subsequently various
composers published corrected and/or improved versions of these and other works in a variety ofplaces. Researchers will easily find details in the databases. In the present re-publication, however,it has seemed best to leave these problems as they were in 1994 rather than quote otherinterpretations which are sometimes very far from the originals. One completely anticipatedproblem (37) has now been presented correctly.
Although obvious errors in spelling and the like have now been corrected, no attempt has been
made to remove the dated features of the book: the references to computer matters, now hilariously
archaic, the countries in the index which would now be different, the 1991 picture of me who havecertainly changed beyond recognition, and so on. It is also worth mentioning that the book appeared
too early to do proper justice to the recent great spread of the helpmate in the countries of theformer USSR; that part of the story would be very different nowadays! Now might be a good time
for someone to write a more definitive helpmate book.
In the present version most of the publisher’s conventions have been kept, for example “H#” (Ivery strongly prefer “h#”), or “three move problem” rather than “three-move problem”. However I
have restored the proper English distinction between black/white (adjective) and Black/White(noun).
I should like to end by commending and thanking a good many composer friends who took my
not always fair criticisms in very good part; it seems appropriate to single out Peter Gvozdják(problem 9) for a special mention!
CJF
Note: Out of consideration for the author and his readers, the 1991 picture of CJF has not been
reproduced here.

BLACK TO PLAY

CHAPTER 1: INTRODUCTION“Chess art is one degree of abstraction higher than the game of chess. In one sense we can say that thehelpmate is the purest of all the chess arts, the nearest to art for art’s sake. If there exists somewhere, on an
unknown planet, a race of beings who play chess and whose artistic inclination is stronger than their aggressive
instincts, then it is probable that they will have invented the helpmate before the direct mate.” Jean Oudot
This is a book about helpmates. Why do we need a book about helpmates? What is a helpmate, anyway?
Let’s take the second question first and return to the other later.
In English, one meaning of the word helpmate is as a synonym for wife, which allows me to start very
appropriately by thanking the person who solves all my problems. The chess meaning, however, is usually
defined is “a kind of chess composition in which Black plays first and helps White to checkmate Black in thespecified number of moves”. In some languages the corresponding term, something like “cooperative mate”,
suggests the two sets of chessmen working together rather than one side being the active helper and the otherthe passive helped. As we shall see, that is a better way of viewing this kind of composition; but an even better
term, if only it made sense, would be something like “possible mate”.
T.R.Dawson (1889-1951), famous for his attempts to systematise chess composition, wrote in Caïssa’s Wild
Roses that “Normal chess may be regarded as consisting of (1) a playing space, … (2) six men, … and (3)various limitations on move freedom, such as the principle of opposition to the adversary …”. Well, that is one
limitation which helpmates do not have, and it makes them logically anterior to forms or chess problem, suchas the directmate (White checkmates Black in the specified number of moves, against any defence) or theselfmate (white compels a resistant Black to give checkmate) which do have such an opposition.
The playing space and the powers of the pieces can be defined mathematically, as can the possible sequences
which lead to mate in a given number or moves. It is only when the principle of opposition comes in that chessenters the realm of the unmathematical, the impossible to define.
What is a good move? Does that idea have an objective meaning? Lasker used to win games by playing
moves which were not always good but seemed to make his opponents respond with worse ones! In helpmates
there are no good moves, no bad moves, just the ones which lead to the solution and the ones which do not. As
Sam Loyd (1841-1911) wrote, when presenting what he claimed to be “a new school of problems” in his story
The Sin of the Nuns (1860): “… the query is merely: How could it possibly happen that White effected a matein three moves?”. This idea of the helpmate as “possible mate” is echoed 75 years later by A.C. White (18801951) when he describes it as “the most nearly mathematical form of the chess moves, for its essence is always
the pure demonstration of a possibility… the Quod erat demonstrandum of the chess board”.
The sin of the nuns in the story was to have paid attention to an admirer in church and subsequently to haveaccepted from him some apples which he let down in a basket over the convent wall, leading them, implausibly,
to view their regular chess game in a different light from usual!
The sin of Sam Loyd was to have stolen the idea from the real inventor, and his punishment was that his
helpmate, unlike the apples, was cooked.
The real initiator is now generally thought to have been Max Lange (1832-1899), in an article in the Berlin
Chess Association’s Schachzeitung in 1854. Lange’s first effort at helpmates was also unsound, though nospecific sin of his is recorded. The intrusion of nuns into this irreligious business may be explained by the factthat Lange was unwise enough to make some tentative connection between the non-aggressive nature ofhelpmates (which he called “mate compilations”) and the Christian message, a juxtaposition which was boundto excite Loyd’s mischievous sense of humour.
Leaving piety aside, Lange wrote that the new idea might conjure up “very humorous and ingenious
situations, which could often be extremely hard to handle, too”. He was wrong about humour, of course, since
helpmates are a very serious business (you may rest assured that the present writer has no sense of humour atall) but how right he was about everything else!
The ingenuity of composers proved boundless but the hard to handle worm of unsoundness continued toinfest their apples for a very long time, until the advent of that other Apple, the computer. Loyd rescued his first
helpmate by adopting the cook as solution and this, too, established a much to be followed tradition.

BLACK TO PLAY
1 A.Barbe

Leipziger Illustriertes
Familienjournal 1861

The first helpmate to be sound as first published was probably 1. I leave you to
discover the cook which is stopped by the WPh5; since it is accurate it mightperhaps have served as a second solution.

wdw1wdwd
dwiw4w)w
wdwdwdwd
dwdwdwdP
wdwdndwd
dwdwdwgK
wdwdwdwd
dwdwdwdb

Perhaps surprisingly, Loyd did not go on to compose many more helpmates(perhaps half a dozen) and the new form went through a kind of dark age, the only
helpmate tourney before 1922 being the one organised by the Dubuque Chess
Journal in 1871, in which both first and second prizes went to W.A.Shinkman(1847-1933). Shinkman probably composed about 20 helpmates in all and was thefirst composer to attain real quality. 2 shows admirable use of the whole board
and a sense of paradox (pieces that get in the way and must be eliminated)pointing forward 50 years.

H#3
1.Hd7 g8I 2.Je7 Ikg3+
3.Ld8 Ib8.

2 W.A.Shinkman

Detroit Free Press 1884

qdwdwdwd
dwdwdwdw
wdwdwdwd
dK0wdwdw
w0wdwdwd
dwgwdwdw
b0wdwdwd
iB$rdwdw

The real flowering of the helpmate genre, however, began in the 1920s. In afamous broadcast on Hamburg radio in 1925 Franz Palatz gave the main credit forthis to the then editor of the unorthodox problems section of Magyar Sakkvilág,
Norbert Kovács. He it was who suggested the second helpmate tourney, which
was carried out by Dawson in The Chess Amateur in 1922. Both the helpmate
itself and the special Hungarian interest in it have flourished ever since. I make no
apology for the large number of Hungarian helpmates you will meet in this book;it seems to me a just reflection of the importance of that nation’s contribution to
the genre.
To trace the history of the helpmate since the 1920s would require adocumentary approach which is not my purpose here. The development is in any
case made harder to follow by varying rates of progress in different places.

The single line helpmate, as exemplified in 1 and 2, soon seemed very
restrictive and ways of introducing variety were sought. Nowadays hardly any
helpmates in under five moves are single liners. The helpmate with set play (ifBlack’s first move is omitted there is an alternative line of play, but no waiting
move exists which will preserve it) came in in the twenties. For a long time it was
H#3
regarded as the ideal format but eventually its limitations caused it virtually to die
out. Twinning (the use of closely related positions with different solutions) was
1.Hh1 Gg1 2.Fg8 Gkg8
much cultivated in the 1930s, for example by C.M. Fox, and has maintained its
3.Hkb1 Gka8.
popularity. The multisolution form (a single position with more than one solution)
was initially frowned upon by some (Dawson included, I suspect, though I don’t
think he said so in so many words) but gradually came to dominance. The reasons for these changes will
become apparent in chapters 3 and 4.
In the 1930s and 1940s the Hungarians investigated paradoxical themes involving tempo and capture ofwhite pieces, while Dawson and Fox produced the first simple halfpin examples and everyone looked forechoes and new combinations of promotions. For many years the leading composer was Dr György Páros and it
was largely as a result of his influence that by the 1960s the modern strategic style was ready to take over. All it
needed was the stimulus of improved technique which is exemplified in the work of another Hungarian, György
Bakcsi, that of Fadil Abdurahmanović, a Bosnian, and above all in that of the Georgian, Josif Kricheli.
Despite ideological opposition from the USSR in the 1970s, a largely self defeating exercise energeticallycountered by that finest of promoters of the genre, Gerhard Jensch, in his famous Schach-Echo column, thehelpmate is today one of the most popular of all forms of composition. It is favoured in this no doubt partly by
the abyss of alphabetical gobbledygook into which the two move directmate has sunk (alas, not without trace!),but most of all by its own thematic richness and the clarity of its presentations.
All the ideas briefly touched on in the last paragraph will be expanded in later chapters, but first we mustturn to the second question which was raised at the outset: Why do we need a book about helpmates?
In the late 1960s, when I had finished training all my chess opponents to beat me every time, I turned toproblems and was amazed to find that there didn’t seem to be a book about helpmates. When I returned tocomposing at the end of the 1980s after a break lasting several years I was even more amazed to find that there
still wasn’t a book about helpmates. There are some writings in Hungarian (e.g. by Lindner and Páros) but they
are not easily accessible; and there are collections of problems, of course. However, they either have no text
(e.g. FIDE Albums) or the text is very limited indeed. Janevski’s & Stolev’s book The Modern Helpmate in
Two is full of interesting compositions, ranging in quality from the brilliant to the unspeakable, but the only text
consists of brief section headings and a thematic index, both inevitably open to subjective interpretation.

BLACK TO PLAY
Now by training I am a teacher of languages with a degree in comparative literature, so what I was looking
for was a book of criticism of helpmates, just as one would seek to read works of literary criticism whenstudying, say, Grillparzer, Manzoni or Galdós, for there is no reason why the great composers of chessproblems should not attract the same serious attention as the great figures of world literature.
As you see, in the end I have had to write the book I might have wished to read. At least the material (thoughnot, alas, the author) has become considerably richer in the interim! Consequently this book is not merely acollection of good helpmates. Indeed it is not even a collection of good helpmates! I am rather dubious aboutcollections consisting entirely of “best compositions”; they tend to make beginners desperate and solvers
uncritical since everything is so so wonderful. So this book contains a number of excellent helpmates, a great
many very interesting but not entirely perfect ones and a very few downright bad ones. At least, that’s myopinion, but the point about criticism is that it challenges you to form your own views. By setting out his
opinion and explaining how he arrived at it the critic provokes you into agreement or (ideally) disagreement
and thus invites you to consider why you hold the views you do. When you say to yourself, as you will, “Thatass Feather has got it wrong again because…” the truth of the first half of your sentence will be self evident; theinterest will lie in the words which follow the “because”. And that is what the helpmate needs, a genuinely
critical approach from its adherents, not critical in the sense of looking for things to blame, but critical in thesense of giving evidence of analytical thought.
Regrettably, that kind of critical approach is not often encountered. With notable exceptions, helpmate
judges do not provide genuine criticism, they prefer to talk of “personal preferences”. Nervous of giving
offence, they forget Hermann Albrecht’s wise dictum: “It is not the composer but the problem which receives
the award.” They praise the construction of problems without investigating whether it could be improved.
Sometimes they don’t even solve the problems. With notable exceptions, editors are undiscriminating in theirchoice of what to publish, reckoning, quite erroneously, that if it’s sound it’s publishable. With notable
exceptions, where the editor makes a sustained effort to promote thoughtful appreciation, solvers’ printed
comments are often vague and anodyne. With notable exceptions, composers do not polish and refine theirwork as they could and should. Why bother, if nobody is going to look at it critically?
Whether cause or consequence of the above, helpmates have a reputation for being easy. Easy to compose,easy to solve. What causes their popularity also causes them to appear superficial. Palatz was already seeking tocounter this accusation in his 1925 broadcast when he pointed out that of the 250 entries to the Chess Amateur
tourney only 78 proved correct, but this argument is useless today when computer testing makes it a hundred
times easier to produce a sound helpmate and (such an incentive to idleness is it!) ten times harder to produce awell constructed one. Pick up one of the leading magazines which publish at least half a dozen or so helpmates
per issue and I guarantee that you will be able to improve the construction of one or two of them without
enormous effort.
Although they often have a clarity which may be lacking in other types of problem, helpmates are in fact notnecessarily easy to solve, it is just that obvious and unoriginal thematic content often makes them appear so.
Many of the problems in this book are given with solutions and analysis, but there are also some for solving, so
you can form your own conclusions by trying them.
Nor has it ever been easy to compose good helpmates. The two move helpmate section of the first World
Chess Compositions Tourney of the FIDE (1972-5) was won by a remarkably elegant and thematically striking
problem by Fadil Abdurahmanović, then as now reckoned one of the more skilful composers in the genre. This
problem can be found as 581 in the FIDE Album. By the strange logic of these
3 J.M.Kricheli
tourneys this problem was later considered to anticipate 3, which beat it into print
Schach-Echo 1974
and was certainly composed quite independently. The irony was compounded by
the fact that Abdurahmanović was the judge for the tourney in which 3 competed.
wdQdwdwd
He very understandably felt that he could not judge Kricheli’s problem
dwdwdwgK
objectively and suggested that it should compete in the next tourney of the same
wdwdR0wd
magazine. Unfortunately that never seems to have happened and the problem has
dwhwdPdw
been forgotten, having been subsequently rejected for the Album, in which
Abdurahmanović was again one of the judges! He must have felt that this problem
wdw0wiwd
was some kind of ghost sent to haunt him.
$wdBdwdw

wdwdp0wd
dwdwdwdw
H#2 2 solutions
1.Dd7 Ge4+ 2.Lkf5 Ga5;
1.Db3 Ee4 2.Le3 Ic1.

None of this curious story would be important were it not that Kricheli’s
setting is not just very like Abdurahmanović’s, it is clearly superior, saving two
men by better construction. Kricheli’s is the version which ought to beremembered. So we see that even apparently unbeatable problems by outstanding
composers can be improved upon. Really good helpmates are not easy tocompose!

BLACK TO PLAY
One comparatively recent development which makes it harder for helpmates to shake off the reputation offacility is the quick composing tourney which is now a popular event at most gatherings of problemists. Shorthelpmates invariably feature, naturally, because any fool can dash one off in a quarter of an hour! The genius ofsome composers is such that one or two masterpieces have resulted, along with an enormous amount of rubbish
which gets a great deal of publicity and does great harm to helpmates. If only organisers would try a quick
synthetics tourney instead!
Another difficulty helpmates face is the lack of sound documentation. The ideological war waged by the
USSR meant that in the 1970s especially the helpmate was seriously underrepresented in the FIDE Albums.
The ratio of helpmates selected to helpmates submitted for the 1971-3 Album is the lowest of any genre in any
Album, and the next two were similar. Understandably, perhaps, the two Albums after that overcompensated.
Such an oscillation from one extreme to another gives a false picture. Some of the Album problems arecompletely anticipated.
Few of the leading helpmate composers have been the subject of anthologies. Helpmates feature prominently
in Bakcsi’s three collections of his own problems but there is no collection of Páros’s, Kricheli’s or Petkov’s
helpmates. Let us hope that it is not too late for the first two omissions to be rectified; and that Petkov himself
will some time produce an anthology of his helpmates. Meanwhile all these names are prominent in the present
book. I have also made a special effort to include problems from the 1970s wherever possible.
This chapter ends with three problems for solving, whose solutions are given on the next page. They are all
special favourites of mine and should give some idea of the richness and subtlety of the helpmate. But be
careful! As Irving Chernev wrote in The Bright Side of Chess : “Warning. Helpmates have a fatal fascinationand it is difficult after indulging in a few of them to return to less imaginative forms of chess.”
5 A.M.A.van der Ven

1 Pr British Chess Fed.
1937-38

6 U.Grinblat

3 HM Probleemblad 1984

wdwdwdwd
dpgpdw1w
wdkdwdwddw)ndndR
wdbdw4wd
IwdwHwdr
wdwdwdwd
dwdwdBdw

wdbdwdwd
dwdpdwdw
pdwGwdwI
dwdqdwdw
Ndk0wdwd
drdwdwdB
wdwdwdpd
dw4wdwdw

wdwdwdwd
dwdwdpdw
wdNdw)pd
dwdwdwdw
wdK)wdwddw)wdwdw
kdqdwdwd
dwdwdwdw

H#2 3 solutions

H#3 b) J>f5 c) J>f7

H#4

4 P.A.Petkov

2 HM Israel Ring Ty 1956

BLACK TO PLAY
4. (Petkov) 1.Fb3 Ckd5 2.Dd4 Cb4; 1.Dc3 Ckf5 2.Ff7 Ce7; 1.Dg3 Ckc4 2.Db6 Ca5.
The BBc4 must be a promoted pawn. Since the WB can be on e2 in the diagram position I am at a loss toknow why the composer did not shift the whole position down one rank! However it hardly spoils this elegant
idea, three different unpins, three captures to open lines of guard, three line closings, all related together in acycle. The motivation for each move is exactly paralleled by that of the corresponding move in the othersolutions.
5. (van der Ven) a) 1.g1F Cc3 2.dkc3 Eg4 3.Fd4 Ee2; b) 1.Jd3 Ekd7 2.Hcc3 Eb5+ 3.akb5 Cb6; c)
1.a5 Eb4 2.d5 Ekc8 3.akb4 Ea6.
Sacrifices to get BPs to the right squares for blocking the BR out. Not a deep idea, admittedly, but to triple itwith three thematic pieces, no other white material and some delicate timing was a remarkable feat in 1937. The
twinning is pleasing, though a modern composer would probably have tried to avoid it.
6. (Grinblat) 1.Je4 Ce7 2.Jke7 fke7 3.La3 e8G 4.La4 Ga8.
The WS is useless except for wasting a tempo. One of its possible moves gives check and five block lines,
though the solver has to grasp the whole solution to see why this matters. One possible square is plugged, so allthat is left is for it to sacrifice itself, just in time, on the square where the BQ is also to sacrifice to permit thepromotion. It is nice that only the need to move the useless S forces the underpromotion, since if the S remainedon c6 White could promote to a Q without guarding a4. The pin of the only other (apparently) mobile unit atBlack’s first move is also a delicate touch.

BLACK TO PLAY

CHAPTER 2: CONCEPTS
The history of the helpmate can be seen as an evolution towards complexity; this chapter deals with theconcepts which are necessary in order to cope with this complexity. You may well disagree with my views but
you need to consider these questions if you are to understand helpmates fully.
a) Helpmates are different!
I pointed out in the introduction that helpmates are logically anterior to types of problem which use theprinciple of opposition to the adversary, as Dawson called it. In fact all other types of problem fall into thissecond category; we thus have a fundamental distinction between help play and everything else. When Dawson
subsequently describes helpmates as a “limitation” he is forsaking his usual scientific approach for one basedon convention. In this context I find his later remark that “the helpmate is an ideally artistic medium forillustrating direct themes” most revealing. This relegates helpmates to the status of a kind of cheat directmate, aview still more or less tacitly shared by many problemists six decades later. This attitude may be partly
explained by the fact that the majority of problemists, whether solvers or composers, come to directmates firstand never entirely shed the way of thinking that goes with them.
7 G.Bakcsi

2 Pr Magyar
Sakkszövetség T. 1959

Qdwdwdwd
gwdpIN0b
w0wdRdwd
dw0wdpdB
wdR)Piwd
dwdqdwHW
wdwdw)wd
dwhwdwdW#3
1.Id8] (>2.Ic7+)
1…Jkd4 2.Ke8 Jf6 3.e5;
1…Jke4 2.Kf8 Ja8 3.d5.

Of course some composers are equally at home in either field. Bakcsi is one ofthem. Let’s compare his mate in three, 7, with one of his two move helpmates, 8,
which has a similar theme. If the apparently different lengths bother you, reflectthat in a direct threemover after the key there is the same number of moves, in thesame order, as in a helpmate in two.
Of Bakcsi’s two problems the mate in three seems to have come first in date;its thematic skeleton (the setup involving the BQ and the WR which points at the
BK with two WPs in between) is reflected left to right in the helpmate but isclearly recognisable. The author’s aim was to cause the BQ to capture each of the
WPs in turn in two thematic lines and subsequently to move off in such a way thatthe other pawn can block its return and thus discover mate. What is interesting is
the totally different means of achieving this in the two problems. In the directmate
the BQ takes the pawns in order to place a guard on the diagonal of the threat,
forcing the WK to choose his next moves carefully in order to avoid check. The
BQ is lured beyond the critical squares (d5, e5) in order to restrain the WQ which,
now that the BQ has lost the chance of taking on g3, has powerful threats ofmating on g5 or h4. The composer’s skill is needed above all to arrange a suitablethreat and to differentiate the moves of the WK.

H#2 b) K>e6

In the helpmate the BQ is only too willing to capture WPs to clear the way,something which in the directmate Black would have preferred to avoid. The
composer’s main task is to prevent the BQ from being able to go somewhere else
at Black’s second move, and especially from sacrificing itself to the remaining
pawn. This explains the WK twinning (stopping e.g. 1.Qxf4 Bc7 2.Qf5 exf5 in the
diagram position) and the presence of the BBs, which need shutting out and also
prevent the BQ from hiding away on squares too far along the diagonals. While inthe directmate e4 and g4 must be guarded by pieces with which Black cannot
interfere, the corresponding squares in the helpmate (e4 & c4) need to beprotected from guard (Bd5!) in order to prevent cooks, hence the WPd5. The moststriking difference is in the total number of white pieces used. The immobile onesin the directmate are absolutely essential to stop the BK from escaping, while inhelpmates it can be quite tricky sometimes to prevent the BK from walking right
into a mating net.

a)
1.Jke4 Ec7 2.Jg6 f5;b)
1.Jkf4 Eg6 2.Jc7 e5.

Both Bakcsi problems are good quality compositions but which is the better?
Despite its extra pieces the directmate is clearly superior, and if given the
problems without the dates I think most people would guess that the directmate
came first.

8 G.Bakcsi

1 HM Sahs 1960

wgwdwdrd
0wdwdBdb
pdwdwdwd
Gw4Pdw0W
wdwiP)Rd
dwdwdqdW
wdwIw)wd
dwdndwdW

Only certain ideas will transfer in this way and not all directmates are as devoidof byplay as this one, of course. Few composers make the transition as well as
Bakcsi; often the result of transfer from one genre to another is unsatisfactory; andit can be grotesque. You are no doubt familiar with the Djurašević theme, so…

BLACK TO PLAY
9 P.Gvozdják

3 Pr Mat 20TT 1990

wdwdwdwd
dwdwdw0Wpdp)wdpg)wiwdw4W
pdwdpIwd)Pdw)wdQ
BdPdwdPd
dwdwdwdW
H#2 2 solutions

What? You aren’t familiar with the Djurašević theme?? I’m disappointed inyou. You’re bound to recognise it when I remind you, though. It’s the one wherein the first phase white’s move A threatens a mate B but defence X changes themate to C, and in the second phase the move B threatens C which X changes to A.
You were teasing me, you knew that all along! Anyway here it is in a helpmate, 9.
What do you mean, you can’t have threats in a helpmate? We just make sure thatall possible black moves change the mate. All Black can play after 1.Kd5 Qd7 is
2.c5. What do you mean, he missed a mate? What do you mean, you thought g2
was there to prevent a dual? Black is supposed to be helping, you know! Well, no,I can’t say what g2 is there for, since the problem seems to be sound without it.
The changes are nice, though. What do you mean, the WB is idle? You can’t
expect pieces to participate in every variation, as they would in a helpmate. Whatdo you mean, it is a helpmate? Don’t be silly!

To be serious (what do you mean, you thought I was?), although there arethemes which will transfer, they would often be incomprehensible without
reference (stated or implied) to directmate models. This is the case with attempts
to show such things as the Plachutta, the Finnish Nowotny or correction play. If you don’t know what those
things are, don’t worry, helpmates can manage very well without them! Those themes which can be transferred
easily tend to be the more figurative ones, such as the Albino (see 94), consisting of patterns of moves which
can be achieved by quite different motivations in the different genres.
1.Ld5 Id7 2.c5 c4;
1.Lb5 b4 2.c5 Id7.

If the helpmate cannot do better than mimic directmate themes then there is no justification for its existence.
The point was made by Palatz in 1925 when he described the helpmate as “highly suited to the clear realisationof modern ideas, unobscured by pointless side variations” and added “That is what reveals its special value, its
great significance, and indeed the need for unorthodox chess in general, in that it enables combinations which
go beyond the realm of the directmate”. Which leads us to ask…
b) What is a Helpmate Theme?
Before reading on you might like to look at 10 and decide for yourself what you think its theme is.
It is not often possible to give an exact description of the theme of a helpmate, or if it is, the problem may be
a rather weak one. Whereas in directmates some of the moves are designed to thwart some of the other moves,and the theme emerges from this contest, in most helpmates every move contributes positively to the overallthematic effect, thus creating a strategic intensity which other genres find it hard to match.
Every move can in theory have one effect caused by the fact that the piece no10 C.J.Feather
longer occupies the square it has just left (departure effect) and another caused by
Moultings 3 1991
its occupying a new square, possibly with capture (arrival effect). In practice it is
wdwdwdwd
relatively unusual, though not impossible, for a mating move to have a departureeffect. While even short helpmates which make use of both arrival and departure
gwdwdwdK
effects at every move are rare, it does seem that helpmates find it easier to come
wdpdPdwh
near to this maximum of intensity than directmates.
dndR!BdW

wdw4bdwd
dpdkdw4Wwdw)wdwd
dwdwdwdW

In addition to the actual moves of the solution it can happen that the twinningshows a kind of arrival and/or departure effect which may be seen as an additional
enrichment, although it is more often a convenience for getting the problem
sound!

In 10, part a), the departure effect at Black’s first move is the unguarding of e3
and the arrival effect is the anticipatory shielding of the WK from check at
Black’s second move. The departure effect at White’s first move is the opening of
the line from d4 to d8. This may appear irrelevant to the thematic content of the
problem but is in fact the reason why the solution of (b) will not work in (a) andvice versa. The arrival effect at White’s first move is the guarding of c2 and c4.
The arrival effect at Black’s second move is the potential check to the WK which has already had to beforestalled, and the departure effect is the opening of the line e5 to e3 for White’s second move, which has no
departure effect and a very obvious arrival effect!

H#2 b) K>d8
a)1.Hg6 Gc5 2.Fkf5 Ie3;b)
1.Dd6 Eg4 2.Hkd5 Ic3.

Part (b) is exactly similar. In this problem the position of the WK causes an alternation of the apparent pin of
the WB and the WR. That was in fact the initial idea, and in that sense might be described as the problem’s
theme, but while the composer knows that, the solver does not, and may decide that the theme is the capture ofwhite material (always a popular idea in helpmates) or more generally the opening and closing of lines. The real“theme” of a helpmate like this lies in the unity which comes from the blending of the different motifs.

BLACK TO PLAY
11 C.J.Feather

Moultings 5 1991

wdwdw$wd
dwdwdwdw
wdqdw$wd
dwdwdwdw
wdwdwgNddwdp)wHp
bdndpdk0
dwIndwdr
H#2 b) f4 = Ha)
1.Fkg3 Gg6 2.Fd6 Ce5;b)
1.Hkg4 Gg8 2.Hc4 Ce4.
12 C.J.Feather

Moultings 5 1991

wdwdw$Bh
IwdpHq0w
pdw)wdph
dwdwiwdw
rGwdwdwd
dwdwdwdw
pdwdwdRd
dwdwdwdb
H#2 2 solutions
1.Jkg8 Gf3 2.Le6 Ge2;
1.Jkf8 Ec4 2.Lf6 Ec3.

I felt that this particular blend was quite successful because it is the need forBlack to open a line at his second move which makes him close another on his
first. You may judge otherwise!
For an example of a helpmate containing significant arrival and departureeffects at every move, including the mates, see 11, which I leave you to analyse
for yourself. This problem contains a dual avoidance effect in the choice of which
WR to move. Dual avoidance is an important idea in helpmates and will be lookedat more closely in chapter 7.
Very rarely does the composer’s initial idea immediately fix the nature of all
the available moves in his projected helpmate. Perhaps a move or moves of eitherside is left uncommitted or perhaps it is merely the arrival or departure part of amove that is undetermined at this initial stage. Often the greatest skill andjudgment is required in deciding how to fill these gaps, first in knowing what will
actually allow a sound problem to be produced and secondly in choosing, fromwithin the range of possibilities which will work, those which will bestcomplement the main idea.
In 12 this main idea was as follows: the BQ stands at the junction of the linesof the WB and the WR while the BK stands poised to move onto the continuationof the WB and wR lines beyond the BQ’s square. For some reason to be
determined the wB and wR, one in each solution, need to move through the BQ’ssquare. In moving aside to allow this the BQ creates a guard from the other white
piece on the square to which the BK must move. Consequently the wQ must clear
the line for the wB by capturing the WR and vice versa.
This scheme prescribes Black’s first move completely (QxR, QxB), White’s
second move not at all, Black’s second move partially (BK moves onto line, butsome choice of square is possible and there is room for a departure effect) andWhite’s first move partially (WR/WB move through the square vacated by the
BQ, arrival effects unspecified).
Since inventing this mechanism in 1976 I have based a number of related
problems on it, thus perhaps justifying the name “Feather mechanism” which
Janevski has bestowed on it, though I can’t help thinking that that ought to refer tosomething in the undercarriage of a bird!

My first attempt with the mechanism used a very crude motivation for White’s first move, namely the needto reach a square from which the mating move could be played. It was not until 1991, as you see, that I
managed to think up the most appropriate accompaniment to the original idea. The arrival effect at White’s firstmove is the closing of a black line which White is about to open on the mating move, so we have anticipatory
prevention of unwanted guards by both Black and White; the theme genuinely arises from the blend of all theeffects seen in the problem.
The interpretation of the word “theme” which I am using is a considerably more complex one than the usual
sense of the word. It is based on the conviction that it is not very useful to say, for example, that the theme of atwo move helpmate is a pickaninny if a black pawn on its starting square makes a different one of its four
possible moves in each of four solutions. The pickaninny idea is a familiar one from directmates, but the above
description takes no account of what happens on the other twelve moves nor of the effects of the pickaninnymoves themselves.
c) Interplay
In answer to the point at the end of the last section you may say that all we have to do is to find another threefourfold ideas (the four promotions or the four initial moves of a white pawn or the four orthogonal moves of aking, for example) and fill up the spare moves in the problem with them. We should then have a helpmate withan enormous amount of thematic content. Indeed this sort of thing is done and will be looked at in chapter 5.
But do four separate ideas like this make a theme? Obviously it is a matter of taste, but it seems to me that someinterplay, some intertwining of the play of White and that of Black, is needed.
Whereas in other genres the antagonism between the sides usually guarantees interplay, in help playsomething else must ensure that there is interaction or else we shall have what amounts to a juxtaposition of
separate puzzles, making an ill unified and unsatisfactory composition.

BLACK TO PLAY
13 H.Ebert

1 Pr Die Schwalbe 1982

wdndwdwd
dn0wdwdw
wipdwdwd
gb0wdwdw
pdpdwdwd
dwdPdpdw
wdwdw1wd
dKdwdwdw
H#5 2 solutions
1.Fe1 d4 2.Jd2 d5
3.Ja5 d6 4.Ja6 d7
5.Fa5 dkc8C;
1.c3 d4 2.Ff1 d5
3.Je2 d6 4.Ja6 d7
5.Fb5 dkc8C.

14 R.Ruppin

2 Pr problem 1957

wdwgwIwd
dwdwdPdw
wdwdwdpd
dwdwdwdw
wdwdwdnd
dw4w0wdk
bdwdwdw1
dwdwGwdw
H#3 2 solutions
1.Jb8 Kg7 2.Fc7 f8I
3.Fh2 If1;
1.Jb2 Ke8 2.Hc2 f8I
3.Hh2 If3.

15 F.von Wardener

Aachener Anzeiger 1933

wdwdwdwd
dwdwdwdw
wdwdwdwd
dwIwdwgw
wdwdwdqi
dwdwdwdP
wdwdw)pd
dwdwdwdw
H#5
1.g1D Kd5 2.Jd1+ Ke4
3.De2 Kf3 4.Dg3+ Kg2
5.Jh5 fkg3.

What exactly is this interplay to which I am referring? It is easiest first to
suggest it by its absence! In 13 Black needs to get the Q to a6 in order to block theremaining square in the king’s field, and so the bishops must clear the lines, in
one case with an extra pawn move to make the two solutions the same length. It isa serious weakness that the white moves are the same in the two solutions. All
White has to do is get his pawn to c8, a process which will not tax the solver’s
imagination too much. There is no connection whatsoever between what Black
does and what White does. Their paths do not even cross! This is a disguisedserieshelpmate. Place the WP on d7 and it is actually a sound serieshelpmate (i.e.
Black plays a series of 5 moves and then White mates in one) in which, I think
you will agree, nothing very profound has been lost by comparison with the
helpmate. The attractive clearance idea had already been shown in serieshelpmate
form before 1982, however…
It is quite hard to find suitable white play to intertwine with such clearance
ideas. In 14, showing another kind of clearance related to the one in 13, theweakness of the repeated promotion is still there but the composer has arranged
that White’s first move is determined by the square occupied by the BQ at Black’s
first. Try starting 1.Qb2 Kg7 for example. The wrong WK move walks into theline of the battery which Black has just created, so that there is genuine interplay
between the first moves on either side. Admittedly this is not sustained throughthe remainder of the solution but the overall effect is nonetheless much morehomogeneous. The construction of this problem is good, especially in the way the
WK’s access to unthematic squares is prevented by the two bishops, the one on a2
serving also to help determine the BQ’s arrival square in one solution. The
composer could have dispensed with the BPe3 if he had started the BR on c1 or c5
instead of c3, but this would completely spoil the thematic unity; then 1.Qb2
would prevent 1…Kg7 by direct guard, not by creating a battery.
For our final example on this idea, let’s look at a 5-move helpmate whichshows genuine interplay throughout. In 15 the order of Black’s first and second
moves is determined by the need to bring the WK closer and this in turn fixes
White’s first move, since d4 is still guarded when he plays it. The BQ’s route to
h5 via dl is determined by the need to unguard f3 for the wK to pass, and this alsomeans that Black must promote to a knight, not a bishop. It is particularly pleasingthat the orthogonal power of the BQ is used in two ways (along the rank,
determining White’s first move, and up the d-file, fixing the move order) since its“thematic” moves (in the narrow sense) are both diagonal.
To sum up, I am not saying that interplay of the intensity of 15 is essential,
since 14 is a fine work, but I am saying that it is contrary to the spirit of thehelpmate for there to be none at all, and that the notion of interplay is a useful one
in the analysis and appreciation of helpmates.
d) Motivation
Once a composer has decided what moves he wishes to show he must findreasons why those moves will be the ones which solve the problem. If he is wise
he will also anticipate the typical cooks which will be associated with his idea andwill incorporate reasons why these cooks should not work. It is much harder toeliminate cooks afterwards!
Reasons why solutions work (and potential cooks don’t) constitute themotivation for the moves in a helpmate. Such motivations must always exist;
some composers regard them as important and some as incidental, but in eithercase the analysis of motivation is the principal tool in studying how composers go
about their work and indeed in learning how to compose helpmates yourself, if
such is your ambition. It can also help solvers; if they learn quickly to read thesigns in a position they can often guess the theme accurately.
My comments on the problems in subsequent chapters will often dwell on the
motivation of the moves. Distinctions may be made between pure motivation (justone reason why the effect works) and impure; or between equal motivation(corresponding moves have similar motivations) and unequal.

BLACK TO PLAY
16 A.Molnár

Special Pr Magyar
Sakkszövetség T. 1967

wdwdwdwd
dw4w0wdw
wdw$Bdbd
dwdPdwdw
wGwiwdwd
dwdw$wdw
wdqdwdwd
dwdwdwIw

There have been surprisingly few attempts to make a methodical study of thereasons for the moves in chess problems. That is no bad thing since chesscomposition is an art, not a science. Pierre Bansac (1892-1978, real name Charles
Rinderknech) developed a system which he described as the theory of effects. I
find his approach excessively scientific and disagree with some of his conclusions
but his concentration on the way in which moves change situations can be bothpractical and stimulating if it does not lead to the imposition of dogmatic rules.

In an issue of the sadly defunct magazine Problème dated April 1971 he quotes
16 and comments on the “perfect strategic symmetry of the two solutions”,
drawing attention particularly to White’s first move and Black’s second. The
move 1…Bf5 removes the BB’s guard on e4 and establishes a white guard on thesquare, while in the other solution 1…Rc6 does the same with regard to the BR
H#2 2 Solutions
and the square c5. The move 2.Rd3 blocks a square and closes the BQ’s line to e4,
while in the other solution 2.Bc4 also blocks a square and closes a BQ line, this
1.Hc3 Ef5 2.Hd3 Ge4;
time to c5. Most people would describe the theme of this problem in terms
1.Fd3 Gc6 2.Fc4 Ec5.
referring to the closing of lines on either side of e4 and c5, a pleasing geometricaleffect. Bansac points out that the BQ is quite irrelevant in this connection, andmight be removed from the board except that it is needed as a cookstopper. It is irrelevant in that the motivation
it apparently brings to the moves 2.Rd3 and 2.Bc4 is unnecessary to make those moves happen. The need toblock those squares would take care of that anyway. Do you find it agreeable that a cookstopper can be used toaugment strategic effects in this way? or do you think that effects thus achieved have something spurious about
them?
Whichever view you prefer, you have to base your preference on the motivation of the moves. Bansac
clearly takes the second view since he goes on to point out that what the Q prevents is 1.Rc4 Bf5 2.e5 Rd3,
which can be eliminated by moving the whole position down one rank (thus BK to d3) and relocating the WK
on a8, since the black pawn move in the cook then becomes impossible. In this new position the BQ can beremoved without any effect on soundness or solution. Does that change your opinion?
Curiously, that is not the end of that particular story, since in the FIDE Album for 1974-6 we find (number
578, 1st Prize, Budapest SSz TT., 1975) essentially the same position as 16, but with the BR moved to c8, theBB to h7, the WK to h5 and instead of the BP a BS on e8. Obviously some guard on d6 is necessary or else
there are cooks such as 1.Rc6 Rel 2.pass dxc6. The BQ is still present in this version but is of course strictly
unnecessary. The most interesting feature, however, is the name over the diagram, not Molnár but Páros! I
cannot believe that this is plagiarism, so presumably it is either an example of mislabelling or else Páros
composed his version in ignorance of Molnár’s work. I have not been able to check the original sources;
perhaps a reader will be able to clear up this mystery?
If the problem is genuinely by Páros then we can say that at least one great helpmate composer was in favourof using pieces in the way the BQ is used in this problem. It is time we had a handy term for this. It wasprovided in an article by Alfred Gschwend in Schach-Echo in 1974. The BQ in the Molnár/Páros problem is aweasel.
Of course, this is not meant as a term of abuse, since weasels are clearly quite cuddly carnivores; it
originates in a poem by Christian Morgenstern which I translate (quite inaccurately) into English as follows:
A weasel
Sits at an easel
Painting with a teasel.
Do you know why
This sly
Beast thus wastes his time?
He does it so(lf you must know)
My lines may have a rhyme.
Gschwend distinguishes three kinds of supplementary effects achievable with the aid of weasels, those of thesacrificial weasel, the symmetry weasel and the line closing weasel.

BLACK TO PLAY
17 J.Hartong

1 Pr Elck Wat Wils
Wedstrijd 1947

wgwdwdwd
dNdwdwdww)kdwdwd!RGwdwdw
wIwhwdwd
dwdwdwdw
wdwdwdwd
dwdwdwdw
H#2
1.Lkb7 Ia8+ 2.Lka8 b7.

The sacrificial weasel occurs in problems where a white piece is captured andconsists in using a more powerful white piece than is necessary or perhaps inusing a white piece where none is needed at all. Thus in 17 the WQ is a weasel
since a WR would do; the WSb7 appears not to be a weasel, since with a WP
instead there are many obvious cooks, but in fact if we move the BS from d4 to f5
we can remove b7 completely and the solution remains the same. In most modern
problems with this kind of content there are two or more parts and composers
usually arrange for the pieces captured passively in one line to be active inanother.
Gschwend’s second subspecies, the symmetry weasel, occurs, as you might
expect, when pieces are added merely for the sake of symmetry. It is a fairly rare
if not actually endangered species.
The line closing weasel is the one we have already met; like the sacrificial typeit can take the form of an unnecessary piece or of a piece used where a weaker one(often a pawn) would do.
There are a few other species of weasel not mentioned by Gschwend, but those
three are enough to give you the idea.

18 J.Korponai

Probleemblad 1956

wdwdwdwG
dwdwdwdw
wdwdwdwd
dKdw$wdr
Pdwdndw1
dwdwdwdw
wdwdn4wg
iBdwdbdw
H#2
1.Dg5 Eh7 2.Df4+ Ge2.

Weasels have a shy nature which makes them easy to miss. If one ispreoccupied with a thematic idea it is quite easy to compose a helpmate with aweasel without noticing it, so that it is not always possible to tell whether one isused intentionally or not. Equally, there are many cases where judges have madeno mention of weasels in the problems they were honouring, so here again wecannot be sure whether they approved of them or overlooked them.
My point about weasels is that, love them or loathe them, one should not fail tonotice them, and for that a conscious effort is needed. So I have included a few
later in this book and hereby challenge you to spot them. I will not draw attention
to any weasels until the end of my remarks on a problem, so that you have achance to search for them first. You may even spot one or two which I havemissed! I am sure that this will be the best way for you to decide whether you area weasel fan or not.
Here’s an easy one to start you off: How many weasels are there in 18 andwhich pieces are they? The answer is given at the end of this chapter. Goodhunting!
e) Economy

19 J.Kiss

1 Pr Magyar
Sakkszövetség TT. 1971

b$rdwdwd
dw$wdwdw
wdqdPdwd
0w4wdwdw
wdwiwdwd)Pdwdwdw
Pgw0wdQd
dwdwdwdKH#2 4 solutions
1.Hc2 Gb4+ 2.Lc3 If3;
1.Hc3 b4 2.Lc4 Ie4;
1.Hc4 bkc4 2.Lc5 Id5;
1.He5 Gb5 2.He4 Ikd2.

In this section I am much indebted to Michael Lipton, whose epilogue to 'Chess
Problems: Introduction to an Art' is the most intelligent thing I have read on thesubject of compositional chess and its significance.
Economy of force is often the only kind of economy which readily springs to
mind, but there are other kinds, as we shall see. Nonetheless, it is the obvious
place to begin. Can we say that the smaller the number of pieces the better the
problem? Sometimes that is true but it is often not so simple. It may be a matter oftaste, for example, whether to use a BQ or two BPs to stop a cook. In one sense
the BQ is the more economical but if you think in terms of the wasted power a BQ
might have as many as 27 moves while the pair of pawns would have a (highly
unlikely) maximum of 24. lf one piece is to be used and it is merely a question ofwhich, then there is general agreement that the lightest possible piece should be
used and it is seen as a failing if that is not the case. There is an example in 19
which you may like to find (answer below). There will be more to say about thisproblem later.

BLACK TO PLAY
20 M.Persson

6 Pr Schach-Echo 1977

wdwgrdB1
dwdw$wdw
pdwdwdwd
dwdwdw4w
wdwdwIw$
iwdwdPdw
w0wdwdwd
dwdwdwdw
H#2 b) Ba6>h6
a)1.Hf8+ Kkg5 2.Hf6 Ge3;b)
1.Fc7+ Ke3 2.Fe5 Ga7.

21 J.Korponai 1 Pr
MTS Dunáujvárosi T. 1970

Rdwdwdbd
dpdwdQdw
wdw0w)wd
dwdrdwdw
B)wdwdwI
HwdPdw0w
kdwdwgw$
dwhw1wdw
H#2 2 solutions
1.b5 Cc4 2.Hc5 Ec2;
1.b6 Ec2 2.Fc5 Cc4.

22 C.J.Feather

original

wIwdwdwd
dB$wdwdw
wdwdwdwd
dw0wdw4p
wdpdwdw0
dw4pdw1p
wdwdkgp)
dwGwdwdw
H#3 2 solutions
1.Jf3 Ekf3+ 2.Lkf3 Gf7+
3.Lg4 Gf4;
1.Je3 Eke3 2.Lke3 Ge7+
3.Ld4 Ge4.

When there is a choice, what colour should pieces be? This again is a matter oftaste, especially if pawns are involved or if it is a question of guarding squares
around the BK. In 20, an attractively light example of selfpin and unpin by one of
the helpmate genre’s best loved composers, the WPf3 and the BRg5 could be
replaced by BSs on h1 and h4 provided that the WRh4 is moved to g4. Having
decided that I would have done it that way I found that I could not actuallyconvince myself that it was any better, indeed it somehow seems to make thesolution more obvious!
There are a good many composers (I am one) who try quite hard to avoid using
white pawns, but I doubt if any of the others could give a good reason, any morethan I can.
When it is a question of guarding squares the colour of pieces may be
determined by questions of soundness or of freedom of movement. If it is a matterof stopping cooks, however, there is general agreement that the use of white
pieces (as opposed to pawns) should be avoided. Indeed some critics condemn
idle white pieces on principle. This is not always so simple a matter. In an article
in The Problemist in 1973 I argued that provided a white piece took an active partsomewhere in the problem it was unreasonable to expect it to participate in every
phase. In support of that view I quoted some complicated task problems whichlooked impossible to achieve otherwise. Such has been the evolution of techniquesince, however, that I have changed my mind and now think that (in most cases)
all white pieces (not pawns) should be needed in all parts of a problem. Most, if
not all, composers would agree with this. It is always the sad fate of task problems
to be ultimately superseded.
Why did I add “in most cases”? There is a further category of helpmates inwhich white pieces are idle in one or all parts because their idleness is part of thetheme. It needs a striking theme to carry this off successfully, but there are cases
where it can be quite convincing.
Here is one. In 21 there is clearly no way to deal with the squares b1-3 except
by White’s playing Sc4 and Bc2 in either order. The arrival effect of these moves
is unfortunately the unpin of black pieces which prevent the mate. All that can bedone at Black’s first move is to close the line of one of these pieces in advance.
Then at his second move the already unpinned black piece can close the line of theother piece which is still pinned but about to be unpinned. The thematic intensityand parallelism is admirable but what about the WQ and the WRh2, which
contribute nothing to the mate and do not move throughout the problem? If theWRh2 were not present 1.Bc5 and 2.b6 could be played with the white moves
added in either order. Thus the presence of the WR forces the move order. The
role of the WQ is similar and in addition serves to prevent a cook by the BR
moving to e3. Are these two white pieces cookstoppers (dualstoppers, if you
prefer) or thematic agents? I am happy to interpret them as the latter. What do you
think?
The next kind of economy, or rather the lack of it, is exemplified in 22. To
unpin the WR which is the mating piece in each part, the BQ gets in the way of
the BK and so a white piece must sacrifice itself in order to clear the way again.
This is one of my favourite themes, much more interesting than the case where thesquare is already blocked by an immobile black piece, but this setting is quite
unjustifiable and I publish it here only as an example of what to avoid. Why? Thisis a two move theme! White’s second move and Black’s third are empty of
meaning. This offends against the economy of time: no idea should be built up to
more moves than the minimum. Compare 22 with 23, which I consider one of mybest compositions, and see the difference. Solvers, and judges too, seem relatively
insensitive to this kind of economy, which is rarely commented upon.
[19: the BBb2 could be a BP]

BLACK TO PLAY
23 C.J.Feather

The Problemist 1977

wdKdwdwd
dwdwdbdw
wdwdNdwd!wdwdq0w
wdNdPdwd
0w4wdk0n
wdwdrgwd
dwdwdwdw
H#2 b) e4 = Ba)
1.Jf4 Ckf4 2.Lkf4 If5;b)
1.Hce3 Cke3 2.Lke3 Ic3.
24 W.Á.Földeák

5 Comm.
Revista de Sah 1963

wdwdwdwd
dPdwdwdK
wdwdwdwd
dwdwdwdw
wdwdwdw0
dwdwdwdw
wgwdwdwd
iwdndwdw
H#5
1.h3 b8G 2.h2 Gkb2
3.h1H+ Gh2 4.Db2 Gh3
5.Hb1 Ga3.

Economy of play requires that the resources of the position should be used asintensively as possible and obviously includes the idea of interplay which has
already been discussed. Perhaps the most important aspect of this kind of
economy in the helpmate, however, is the idea of the interchange of functions,
often known by its German name Funktionswechsel. In the simplest form of thisidea the functions of two pieces (often but not necessarily of the same colour) in
one phase of a helpmate are interchanged in another. Thus in 23 the WSs
alternately serve to sacrifice and to guard while in 20 the thematic BB and BR
alternately pin and unpin. Not only do interchanges of functions contribute toeffective economy, they also increase the thematic unity of a problem.
Economy of space suggests full use of the board and of the mobility of thepieces, a desideratum that is often not achieved when the need to prevent cooks byconfining and restricting pieces intervenes.
Long helpmates tend to have almost completely blocked positions, as we shallsee in the next chapter, and some very short ones achieve their themes by crudely
limiting mobility. Janevski and Stolev quote a 3-solution helpmate in 2 byParrinello in which Black has an average choice of fewer than three moves at eachturn (The Modern Helpmate in Two, 291). Setting a capture of white theme byeliminating the possibility of almost all other kinds of move, as Parrinello does,
seems to me dubious, which is why I am not further dignifying the problem byreproducing it here. If one is going to approach chess composition that way one
might as well take the final logical step and achieve soundness merely by adding
the condition “no cooks allowed”.
At its best, though, the helpmate is the showplace for airy positions where theempty spaces are fully used and the solution is still miraculously unique.
Shinkman’s 2 was a good example and 24 is another, and a fine example ofinterplay, too. The whole board is used and the freedom of movement extends toWhite’s ability to promote to a Q. That promotion fails not because of crude
cookstoppers but because of the logic of the solution. White must remove b2
because Black has no time to do so, and a Q would give an unwanted check. You
would think that to relieve a similarly unwanted check from the BP as it promotes
to a R the WK could simply step aside to the g-file, but the timing is such that thiscannot be done without the WR’s getting in the way of the BS. A delicate
masterpiece by an outstanding and underrated composer.

An interesting numerical indicator of the amount of mobility in a helpmate is nowadays available toproblemists. The Alybadix suite of solving programs by Ilkka Blom has met with some criticisms especiallywhen it comes to distinguishing meaningful play from the rest in direct problems and selfmates, but for
helpmates it is superb. Not only is it fast but it also gives a figure for the number of moves which it investigates
during testing, and that number can provide an estimate of the relative mobility in different problems. Thus themove number for the Parrinello problem mentioned above is 313 while for 21 it is 24164; for an average 3move helpmate it might run into millions and for Bebesi’s helpmate in 14 in the next chapter the figure is anamazing 142,910,085. This last took over nine and a half hours to test with an 80486/33-processor!
lf you are interested in Alybadix, write to Ilkka Blom at Salmikatu 27 A16, 65200 VAASA, Finland.
Economy of idea is what Lipton calls the avoidance of petty byplay in direct problems, and you might thinkthat the helpmate genre guarantees this by its nature. Not so! The helpmate composer can be confronted by thedecision whether to set his idea economically in, say, 2 phase form, or to go for more phases. More does notalways mean better (in fact in my view it does not often mean better!) but the pressure to go for quantity
increases as the familiar themes become more and more thoroughly worked.
Problem 19, in which we have already found a BB which could be a BP, contains three well matchedsolutions in which the BR makes room for the BK to pin itself on the c-file and mate is then delivered by thepinned WQ. The fourth solution involves unpinning the WQ and leaving one WR idle; it looks for all the world
like a cook. It is most mysterious since this line could easily be prevented (e.g. by adding a BSb1, but there may
be neater ways) and some of Kiss’s other works show him to be a composer of good taste.

BLACK TO PLAY
25 M.Myllyniemi

1 Pr P.Sola JT 1977-78

wdwdwdrd
dw0wdwdw
ndKdn0wd
gN0w0bdw
w0wGk4wd
dpdw0Ndw
wdwdP0wd
dwdwdwdw
H#2 5 solutions
1.c4 Eb6 2.ckb6 Cd6;
1.Dg7 Eke5 2.fke5 Cg5;
1.f1D Eke3 2.Dke3 Cd2;
1.Fb6 Ec3 2.bkc3 Ckc3;
1.ckd4 Ce1 2.d3 ekd3.

26 J.M.Kricheli

Schach-Echo 1979

wdwdwdwg
dwdwdwdw
wdwdwdw0
dwdpdwhP
wdqdwdri!whwdRHb
wdrdwdwd
Iwdwdw$w
H#2 3 solutions
1.Ff1 Ie7 2.Fe2 Gh1;
1.Hd4 Gh1 2.Dce4 Gf4;
1.De6 Gf4 2.Dg7 Ie7.

27 Ž.Janevski

Scacco! 1992

wdw!wIwd
0wdwdwdq
wdwdPdwddw)Rdw0p
whRHrhwd
dwdbiPdw
wdw0wgrd
dwdwdwdw
H#2 3 solutions
1.Fb1 Ikg5 2.Dc2 Gc3;
1.Hke6 Gc3 2.Hg6 Ge5;
1.De2 Ge5 2.Dg3 Ikg5.

Less mysterious but more interesting is 25. In four solutions there is an active
sacrifice of a white piece, while the fifth contains merely a capture of the passive
WB and is dull by comparison. It is impossible to tell whether the composer
wanted this solution or could not see a satisfactory way of avoiding it. Whether or
not you agree with me that this line slightly spoils the problem, you might like to
try your hand at the tricky but fascinating task of eliminating it. I cannot manage it
without increasing the total of pieces by one but I think it is worth it. My answer
is given at the end of the chapter.
f) Originality and Anticipation
It is far from self evident what originality is. To the best of my knowledge I
invented the so called “Feather mechanism” described in section b) above but
obviously I did not invent the capture of white pieces or the line opening by the
BQ which are constituents of the idea. It is the particular combination of motifs
which made the idea original. Indeed it is often in combinations of motifs thatoriginality is to be found nowadays. Alternatively, there is still room to find new
motivations for familiar looking manoeuvres. We shall see examples in later
chapters. Meanwhile a plea to judges and commentators in general not to use theword “original” in a vague sense but to specify the combinations or motivations
which they find novel.
Plagiarism is fortunately very rare but unintentional anticipation is common.
Usually it gets pointed out sooner or 1ater, but it can be quite a lot later. I took arest from composing in the eighties and on my return was amazed to find in the
FIDE Album 1983-5 a problem by T.Garai which I had completely anticipatedabout ten years before. Garai very graciously acknowledged this in a note to The
Problemist soon afterwards. At about the same time I composed another problem
which, as it turned out, Janevski had made a matter of months before. In boththese cases the settings were very similar.
When a problem and its partial anticipation are more different it can be
instructive to compare them. A case of this is seen in 26 and 27. Despite thedifferent orientation the similarity of the matrix should be apparent. The theme iscyclic white moves which alternately pin and mate, while the black pieces initiallyoccupying the mating lines get themselves out of the way. The key to theeconomy of the position is the triple observation of the WS by the WQ and WRs,
one of which is left guarding it in each solution. Important for soundness is thefact that this WS guards a vital square or squares in the BK’s field.
Kricheli’s setting is superior in several interesting constructional features. The
first is that he has the pawns moving in the right direction, often a crucial
decision. The WP next to the BK is clearly needed to stop mates on its square but
the fact that e4 is guarded in the Janevski setting causes other difficulties. Next
Kricheli has ensured that no black blocking piece can capture this WP even in two
moves, which enables him to move the BK’s field to the board’s edge and locate
the WQ at a safer distance. Further, he has found a very useful device on the long
black diagonal which again keeps the WQ out, except in the line where its
influence along the third rank is needed. Finally he has blocked the second rankwith the thematic BRc2, which means that no equivalent of Janevski’s WPc5 isneeded.
Janevski has made trouble for himself in his decision to make the BRe4 go to
g6. Not only does he have to use the WK and add pawns on a7 and h5 to prevent
the BQ from simply moving away, but the BPg5 becomes necessary to prevent thewrong rook from interfering at g6. That makes the thematic interference on g3
look ill chosen, too. The blocking piece on f2 has to be a BB, not a BP, because of
cooks by Qg1, showing another advantage of positioning the BK at the board
edge.
Perhaps surprisingly, Kricheli’s problem did not appear in the FIDE Album,
but notice the date, in the seventies!

BLACK TO PLAY
28 F.Giegold

1 HM Schach-Echo 1972

wdwdwdwd
dwdwdwdw
wdwdwdwd
gwdwdwdw
wdn1wdwd
dwdwdkdw
w0w0w0wd
dwdKGrdw
H#5
1.Jd7 Kc2 2.Dd6 Kkb2
3.d1F Eka5 4.Le2 Kc3
5.Le1 Kd3.

29 J.M.Kricheli

1 HM feenschach 3/1971

wdwdwhw!
Hwdwdwdp
wIw0wdr0
dwdw4wdw
wdpibdw$
dwdwdqdw
wdwdwgwd
dwdwdwdw
H#2 b)Ff2>e3
a)
1.Jf6 Gh3 2.Hd5 Cc6;b)
1.Hg4 Ikh7 2.Fd5 Cb5.

g) Difficulty
There is a puzzle element in chess problems which can add to the enjoyment if
one ultimately discovers that the difficulty lay in one’s inability to grasp a telling,novel idea. Sometimes the idea is not so novel but there is something about theposition which makes it hard to grasp.
The composer of 28 was famous for his amazing knack of injecting difficulty
into his compositions. Apart from the puzzle element this problem shows artistic
qualities in the movement across critical squares by both WB and BQ and in the
motivation for the mysterious arrival square of Black’s first move, which cannot
be understood without seeing the whole solution.
Sometimes, however, helpmates are hard to solve because clumsy construction
leaves all sorts of misleading signs to lead one astray. This can be most frustrating
because one feels entitled to expect the composer to baffle one by legitimate
means or not at all! Since many helpmates are not hard, if a helpmate composer
does produce a work which solvers find both difficult and satisfying he tends torejoice inordinately. I was thrilled in the early seventies when one of the firstproblems I had published in a German magazine scored the maximum points fordifficulty (and a reasonable grading for content). Maximum difficulty for ahelpmate in 2! Several solvers gave it up as insoluble. I now realise that whatmade this fairly modest problem hard was that my name was unknown and thetheme involved capturing black material, unusual in those days.
Yes, difficulty is subjective and transient. I found the first helpmates by Bakcsi
which I solved in the sixties enormously difficult; he has long since become oneof my favourite composers, I have studied his compositions closely and as a result
I now solve most of his new helpmates instantaneously. I have even had theexperience of looking at a problem of his and saying to myself “Why didn’t I
think of that?”, recognising the idea even before the actual moves.
Solvers said that they found 29 enormously difficult, yet the change of pintheme, in which one black piece pins itself instead of another, was already wellknown. Was it difficult because solvers instinctively shied away from the idea ofthe useless pin in the mating position of each part? Does the theme justify the idle
white pieces? Part b) is actually sound with the WR on g4, so that the useless pin
disappears after 1.Rxg4, though an equivalent capture in a) would be harder toarrange. Would such a rearrangement make the problem better? Would it make iteasier?

One thing we can be sure of, it was astute of the composer to send this difficult work to feenschach, where
the honours were at that time based on solvers’ gradings and showed a strong tendency to set difficulty above
artistic qualities; as a result the quality of the helpmates submitted to the magazine declined rapidly in the earlyseventies until the system was changed. Nowadays very few magazines bother with solvers’ gradings and in theones which do they often seem absurd. It is not surprising that an average of the marks of solvers who range
from the novice to the jaded should fail to produce anything meaningful, whether quality or difficulty is inquestion.
h) Unity
You may have been surprised that this was not the first in my list of concepts. Whether composing a longsingle line helpmate where his aim is to fuse black and white play into a satisfactory whole, or a multiphase
helpmate in 2 where the need is for well balanced solutions, the search for variety without loss of unity is thecomposer’s main concern. This idea will run through the rest of the book, as we look at the challenges it offers
in various lengths and sorts of helpmate and the different ways in which it may be achieved.
ANSWER TO WEASEL PROBLEM: Five, since each one of the BQ, BRs & BBs can be removed
separately. In addition, some of them can be removed in pairs. You can even remove three at the same time
without changing what happens if you choose the BRh5 and the two bishops. I think this is the world record forweasels!
ANSWER TO MYLLYNIEMI CONSTRUCTION: I added BQf8, BPd5, WPc6; moved the WK to b7;
and removed a6 and c5. Did you do better?

BLACK TO PLAY

DO IT YOURSELF!

30 F.Seidemann

Deutsche MärchenschachZeitung 1931

31 V.Zabunov

32 C.J.Feather

33 N.Kovács

3 Pr Schach-Echo 1966

Schach-Echo 1971

Magyar Sakkvilág 1930

dKdwdwd
dwdwdwdw
pdWdP!wd)whNhb)w
Wdriwdwd
dwdw0wdw
WdWdPdw0
dwdwdwgB

d 1wdnddwdNdw)w
WdW0wdrd
dw0wdk0w
WdWgrdpd
dwdw0wGR
W0WdwdR!
dwdwdwIw

d dwdwd
dpdbgwdw
W$ndwdQd
dKhPiw0w
WdWdwdwd
dwdrdwdw
WdWdwdwd
dB4wdqdw

d dwgwd
dN4wdwdw
ndW0wdwd
dPdP0pdw
PdWhRdw4
Iwdkdwdw
P0bdwdwd
dwdwdwdw

H#2

H#2 3 solutions

H#2 b) A>g3

H#3

35 N.Ringeltaube &W.Schröder

36 M.McDowell

34 H.Lohmann

Die Welt 1954

1 HM feenschach 12/1973

2 Pr British Chess
Magazine 1979

dwdwdwd
dwdwdwdw
Wdwdwdwd
dwgwdwdw
Wdwdkdpd
dwdwdwdw
WdPdPdp0
dKdwdwGw

dwdwdwd
dwdwdwdw
pdwdw0wd)kdwdwdw
Wdwdndwd
dwdwdwdw
BIwdwdwd
dwdwdwdw

dwdwdwd
1wdwdwdw
Ndwdwdwd
dw0bdwdw
Wdwdkdwddw)wdwdw
Wdwdwdwd
dwdwdwdK

H#5

H#5

H#6 2 solutions

SOLUTIONS ON
NEXT PAGE

BLACK TO PLAY
30. (Seidemann) 1.Fd3 If2 2.ekf2 e3.
A good puzzle and a well made problem. The WQ is necessary since a WRf6 would cause cooks, however amodern composer would probably have used a black pawn on e6.
31. (Zabunov) 1.Hee6 Gkb2 2.Fe5 Ic2; 1.Hge6 Gh8 2.Ff6 Ih7; 1.Fc3 Ekd6 2.Hd4 Ie5.
Clearances with an average of two idle white pieces per solution. I’m not sure whether this problem has one
solution too many or three solutions too many! You may be reassured that none of the other problems in thebook are as bad as this, but I did warn you! To appreciate the good one must experience the bad. Oh yes, there’s
also the cook 1.Jf8 Ckc5 2.Lf6 gkf8I, so I guess it’s actually four solutions too many. This problem
appears as 554 in the FIDE Album.
32. (Feather) a) 1.Jf7 Ikd3 2.Lf6 Id4; b) 1.Fg4 Ikc6 2.Lf5 Id5.
This is the problem mentioned in the text, which the solvers found so hard.
33. (Kovács) 1.Lc4 a5 2.Lkb5 Kkb2 3.Db3 a4.
Difficult, certainly, but also rather naughty. Or should we assume that the author added the two BRs and theBPs b2 and f5 not to confuse the solver but because he thought they stopped cooks? They don’t.
34. (Lohmann) 1.h1F Ed4 2.g1F Ea1 3.Fge3 Kb2 4.Ld4 c4 5.Fe4 Kb3.
Hard to solve but very artistic too, with all that bishop play and similar use of the two corners. Only g4 stops
cooks.
35. (Ringeltaube & Schröder) 1.Dc3 Ee6 2.Dd5 Ec8 3.Db6 akb6 4.a5 b7 5.La6 b8I.
Solvers agreed that this was hard but it’s even harder to say why. My theory is that one does not expect the
BS to go to b6 because it seems incredible that its route there can be unique.
36. (McDowell) 1.Jb6 c4 2.Le5+ ckd5 3.Ld6 Ckc5 4.Lc7 d6+ 5.Lb8 d7 6.Ja7 d8I.
The subtle motivation for the BQ moves requires one to anticipate the position at move 5 from the very
beginning; an excellent problem. Serendipity intervened when solvers found the “cook” 1.Fc6 c4 2.Fb5 ckb5
3.Ld5 b6 4.Lc6 b7 5.Lb6 Cb4 6.Ja5 b8I, which is unrelated to the first line except in the delicacy of its
timing. In shorter helpmates the practice of adopting chance solutions usually produces bad problems, but if
you have ever tried to compose a helpmate in 6 you will appreciate the miracle of this accurate and attractive
cook and surely not blame the composer for welcoming it as a second solution!

BLACK TO PLAY
37 R.Kassai

CHAPTER 3: LENGTH AND FORM

2 Pr Tipográfia 1966

wdwdwdwi
dw0wdpdB
wdPdw)pd
dwdwdw)W
wdPdwdPd
dwdwdw)K
wdwdwdP)dwdwdwdW

Long helpmates (the longest is a helpmate in 28 by B. Hegermann, 1934) arenotoriously tedious. Like the giant marrow in the vegetable show they look
impressive but have little flavour. Pieces trapped by pawns in corners mark time
like bored sentries while others make uneventful treks to the extremities of theboard and back. The occasional nice piece of timing, such as 14…c5 in 37,
enlivens proceedings for a moment but the only “theme” is the length itself andthe remarkable fact of soundness. There is a feeling that the composer simply
fiddled about until he found some unique sequence of moves, about which heinitially had as little idea as the prospective solver.

H#21

Not until we get down to about six or seven moves does this feeling begin todissipate, and even then the thematic thread can be tenuous, as in 38 where thetwo kings make similar diagonal marches, the solution with the WK’s march
being considerably less interesting than the other. In fact there are few themes
which require such length and if you can think of one you will be very lucky (andskilful) if you manage to set it soundly. Such is the combinatorial explosion thateven a fast program like Alybadix may be unable to test the trillions ofpossibilities in a sensible time, so you may never know if your work is correct.

1.Lkh7 Kh4 2.Lg8 Kh3……
……
13.Lf2 Kh4 14.Lkg2 c5
15.Lf3 Kh3 16.Le4 Kg2
17.Ld5 h4 18.Lkc6 h5
19.Ld7 h6 20.Le8 h7
21.Lf8 h8I(G).
38 F.Abdurahmanović

Special Pr
Magyar Sakkélet 1974

Kdwdwdwd
dwdwdwdW
w0w0wdwd
dPdwdwdW
wdwdw$wd
dwdwdwdW
wdwdwdwd
dwdwdwdk
H#6 2 solutions
1.d5 Kb7 2.d4 Kc6
3.d3 Kd5 4.d2 Ke4
5.d1H Kf3 6.Hg1 Gh4;
1.Lg2 Gc4 2.Lf3 Gc5
3.bkc5 b6 4.Le4 b7
5.Ld5 b8I 6.Lc6 Ib7.
39 A.M.Kárpáti

Magyar Sakkélet 1956
(version)

wdw!wdwddwdw)KhW
bdpdwdw0
dp0wdPdW
pdw)ndPd
dwdpdwdW
wdwiwdwd
dwdwdwdW
H#3 3 solutions

Computers can help a great deal with helpmates in 4, 5 or 6 moves, which werepreviously very hard to test, and that accounts for an expansion in thematic
settings of such length. In 1936 Dawson, commenting on a problem by Fox which
was said to have been through at least fifty different versions before achievingsoundness, opined that “it may be taken (very nearly) as an axiom that a 4-move
helpmate with a White R and a B is cooked!”. While this has been proved to becomplete nonsense (e.g. WK a8, WR c2, WB d1, BK h1, helpmate in 6, solution
obvious – Z. Maslar, feenschach 1978) it is true that as the number of moves
increases so the feasibility of using many white pieces diminishes rapidly and thethematic possibilities with it. For example, the only helpmate in more than 4 witha WQ in the FIDE Albums in the last 30 years is the remarkable 59 (for solving, atthe end of this chapter).
Even in 3-move helpmates the number of white pieces is usually quite limited
and it is not particularly common to find a WQ. The immobile WQ in 39, serving
as a provider of white lines to be temporarily closed by the R, B and S whichappear on e8, makes a very unusual theme indeed, with the repetition of Kc3 anunavoidable minor blemish. As if to prove the point about soundness this problem
appeared without the BPh6 and with the WK on h7, allowing a couple of cooks
which I have corrected with this change. I do not know if the problem has beencorrected before.
The limitations mentioned above apply despite an undoubted improvement intechnique over the years. Páros was considered a great technician and was vastly
more accomplished than many of his contemporaries. In 1970 an elegant task ofhis (Albino plus 4 echo mates) dating from 1954 was set as a synthetic in The
Problemist and solvers showed that the pieces required could be reduced from 14
to 11 without compromising the theme. Even more remarkable, though datingfrom the computer age, was the result when a helpmate in 2 with double BS
promotion by Neukomm appeared as a synthetic in Thema Danicum in 1993.
Instead of the 20-piece original several solvers sent in a setting with 12 men! andit was further shown that the essential part of the idea can be set in miniature (7men or fewer).
Further evidence of this technical progress comes in the growing number of 2move helpmates which use all or most of the seven white pieces. Nonetheless thelimits on progress are absolute and have to do, among other things, with the sizeof the board. As things stand, we shall never see regular appearances of helpmatesin 4 with half a dozen white men and several thematic solutions!

1.Lc3 e8C 2.Lb4 Cc7 3.La5 Cd5;
1.Lc3 e8E 2.Lc4 Ed7 3.Ld5 Ee6;
1.Le3 e8G 2.Lf4 Ge7 3.Lg5 Gke4.

BLACK TO PLAY
40 K.Ébersz

41 C.M.Fox

42 N.Kovács

43 J.Oudot

2 Pr= Magyar Sakkvilág
1934

Essener Anzeiger 1931

HM Magyar Sakkvilág
1934

Problemas 1957

wdwdwdnI
dwdwdwdW
wdwdwdwd
dwdwdwdW
wdwdwdwH
dwdwdw1p
w4kdBdw)
dwdwdw4W

ndwdwdwd
ipdwdwdp
w0wdwdwd
dwdwdwdW
wdwdwdwd
dwdpHpdWpdw)p)w0
dwdwIwdW

wdwdwdwd
dwdwdwdW
wIwdwdwi
hN0wdwdW
p4pdwdwd
0w0wdwdW
wGpdwdwd
dw4wdwdB

wdw$wdwd
dwdndNdB
wdw0w0Kd
1wdw0wdr
wdwdrdwd
dwGkdngRwdp)bdwd
dwdwdwdW

H#5 (Cooked: see2012 Introduction)

H#5

H#4

H#2

1.h1J+ Cf1 2.Jh2 Ce3
3.a1H+ Cd1 4.Ha6 Cc3
5.Jb8 Cb5.

1.Ha1 Ekc3 2.Hbb1 Ee4
3.Hh1 Cd6 4.Hh5 Cf7.

1.Dc5 Kkf6 2.Dg5 Cke5.

1.Hc1 Eh5 2.Je1 Cf3
3.Ld1 Ce5+ 4.He2 Cg4
5.Hd2 Ce3.

44 W.PaulyDie Schwalbe 1931

wdwdwdRd
iwdwdwdW
wdndwdKd
dwdBdwdW
wdwdwdwd
dwdwdwdW
wdwdwdwd
dwdwdwdW
H#3** 1…Gc8 2.Db8 Gc6
3.La8 Ga6;
1.Lb7 Ef7 2.Da7 Ee8
3.La8 Ec6.

45 H.P.Rehm

Arbejder Skak 1958

niwdwdwd
HBdwdwdW
bdPdwdwd
dwdwdwdW
wdwdwdKd
dwdwdwdW
wdwdwdwd
dwdwdwdW
H#3** 1…Ec8 2.Fb7 ckb7
3.Dc7 Cc6;
1.Db6 Cb5 2.Dc8 Cc7
3.Da7 Cka6.

Fashions in helpmate form have often fluctuated but there is no doubt that thesingle line type has very little left to offer after seventy years or so of intensive
cultivation. To achieve a satisfying unity in this form the problem must either
show very intensive strategy as in 40, with two different closings of the same
battery line which is established during the solution, or successive repetition, as in41, where the full five moves are needed to achieve the doubling of the thematicshielding of the WK from check. It is easy to see that there is only a limited
number of ideas which can be set as vividly as 40 or cumulated as in 41.
The point becomes even more apparent in shorter problems like 42 or 43. The
former is a brilliant construction to force what appears to be the wrong BR tomove to the h-file; since the pin must be relieved two moves by the Rb4 areneeded anyway, leaving only two for the Rc1 to get to h5, which is impossible
because of the WBh1. The BSa5 stops a cook with the BK on d8. 43 shows a mateon a square which is maximally guarded in the initial position, and has theelegance to do it with none of the pins present at the start.
It is evident, however, that these problems lead nowhere; no composer looking
at either of them is going to get ideas for further development; they are perfect of
their kind.
The need for variety was sought for a long time through the set play form. The
first helpmate with a set mate in 1 was published by Dawson in 1921 but the idea
soon developed into the full line (missing only an initial black move) which A.C.
White described 14 years later as “the most satisfactory endeavor to combine twolines of play in the Help-Mate”. In the long run he was to prove quite wrong aboutthat but the fact became evident only slowly, so let us first look at an absolutely
perfect example, 44. The strategy is the same in the set play and the solution, witha neat interchange of functions between the white pieces. As a crowning elegancein a form where the set play will not work as solution because Black lacks awaiting move, his first move in the solution is a waiting move, but pins the BS!
If the set play form could have continued to produce masterpieces like that it
would flourish to this day, but it suffered from three drawbacks.
The first was that it became for a while almost de rigueur to have set play, sothat it was foisted on problems where it really did not fit. Many of those weremuch messier than 45 but even here the very ordinary set play adds nothing at all
to the delightful parallelism of the solution, so the composer would have done
better not to add the BB merely for its sake.

BLACK TO PLAY
46 G.Bakcsi

3 HM Jacobs MT 1959

wdwdwdwd
dwdwdwdw
wdwdwdwd
dwdwdwdw
w)w)wdp0
dPdwdw0k
wdwdwdw0
HwIwdwdw
H#4** 1…Cc2 2.h1J+ Ce1
3.Jg2 Cd3 4.Jh2 Cf4;
1.g2 Cc2 2.g1H+ Ce1
3.Hg2 Cd3 4.Hg3 Cf4.
48 J.Korponai

problem 33TT 1961 (v)(originally 1 Pr)

wdwdwdwd)w0wdwdw
BdPdP0wd
drdN$Kdw
wdkdwdwd
hp0wdwdw
p0NdPdwd
4bdwdwGw
H#2** 1…Cde3;
1.fke5 Eb6 2.e4 Cce3.

50 R.Lecomte

1 Comm. Thèmes 64 1956

wdwdwIwddw)wdwdw
wdwdwdwd
dwdwdwdw
p0p0wdwd
dpipdwdw
wdwhw0wd
dwhwdwdw
H#3 b) –Bd4
a)
1.f1D c8C 2.De3 Cb6
3.Dc2 Cka4;b)
1.f1J+ Ke7 2.Jd1 c8I
3.Jc2 Ih8.

The second drawback is the tendency for theactual and the set play in this kind of problem to be
essentially no more than different ways of doing thesame thing, often leading to the same mate in adifferent way; for example 46 shows this. The whiteplay does not change, though the ingenuity of theblack play is such that the defect hardly shows; there
are many cruder examples with this failing which do
not deserve to be reproduced!
The final drawback is the severe limitation
imposed by set play when it comes to showing
ambitious themes. Thus in 47 the halfpin combinedwith the switch of unpin from White to Black would
be most pleasing were it not for the cook 1.Ld6
Gkb5 2.De7 Gd8. The composer attempted to curethis by moving the WRf8 to f7, but this makes evenworse cooks (e.g. 1.Df6 Id1 2.Ff3 Ge7). If you
try to cure this you will find the task virtually
impossible; while in the two solution form it isusually relatively easy to add a black piece toprevent cooks, here it would have to be an immobile
piece. Not surprisingly then, in those cases wherecomposers did achieve soundness with set play, thepositions became increasingly cluttered withimmobilised pieces, like the SW corner of 48.
The composer had great difficulty in getting thisproblem sound. The capture and the crossing of thecritical square e3 make a most attractive way ofachieving the switch of S-mates, but at what a price!
Clearly this form had reached its limit; within ten
or a dozen years of 48 it had almost died out. Except
for a few cases where the theme made it appropriate,
the set play form was a false route for the helpmate,and it is no coincidence that around the time when it
started to die out the modern strategic style really
started to catch on. After all, set play is always half amove short, so even without its other shortcomings
is quantitatively deficient.

47 M.Montanari

1 Pr problem 24TT 1957

wdwdw$wd
dwdwdwdw
wdwdwdwd$ndniP0w
wdwdbdPd
dwdwdw0N
p0wdwdPd
4r!wdwdK
H#2** 1…Cg1 2.Dd4 Ic7;
1.De3 Gd8 2.Df1 Ic3.

49 B.Lindgren

1 Pr Tidskrift för Schack1943

wdwdwdwd)wdwdwdwwdw)wdwd)wdPIwdw
wdpdwdwd)wiwdwdw
wdwhp)wd
dwHwdwdw
H#3** 1...a8C 2.e1D Cb6
3.Dc2 Ca4;
1.e1J+ Kf4 2.Jd1 a8I
3.Jc2 Ih8.

The twinning or multiple position form goes back to Shinkman (1871) so iseven older than set play; and it does not have its disadvantages. It is interesting tocompare 49 and 50. The former is full of WPs stopping cooks, because mobile
black pieces cannot be used; the ones blocking WK moves are particularly
unfortunate. The latter scores with striking white economy, only two cookstoppers
and a WK restrained more neatly by the board edge. Lindgren’s problem is better
only because he got there twelve years earlier!
Twinning can involve changes which are all made from the diagram position or
successive changes which lead on from each other; there is usually little to choose
between these methods though a mixture of them in the same problem can be
irritating. Making more than one change in a position is frowned upon and isusually a sign of poor construction; one exception is the so called duplex form
which can be presented as “either side plays first and is mated”, indeed its
solutions are usually written that way. A moment’s thought will convince you that
this is the same as forming a twin by changing the colours and rotating the board
180 degrees. It is very difficult to be both ambitious and economical in this form,in fact good duplex helpmates are about as common as health resorts on the planet
Pluto. A pleasant (but not exactly deep!) example is 51 which, unusually, has two
solutions in each part.

BLACK TO PLAY
51 P.Benkö

Die Schwalbe 1974

wdkdwdwd
dw4wdwdw
wdwdwdwd
dpdwdwIw
wdwdwdw!
dwdw0wdw
wdwdbdwd
dwdwdwdw
H#2 2 Solutions
DUPLEX
1.Ff3 Ih5 2.Fb7 Ie8;
1.Fg4 Ih1 2.Fd7 Ia8.
1.Kh6 Fd3 2.Ig5 Hh7;
1.Ig3 Hc5+ 2.Kh4 Hh5.

53 A.Benedek

2 HM Jubilee Sanz 1986

wdwdwdwd
dwdN0wdn
wdrhkgwd
dbdqdw0w
w0pdwdwd
dwdwdNdw
wdwdwdwd
dwdwdwIw
H#3 b) Move L to c5 inmating position of a).
a) 1.Df5 Cde5 2.Hd6
Cf7 3.Fd7 Cd8;b) 1.Fb5 Cf7 2.Hc6
C7e5 3.Dd6 Cd7.

There also exists a thing called zeroposition
which should be avoided in the same way as bubonic
plague. This book is certified free of infection.
It would be tedious to enumerate all forms oftwinning; the most common involve moving one
piece (ideally not the BK) to another square, adding
or removing one piece or changing its colour or
denomination. Interchanging two pieces is often
tolerated as a kind of single change.
When the twinning is closely related to the
problem’s strategy, as in 10, it is known as thematic
twinning, though this term is often used loosely. In
52 the theme is the removal of the black e-pawn by
white sacrifice on e4 or e3; it is thematic (and, I
hoped, amusing) that the BK must be mated on
whichever of these squares is obstructed by thepawn and not on the one which appears to be free.
This is achieved by alternating lines of guard to f4 in
the interchange of functions between the WR and
the WB. Quite the oddest thematic twinning I haveseen appears in 53, typical of its author’s ingenious
whimsy. I will not spoil this piece of wit byattempting to describe it; it makes a superb problem
but I cannot see it setting a trend!
53 certainly has artistic unity but the same cannot
be said of the famous 54, which sets out
unashamedly to puzzle by means of twinning.
“Difficult, do you call it, Sir? I wish it were
impossible”, as Dr Johnson remarked of theperformance of a celebrated violinist.

52 C.J.Feather

Moultings 9 1992

wdn1Rdwd
dwdwgwdw
wdwdbdwd
dwdwdndw
Rdwdp)wd!wIwdkdw
wdwdp0wd
dwGwdwdw
H#2 b) Be4>e3
a)1.Fd6 Gke4 2.Lke4 Ia8;b)
1.Fd7 Eke3 2.Lke3 Kc2.

54 G.Páros

1 Pr Kovács MT 1948

whwdbdwdgw0w)wdw
wdwdw1wd
dBdwdPdw
piPdQ4wd
drhp$P0p
wdwdwdpd
dwdwdwIw

As soon as twinning ceases to be neutral orthematic and begins to be seen as the theme of theH#2 b) +Ca5
problem, a certain superficiality sets in. The variousa)parts are usually strategically unrelated; the twinning
1.Ha3 Ikd3 2.Lb3 Ib1;
itself is (erroneously) considered a sufficient link.
b)
Myllyniemi composed a position containing a
1.Lc5 Ia8 2.Ld6 Cb7.
helpmate in 2 on each rank and each file (taken
separately) and Dawson produced one with aproblem on each of nine different diagonals.
Another idea is to remove successive pieces until very little is left, the so called
striptease theme, all strip and no tease in my opinion, as titillating as a turnip. I
spare you the tedium of these. There are some not too extreme examples among
the problems for solving.
The multisolution form (dating from Lange, 1862) is by far the mostsatisfactory in most cases, though this view did not prevail until after Dawson’s
death in 1951. For a time it was referred to by the name of the Russian M.B.
Neumann (thus a helpmate with three solutions used to be termed “Neumann 3”)
but this confusing jargon is fortunately no longer current. Although Neumanncertainly used this form it was mainly Páros who later brought it to prominence.
One obvious reason why it is now regarded as superior to twinning is that it isharder to achieve; whereas a multisolution helpmate can usually be transformed
easily into twins the opposite process is mostly impossible. The multisolution
form is so well represented in this book that I shall give no special examples here.

BLACK TO PLAY

DO IT YOURSELF!

57 I.Telkes

58 G.Páros

2 HM feenschach 5/1971

1 Pr Budapest-Paris
1938/39

1 Pr Chess Life & Review
1972/74

dwdwdwd
dwdwdwdw
W4pdwdwd
Iwhw0wdw
WdQdwdwd)wdwdwdw
Whwdpdw0
dwdwdwdk

bdwdwdwd
dwdwdwdp
Wdwdwdw0
dwhpdPip
Wdwdwdwd
dwdPdwIw
WdwdR$wd
dwdwdqdw

dwdwdwd
drdw0wdw
pdPhwdwdhk)wdwdw
bdpdwdwd
dw$wdpdw
WdNdw1wd
dw$KGQdw

dwdBdbd
dndp0w0w
WdkdPdRd
dNhwdw)w
Wdwdwdwd
dwdrdwdw
Kdwdwdwd
dwdrdwdwa) H#1b) Gc4 H#2c) Ec4 H#3d) Cc4 H#4e) Ac4 H#5

H#2b) GG=EEc) GG=CCd) GG=AA

H#2

H#3

59 F.Abdurahmanović

60 G.Bebesi

3 HM Mat 1974

Fairy Chess Review 1955

dwdwdwd
0w0wdwdw
K0P0wdpd
dPdPdw)w
Wdwdw!wd
dwdwdwdw
Wdwdwdkd
dwdwdwdw

dwdwdwidwdwdwdw
Wdw0wdwd
0wdPdwdw
Pdwdwdpd
0pdPdp)pW0wdw)wd
gKdwdwGN

H#5*

H#14

55 W.Schlitt

56 G.Bakcsi

1 Pr Feenschach 1959

SOLUTIONS ON
NEXT PAGE

BLACK TO PLAY
55. (Schlitt) a) 1.e1D If1; b) 1.e1D Gf4 2.Dg2 Gf1; c) 1.e1F+ Kkb6 2.Ff2 Ee2 3.Fg1 Ef3; d) 1.e1DCkb2 2.Dg2 Cd3 3.Hb1 a4 4.Hg1 Cf2; e) 1.Hb5+ ckb5 2.Lg2 bkc6 3.h1H c7 4.Hg1 c8I 5.Lh1 Ih3.
Twinning for its own sake, a remarkable concoction, but some of the content is less than scintillating.
56. (Bakcsi) a) 1.Dd7 Ge7 2.Df6 Gg7; b) 1.Ja1 Eg4 2.Jf6 Ee3; c) 1.d4 Ckd4 2.Db7 Ce4; d) 1.Ja1 e4
2.Jf6 f4.
The repeated moves detract but it’s still something of a tour de force.
57. (Telkes) 1.Jkf1 Gb3+ 2.ckb3 Cd4.
The construction can be improved (e.g. a5=BP, BPe7 to d5 and remove b7 and c6). A typical thirties oneliner, crying out for a doubling of the idea but still impressive.
58. (Páros) 1.Fh7 ekd7+ 2.Fkg6 d8I+ 3.Fke8 Ca7.
A very late date for a short one-liner. The white pieces are there only to be taken but it’s hard to imagine atwin in which they might serve.
59. (Abdurahmanović) 1…Id4 2.Lf3 Ikb6 3.Le4 Ia5 4.Lkd5 b6+ 5.Lkc6 Ib5; 1.Lh3 Ie5 2.dke5 d6
3.Lg4 d7 4.Lf5 d8I 5.Le6 Id7.
Must have been composed by the “fiddling about” method mentioned in the text, but still amazing.
60. (Bebesi) 1.Lg7 Eh2 … 4.Lkd5 … 6.Lb4 Eg1 7.h2 d4 8.hkg1F d5 9.Fkf2 Ckf2 10.Lka4 Ckg4 11.f2
Ce3 12.f1H+ Cd1 13.Hf4 g4 14.Hb4 Cc3.
The best face of the long helpmate. Some subtle timing and a more dynamic use of the closed corner than inmost such problems. The word “miracle” used by one solver is hardly out of place. Goodness knows how long
the genial and charming composer spent on this, but Alybadix needed 9 hours, 38 minutes and 3 seconds (withan 80486/33 processor).

BLACK TO PLAY
61 F.Abdurahmanović

1 Pr Sahovski Glasnik
1964-66

wdwdwdwd
dw0w0wdW
wdPdPdwd
dwdB0wdW
wdwdPiwd
dwdpdPdKwdw)pdP)dwdwdwdW
H#3** 1…Kh4 2.e1D Kh5
3.Dkf3 g3;
1.e1F Eb3 2.Fh4 Ed1
3.Fg5 g3.

62 A.M.Kárpáti & L.Lindner

1 Pr Magyar Sakkvilág
1941

RGkgwdwd
dndwdwdW
w0w0wdwd
0w0w0wdW
wdwdwdn0
dwdwdwdp
wdwdpdwd
dwdwdwdK
H#4
1.b5 Ea7+ 2.Lc7 Eb8+
3.Lb6 Ea7+ 4.La6 Ekc5.

63 J.M.Kricheli

Problemista 1966

wgwIwdwd
dwdwdpdW
wdqhpiwG
dwdw0wdb
wdwdPdwd
dwdw0wdn
wdw4wdwd
dwdw4wdW
H#3 b) Be5>f5
a)
1.Hg2 Ef8 2.Hg7 Ekd6
3.Fg6 Ee7;b)
1.Hg1 Eke3 2.Hg7 Ef4
3.Fg6 e5.

CHAPTER 4: AGAINST THE GRAIN
Before we look at methods of achieving that unity in variety which is thehallmark of the best helpmates, we shall cast a quick eye over some ways inwhich composers have gone against the nature of the genre in their search forinterest and originality. It is interesting that each of these apparently perverse
sidelines also has a connection with the main lines of the helpmate’s development.
Attempts to introduce so called “tries” have from time to time been made by avariety of composers with inspiration from directmates. The difference is that
directmate tries have refutations while helpmate “tries” simply don’t work, being
a failure of cooperation. While directmate tries look to Black for resourcefulness,
helpmate “tries” look to the solver for incompetence!
Thus in 61 we are supposed to try first 1.e1J?? 2.Jke4 Kh4 3.Jf5 g3, andthen 1.e1H Kh4 2.Hke4 Eke4 stalemate, thus completing the theme of the four
promotions. In a three move problem attempts which obviously fail after one andtwo moves respectively do not seem very convincing to me; and what a
constricted position!
Perhaps we shall find 62 more convincing. Here the solver is hardly likely not
to attempt to block d7 for Bxd6 mate; it does not take long to see that the only
possible piece to do the job would be a BB, which would have to appear frompromotion on h1. When you have found that this does not work and put in a great
deal more thought besides you may find the ingenious solution: the WB has to
shuttle backwards and forwards so as finally to provide a similar looking mate on
the a-file instead of the eighth rank. A convincing try, then? Not for me. We canremove e2/g4/h3/h4 altogether without affecting soundness or solution. If thecomposers were going to use those pieces why didn’t they arrange for 1.h2 Kg2
2.h1F+ Kh3 3.Fc6 Kkh4 etc. to work as a second solution? Because it’s
strategically inferior to the first! and surely that flaw cannot be remedied byhaving it as a “try” which fails rather than a solution which works! I think theembroidery in the SE corner actually spoils this fine problem by insulting thesolver’s intelligence.
Despite the above, there is a kind of “try” in the helpmate which can be very
convincing. The catch is that such “tries” are not tries at all but dual avoidance! In
63 you will find, if you start with the wrong rook in either part, that the power ofthe rook left behind prevents the intended mate, whether by pin of the bishop or
by guard of e5. Thus each line is correct (not dualised) because of a specificstrategic effect; the presence of both rooks is not mere embroidery since theproblem would be unsound as a twin with the BR moving from d2 to e1. As I
have already promised once, there will be more
about dual avoidance in chapter 7. I chose 63, by the
64 A.M.Kárpáti
way, because it is such a clear example; it does have
1 HM J.Darvas Mem. 1957
a defect in the repetition of Black’s second and third
wdwdwdwd
moves, though.
The next method of going against the helpmate
0wdwdwdW
grain
has also been present in the last two examples.
wdwdw0w0This
is
tempo. The “tries” in 62 failed because thedw0wdwir
WK had nowhere to go at his third move; if in 63 thewdPdw0w0
WB could have done nothing instead of capturing ondw)wdpdP
d6 or e3 then either rook could have started off.
Pdwdwdwd
Tempo play involves finding ways of filling in
IBdwdwdW
moves, doing nothing, or nothing harmful, instead of
positive cooperation. It can make for intriguing
H#5
puzzles and is very popular with some solvers for
1.a6 Kb2 2.a5 Kc2that reason. The mate in 64 could be achieved in
3.Lf5 a3 4.Le4 a4three moves if the sides could play in the order
5.He5 Kd2.
WWBBBW. Since they can’t, all possible pawn
moves on the a-file are needed as fillers, two blackand two white tempi.

BLACK TO PLAY
65 K.-H.Ahlheim

3 Pr Die Schwalbe 1971wdwdwdwd
dwdwdwdw
wdwdwdwd
dqdwdwdwwdk)wdwd
dwdwdwdw
wdK0wdwd
dwdwHNdw
H#3 2 solutions
1.d1H d5 2.Hkd5 Cd3
3.Hd4 Ce3;

Tempo effects are not particularly hard to set if
the composer does not try to incorporate too muchelse. Thus in 65 the need is merely to ensure that thepromoting black pieces have a spare move and only
one way to use it; this is in some ways like the set
play form but with the gap not at the beginning of
the solution but later. As in the case of set play, once
the idea becomes more complex the construction canbe quite hard since pieces added to stop cooks must
often be immobilised. In 66 a similar idea to 65 isalready a considerably greater task because the black
tempo moves are on the same line. (I should havepreferred the two solution form e.g. e5=R , f6=B ,add BPg5; one piece more in order to get rid of
twinning is a good bargain in my view.)

And when we look at 67, with three black tempi,
we see what the cost in immobilisation may be!
White has to buy Black some time by sacrificing theQ; it would not be such fun to use a WSg4 instead!
67 R.Darvas, T.Kardos &Black has five choices at his first move, two at his
J.Bajtaysecond and six at his third, and of these thirteen, five
1 Pr Tidskrift för Schack 1950
mate White! This is more like a selfmate than ahelpmate, and even more so is the curious 68 where
wdwdwdwd
Black gets no choice at all! The limited possibilities
dwdwdwdw
are reflected in the fact that Alybadix tests this in
wdwdwdwG
0.28 seconds, whereas most helpmates in 6 takedwdPdwdw
hours.

1.d1F+ Kd2 2.Fa4 Cc2
3.Fb3 Cfe3.

wdwdP!wddw0w)w0w
w0piP0P0
gr4bdKdw

H#3
1.h1D Ikf2 2.Dkf2 e5
3.Dh1 e4.
69 M.Caillaud

1 Pr feenschach 1987

wdwdwdwd
0wdwdw0w
wdpdwdPd
dwdwdw)B
wdpdpdP0dw)w)pdk
wdwdw)wd
dwdwGwdK

69 shows a white tempo idea at considerable
length. White needs to play Kg1 but otherwise toreturn to his initial position after an even numbered
move. To lose a move the bishop has to travel
widely. The black and white play takes a few moves
to meet but when it does the interplay is subtle. In
this problem White has an average of just over threechoices per move.
When composers have ceased to treat tempo as an
end in itself and have understood it as a device for
motivating strategic ideas some remarkable
compositions have resulted. This transition is very
well seen in the works of Kricheli. There is awonderful example in chapter 7 of tempo motivating
a dual avoidance idea. Here we shall look at an
example of tempo as the reason for some mysterious
arrival effects.

In the first part of 70 it is obvious that the BS
must get out of the WR’s way, but why should it
land on c2 rather than elsewhere? Similarly in the
H#9
second part the WR must cross f4 but why should it
land on g4, not h4? In each case there will be a later
1.a5 Ed2 2.a4 Ec1 3.a3
tempo move (2…Kc1 / 2.f2) which means that there
Eb2 4.a2 Ea3 5.a1H+
would be an unwanted check if they did not landEc1 6.Ha2 Kg1 7.Hkf2
there. It is most ingenious that this anticipatory
Ed2 8.Lg3 Ee1 9.h3
Ekf2.
check avoidance is achieved by white tempo in one
part and black in the other. This fine problem
appeared (with solution) in an article and had a cook which went unnoticed evenby the judge. I have searched all subsequent issues of the magazine but can findno correction and do not even know whether the composer (who died in 1988)
knew of the cook. I have cured it myself, by changing the colour of g5 and adding
the BPa3.

66 J.M.Kricheli

5 Pr Karsch Mem. 1974

wdwdwdwd
dwdwHwdw
wdpiw1wd
dwdwgwdw
wIwdwdPdGb)wdwdww)wdwdwd
dwdwdwdw
H#3 b) e5=Da) 1.Fg8 Cg6 2.Le6
Kc4 3.Ff7 Cf8;b) 1.Ff7 Cg8 2.Ld5
Kb3 3.Fe6 Ckf6.

68 M.Klasinc

Sp Pr Schach-Echo 1972

wdwdwdwd
dwdwdwdp
w$B0wdw)
dw!NdRdw
wdPdNdpd
dpdwdp)ww0pdp)wG
griwIwdw
H#6** 1…Ie3;
1.dkc5 Cb4 2.ckb4 Cc3
3.bkc3 Ekf3 4.gkf3 Gg6
5.hkg6 g4 6.gkf5 Ef4.

70 J.M.Kricheli

2 Pr problem 1968

wdwdwdwd
dwdwgwdw
wdpdpdpd
1wiwdw)b
w$whwdwd
0pdwdpGp
pdwdwdw)
4ndKdwdw
H#3 b) Fe7>c3a) 1.Dc2 Gf4 2.Ld6 Kc1
3.Jc5 Gd4;b) 1.Db5 Gg4 2.f2 Ef4
3.Lb4 Ed6.

BLACK TO PLAY
71 W.A.Földeák

Christmas Card 1950

wdwdwdwd
dwdwdwdw
wdwdwHwd
0wdwdwdp
r0Pdwdw0$pdwdwdk
pdwdw)w0
dwdKdwdw
H#3
1.a1J+ Ke2 2.Je5+ Kf1
3.Jb5 Gkb3.
72 S.Stambuk

3 HM Sahovski Vjesnik 1952

wdwdwGwd
dwdwdkdw
wdwdwgwd
dBdwdwdw
wdwdwdwH
dwdwhwdw
wdwdwdw0
dwdw$wdKOur final attempt to go against the grain is what I shall call hideaway. It is
often related to tempo. In 71 Black would do nothing for three moves if that wereallowed, just as in a tempo problem. Having once promoted the a-pawn, though,which he must do since 1.Kg2 is no use, he plays not tempo moves but the only
two moves which will hide away the Q which he did not want! It is necessary toensure that minor promotions will not work, which explains the rather dull whitemoves, thwarting the R-promotion. In view of the method of publication I suspectthat the composer regarded this as something of a curiosity, which it is.
Tempo and hideaway are blended in the other order in 72, where the. BS would
happily stay in hiding on any of seven squares which it can reach at its first move;but since it must make a tempo move at its second turn, only one of these initialpossibilities works.
You may think that hideaway is rather weasely, since hiding useless pieces israther like shutting them off in the way we saw in 18. That is true, but withhideaway, as with “tries” and tempo, an apparently sterile and perverse notion canbe turned to thematic advantage if it is intertwined
73 C.J.Feather
with the motivation of the other moves in a unifying
Moultings 2 1950
way. In 73 we have BQ hideaways which use thearrival effects of the hiding BQ in order to motivate
wdqdwdwd
dual avoidance. This idea of hideaway stimulating
0wdwdwdw
subsequent strategy deserves further attention from
Pdwdp0wd
composers.

iwdwdwdw
NdB$Rdwd
dwdwdwdw
wdKdwdwd
dwdr4wdw

H#2

H#2 2 solutions

1.Dc2 Eh6 2.Da1 Ec4.

1.Jg8 Ee2 2.f5 Ge5;
1.Jh8 Ed3 2.e5 Gd5.

BLACK TO PLAY

DO IT YOURSELF!

76 L.Lindner

77 F.Abdurahmanović

1 Pr BTSB 1956

Comm. Magyar Sakkvilág
1943

2 Pr Süddeutscher
Rundfunk 1960

dwdwdwidwdwdwdw
WIpdwdwd
dRdwdwdw
Wdw$qdw4
dwdwdwdw
Wdpdwdp0
dwdwdbgw

dwdwdwI
dwdwdwdQ
Wdwdwdwd
dwdw0wdw
WdbdwinddwdPdwdw
Wdwdwdwd
dwdwdwdw

dwdwdwd
dwdwdwdw
Wdpdwdwddw)wdwdwbdw)w)wdiwdp)wdK
WdpdpdNd
dwHwGwdw

Bdwdwdwd
dwdpdwdw
W0w)wdpd
GPdwdw)pW)wdwiwI
dwdPdwdP
Wdp0p0w1
dwHb4rgw

H#2 b) K>a6

H#3

H#3

H#3

74 G.Bakcsi

75 G.Páros

2 Pr Tipografia 1963

78 B.Hegermann

Problemist Fairy Chess
Supplement 1935

dwdwdwd
dwdwdw0w
Wdw0wGpd
dwdPdw0w
W0w1wdPd
dPiwdpdw
W0pdw)wd
grHwIwdw
H#4

SOLUTIONS ON
NEXT PAGE

BLACK TO PLAY
74. (Bakcsi) a) 1.Je3 Gg5 2.c5 Gkh4; b) 1.Jd3 Gd7 2.Hc4 Gb8.
Interesting BQ hideaways which avoid new pins by reinforcing old ones.
75. (Páros) 1.e4 Ia7 2.Le5 d4+ 3.Ld5 Id7.
White tempo with superb economy, including economy of space.
76. (Lindner) 1.d2 e4 2.dke1E (d1??) Ce3 3.Fb4 Cc4.
Great skill in preventing the “try” from working, but what poverty in the white play!
77. (Abdurahmanović) 1.Le3 Eh1 2.Jkh1 Kg3 3.Ja8 Ekb6.
The sequence BBWW would solve this in 2 but in fact maximum length tempo moves by both sides areneeded. Full marks for technical skill if not for artistic impression!
78. (Hegermann) 1.Je5+ Kf1 2.Ld4 Ekg7 3.Jf6 Ke1 4.Lc3 Ekf6.
Obviously there is the short set line 1…Ekg7 2.Jf6 Ekf6 but to recreate it in the solution the BQ musttake two moves to reach f6. In order for this to work both Ks must waste two moves. Nobody was in the moodfor real cooperation in 1935!

BLACK TO PLAY
79 F.Lovejko

1 Pr Zadachi i Etiudi 1925

wdwdwdwd
dw0wdwhW
wdwdr4wd
dwdwdkdW
wdwdwdwd
dwdw0wIW
wdwdwdwd
dw$wdwdW
H#3 4 solutions
1.Hf7 Gh1 2.Lf6 Kf4
3.Hee7 Gh6;
1.Hg6+ Kf3 2.Hef6 Gd1
3.De6 Gd5;
1.De8 Kf3 2.Le5+ Kke3
3.Dd6 Gc5;
1.Dh5+ Kf3 2.Df4 Gh1
3.Dg6 Gh5.

81 M.Bilý

Harmonie 1993

wdwdwdwd
dwdwdKdW
wdwdwdwd
dbdwdwdW
wdkdwdwd
dwdwdwdW
wdP$Pdwg
dwdwdwdW
H#4 2 solutions
1.Fe5 Gd5 2.Fc3 Ge5
3.Ld4 Kf6 4.Fc4 e3;
1.Fg1 Gd6 2.Fc5 Ge6
3.Ld5 c3 4.Fc4 e4.

83 J.Korponai

1 Pr feenschach 1971wdwdwdwd
dwdwdw0B
wdwdwdwG
dwdwiwdq
rdwdbdwd
0wdngwdW
wdwdRdwd
IwdwdQ4W
H#2 b) L>e6a)1.Db4 Eg8 2.Fb1 If4;b)
1.g5 Ef8 2.Fc1 If5.

CHAPTER 5: PATTERNSIn this chapter we shall look at four kinds ofhelpmate motif – echoes, promotions, geometricshapes and cycles of moves – whose thematic unity,
a sort of unity in space, lies in the pattern created.
We shall see that these types have other features incommon, too.
Echoes go back a long way, as 79 shows.
Ignoring the cookstopping pawns, each of the four
final positions has the same arrangement of pieces,an obvious enough mate but very ingeniously
arranged to achieve a fourfold setting. The chief
weakness is the repetition of 1…Kf3.
The composer’s main difficulty in this kind ofproblem is to find a unique order leading to thedesired end; so you will often, as here, see pieces
moving to squares just vacated by others andfeatures involving check or its avoidance. Even
more striking than 79 in this respect is 80, where
unguard for the WK is a feature in two parts and theneed for the BK to make way for other pieces is usedin all three. Since the possibilities for economicalechoes like these are quite limited this style finds
fewer practitioners today, although some solvers like
it for its undemanding simplicity. The composer of
81 is one who perseveres, seeking out slightly
unusual combinations of material; and infuriating
judges who agonise over possible anticipations! The
echoes in 81 are chameleon echoes, like some ofthose in 79 and 80, since the same mate occurs on
squares of different colours.
An attempt to rejuvenate the echo problem is seenin 82, where each part has a different pair of echoes.
This idea has not been much explored.
While using whatever tactics come to hand toforce the move order towards his desired mating
configuration, the echo composer has often little
chance of including genuine strategy. 83 comescloser to strategy with its line opening and closing
effects and 84 achieves it with its double unpins ineach part. Often when they reach this level ofsophistication composers will abandon the echo partof the idea to pursue deeper strategical paths.
Did you notice the weasel in 83, by the way? Inb) the line closing by 1.g5 is spurious, since thepawn must leave g7 and can clearly go nowhere
else. To be fair, the BQ is only half a weasel, since itdoes stop cooks in part a).

1.Fd6 Gc5 2.Fh2 Ef5 3.Fb1 Ef2;
1.Fc1 Eh4 2.Fe6 Eg2 3.Fh3 Ef6.

80 J.Peris

1 Pr Revista de Sah 1938-39

wdwdwdwd
dwdwdwdW
wdwdwdwd
dwdwdwdW
wdwdqdwd
dNdwdwdW
wdrdwiwd
dwdKdwdW
H#3 b) J>b6 c) J>f6a)1.Lg1 Cd4 2.Jh1 Ke1
3.Hg2 Cf3;b)
1.Lf1 Ca5 2.Jg1 Cc4
3.Hf2 Ce3;c)
1.He2 Kc1 2.Le1 Cc5
3.Jf1 Cd3.
.
82 M.Klasinc & B.Ostruh

feenschach 1991

Kdwdwdwd
dwdwdqdW
wdwdwdwd
dwdwiwdW
wdwdwdwd
dw0wdw4p
wdwHwdwG
dwdwdw$W
H#3 2 solutions b) J>f2
a)
1.Le6 Ce4 2.Hd3 Gg5
3.Hd7 Ge5;
1.Lf5 Cf3 2.Hg6 Gg4
3.Je6 Gf4;
b)
1.Lf4 Cc4 2.Lf3 Ge1
3.Hg2 Ce5;
1.Je3 Cc4+ 2.Le4 Gd1
3.Hf3 Cd6.
84 G.W.Jensch

3 Comm. Probleemblad
1968

wdwdwdwd
dwdwdwdq
wdpdwdp4
dwdwdwdW
ndwiwdwd
gw$wdwdB
bdwdwdwd
4wdwGwdKH#3 2 solutions

BLACK TO PLAY
85 G.W.Jensch

2HM Probleemblad 1969

wdwdwdBd
dwdqdbdW
wdwiwdpd
dw0wdpdW
wdwdwdwd
hndwGwdW
wdwgp4w0
dwdwdwdK
H#4
1.Fc4 Eh6 2.Fg5 Ed5
3.Fe7 Ef3 4.Fe6 Ef4.

Echo usually suggests echoed mates but it is possible to show echoed playinstead, that is moves which imitate each other. Possible, but very difficult to find
one’s way between inanity on the one hand and weaseldom on the other! The
superb 85, probably the best problem in this book, shows White imitating Black in
an equal but opposite way at every turn. What’s more, the motivation is as equal
as it possibly can be, given that one side mates and the other is mated (Black’s
third move blocks a square, White’s third closes a line) and in particular the
motivation for the first move clearances is pure. Jensch did not enter his problems
for the FIDE Albums.
I frankly doubt whether the next motif, promotion, could ever reach the levelof sophistication which echoes very occasionally attain. Dr Niemann wrote in1972 that one fifth of his famous collection of helpmates showed promotions! I
propose to devote about one fiftieth of my space to them because to me
promotions are a device, not a theme, but I haven’t been brave enough to ignore
them completely.

87 A.M.Kárpáti
86 D.H.Hersom

Fairy Chess Review 1936

1 HM Magyar Sakkélet
1968

wdwdwdwd
dwdwdwdW
wdwdwdwd
hwdwdwdW
wdwdwdwd
iwdwdwdp
w0pdp0w)
dwdwdwdK

wdkdwdnd
dwGw)wdWw)wdwdwd
dwdPdwdW
wdKdwdwd
dwdwdwdW
wdwdwdwd
dwdwdwdW

H#8

H#2 4 solutions

1.f1D Kg1 2.Dg3 hkg3
3.c1F g4 4.Fh6 g5
5.e1F gkh6 6.b1H h7
7.Hb3 h8I 8.Fb4 Ia1.

1.Lb7 e8I 2.La6 Ia8;
1.Ld7 e8G 2.De7 Gd8;
1.Lb7 e8E 2.La8 Ec6;
1.Df6 e8C 2.Dd7 Cd6.

88 G.Páros(after W.Rybakov)

89 R.Wiehagen

Whether in ingeniously forced ascending order(86, complete with an extra bishop), in shorter 4solution form (87) or a host of other combinations(which I spare you), the dreaded four promotions
idea haunts the helpmate with its ragbag of ill
matched motivations and anticipated anticipations.
In the shorter settings the BK tends to get a lot of
exercise, often with repeated moves such as 1.Kb7
in 87. If you think that is an economical setting you
may like to know that it can be done with only 5
men (H.Haverkorn & D.Borst, Die Schwalbe 1988:
WKd7, WPc7; BKb7, BRb8, BSa7, helpmate in 2.5,
i.e. White starts. In this setting the WK plays to c7
three times).
Attempts to fill in some of the blank moves
inevitably left by this idea started early. The original
on which 88 is based dates from 1927 but had 6 WPs
and an idle WS, although without twinning. The BK
must move in diagonal line with the promotion
square to force the R-promotion and in orthogonalline to force the B-promotion, so why not complete
the so called K-star motif by using all four diagonal
moves of the BK? thus taking us into thegeometrical domain of the next section. Moremodern developments have added different blocks
on the square left by the BK, but that was notthought of in 1943; indeed the repeated 2.d5 is a
blemish.

Die Schwalbe 1943

2 Pr The Problemist TT
1989-90

wdwIwdwddwdw)wdW
Pdw0wdwd
dbdkdw)W
w0w4wdwd
dwdN0wdW
wdwdwdwd
dwdwdwdW

wdwdwdwdgwdp)wdK
wdpdwdwd
0w0wdwdW
wdpdpdnd
iw0wdwdW
ndPdpdwd
dbdwdwdW

H#2 b) Aa6>g6b) Aa6>a2 c) Aa6>g2

H#3 b) Dg4>a4c) L>a8 d) L>h5a) 1.Lc6 e8G 2.d5 Ge6;b) 1.Le6 e8C 2.Hd5 Cg7;c) 1.Ekd3 e8I 2.Lc4 Ic6;d) 1.Le4 e8E 2.d5 Eg6.

a) 1.e1J e8I 2.Jc1 Id8 3.Jb2 Ika5;b) 1.e1D e8C 2.Dd3 Cd6 3.Ddb4 Ckc4;c) 1.e1F e8E 2.Fg3 Ekd7 3.Fgb8 Ekc6;d) 1.e1H e8G 2.Hh1 Gf8 3.Hh4 Gf5.

Black promotions cannot be shown quite soneatly as white; for one thing three moves areneeded to force a BQ promotion. That explains thelength of 89, a considerable achievement despite its
grotesque twinning. This is the so called Babsontask, in which each black promotion is answered by
the same white one, ideally on the first move, as
here. Some very dull play occupies the next two
moves!

BLACK TO PLAY
90 C.M.Fox

Deutsche Märchenschachzeitung 1932
(2 Pr Essener Anzeiger 3T.)

wdwdwdwd
dwdwdwdW
wdwdwdwd
dwdpdpdp
pdwdwdwd
dwdwdwdW
pdw0pdp)
dQiwdbIW
H#7
1.akb1H Kf2 2.g1H h4
3.Hg5 hkg5 4.e1H g6
5.He8 g7 6.Hh8 gkh8I
7.d1H Ic3.
.
92 B.Hegermann

TRDFCR 1939

wdwdwdwd
0w0wdwdW
wdwdwdw4
dwdpiPdp
wdwdpdwI
dwdwdwdP
wdwdwdwd
dwdwdwdW
H#4 b) H>h2 c) H>b1d) H>c8a) 1.Lf6 Kg3 2.Lg7 f6+
3.Lh8 f7 4.Lh7 f8I;b) 1.Lf4 f6 2.Lf3 f7
3.Lg2 f8I 4.Lh1 If1;c) 1.Ld4 f6 2.Lc3 f7
3.Lb2 f8I 4.La1 Ia3;d) 1.Ld6 f6 2.Lc6 f7
3.Lb7 f8I 4.La8 Ikc8.
94 Z.Gavrilovski

6 Pr USPB 1988

wdb4n4wd
dwdwdw0K
w$wgkdNd
dwdwdwdW
wdw0wdp)dwdpdndW
wdwdPdwd
dqdwdwdW

Finally on our whistle stop tour of promotions, alittle look at successive ones to the same piece, anidea which received a good deal of attention in thethirties. Just two examples. 90 shows four blackrooks, which I suppose excuses the absurd WQ. The
motivation for the promotions is twice block andtwice check avoidance. In 91 we at last find somefairly homogeneous motivation for promotions. In
each case the arrival effect is equal, being the needto avoid check and to avoid controlling the a2-d5line. Unfortunately, although each departure effect isa line opening for White this is twice for both WB
and WQ and once for WQ alone. If there is anythingat all left in the promotion idea as a main theme I
think it must be in this area of promotions with well
unified motivation.
Geometric patterns include the diagonal star
which we saw in 88, the cross (four orthogonal
directions), the Albino, Pickaninny, S-wheel andsimilar motifs with their extensions. In 92 forexample, the BK visits all four corners of the board.
Part a) is quite ingenious but the repetitiousness
which sets in thereafter well illustrates one of the
difficulties of this kind of problem.
Geometrics can be very obvious and boring. They
also quite often feature material which serves only in
one part. 92 is not too bad in that respect; 93 is lessgood but still far from the worst one may encounter!
It shows an extended K-star with a twinning device
sometimes called the Forsberg twin (after acomposer who made a famous example) which often
accompanies geometric pattern problems. We are
getting used to mixed motivation in pattern problems
but here everything is simplistic, just a matter ofreaching the necessary square, with even 1…Bf2 inb) not being a genuine line closing. This problem isan early example of the concentrated geometricstyle.

2 HM Magyar Sakkvilág
1929 (version)

wdwdwdwd
dwdwdwdW
w0ndbdwd
dwdkdwdpw)wgndwd
Gw0wdpdW
w0w0w0w!
dwdwdwdK
H#3
1.b1D Ec1 2.d1D Ef4
3.f1D Ia2.

93 H.Bartolović

1 HM Magyar Sakkélet
1956

wdwdwIwd
dwdwdwdR
wdpdwdwd
dwdwdw0W
wdpdwdwd
dwdwdkGW
wdp4wdw0
dwdwdwdW
H#2 b) h7=E c) h7=Cd) h7=Aa) 1.Le2 Ge7+ 2.Ld1 Ge1;b) 1.Lg2 Ef2 2.Lh1 Ee4;c) 1.Lg4 Kg7 2.Lh5 Cf6;d) 1.Le4 h8I 2.Ld5 Ie5.

94 represents its typical modern state, with a BK-star, a coordinated star by theBB, an Albino and four different WS mates. Put like that it sounds terrific, but
let’s make a closer inspection. The BK and BB motifs are very easy to set if the Bis pinned initially, since not only is the black move order automatically forced but
the problem of guarding the K’s starting square is automatically solved. The
Albino is much harder; here the motivations for its moves are a) unguard by
capture b) guard c) guard & d) unpin of White; there is some desperate twinningin which the pin of the WS comes and goes and three different black pieces
change station.
The beauty of this kind of problem lies in the fact that each of the moves(Black’s first, White’s first, Black’s second and White’s second) plays out its own
thematic motif most appealingly; however, it is only skin deep since on the levelof motivation the apparent unity vanishes. You compose this sort of thing bydeciding what you would like the moves to do and fiddling about until you find areason. ANY reason will do!

H#2 b) J>e4 c) Hf8>e5 d) Bd3>e7a) 1.Lf7 ekf3 2.Fe7 Ce5;c) 1.Ld5 ekd3 2.Fc5 Cf4;

91 G.Párosb) 1.Lf5 e3 2.Fe5 Ce7;d) 1.Ld7 e4 2.Fc7 Ckf8.

BLACK TO PLAY
95 F.Abdurahmanović

2 Pr Mat 1973

wdwdwdwh
dpGwdwdK
wdwdwdwd
dw0wdwdW
wdwdkdwd
dwdqdwdR
w0w0wdw0
dwdrdwdr
H#3 4 solutions
1.Lf5 Kg8 2.Lg6 Ef4
3.Jf5 Gh6;
1.Jf1 Eg3 2.Lf3 Ee1+
3.Lg2 Gg3;
1.Jb1 Eg3 2.Ld3 Ee5+
3.Lc2 Gc3;
1.Jb5 Eb8 2.Ld5 Gd3+
3.Lc6 Gd6.

97 C.J.Feather

Moultings 3 1991 (version)

w1wdwdwd
dwdwhwdW
wdrdwdwd
dwdwdwIpw)kdwdw)dp)wdwdW
wdwdbdwd
dNdNdwdW
H#2 3 solutions
1.Jb5+ Kf4 2.Fd3 Ce3;
1.Fd3 Kkh5 2.Dd5 Ca3;
1.Dd5 Kf5 2.Jb5 Cb2.
.
99 A.Zidek

3 HM Schach-Aktiv 1993

wdwdwdwd
dwdwdwdW
wdwdw)whdwdPdwdNwdK)kdB0
dwdwdwdp
wdwdwdw)
dwdNdwdW
H#2* b) D>c2 c) D>g5d) D>g6a) * 1…Ekh3 2.Df5 Eg2;b) * 1…Kc5 2.De3 Cf2;c) * 1…Ee2 2.Df3 Ed3;d) * 1…f7 2.Df4 Cf6;

This style is not confined to helpmates in 2 nordoes it necessarily suffer from poor twinning. 95 is amost accomplished example in which BK and BQ
make stars (this time using a battery instead of a pin)and three of the mates are echoes. The composer
must have regretted the impossibility of getting the
WB to al in the Kc2 line. Once again the tactics are
mixed, and the repetition of 1…Eg3 is a shame.
One more modern trend shows the attempt toblend geometry with more strategic thinking, as in
96 where an Albino is combined with pinmates.
There is good movement along the fourth rank but
the black play in the 1.Df6 line seems stuck on, thepin in this line is created differently from the others
and again there is repetition (1…Ge3), so this is
only partly successful. It is clear, though, thatdevelopments must head in this direction if
geometric themes are to avoid superficiality.
I have been unable to establish which was thefirst helpmate in which the moves made an ABC
cycle but I guess that it was around 1960 and that theinspiration was the kind of interchange of moves
over two solutions which we saw in the white playof 21 and which can easily be extended to three, sothat moves A & B appear in one solution, B & C in
the next and C & A in the last. I composed 97 byimagining the black play and then wondering whaton earth White could do to stop the black moves
happening in the other order. Each black blockforces the WK (twice with the help of tempo) to asquare where the wrong second black move gives
check. It’s as simple as that; not a good problem.
Solvers tend to be very impressed the first timethey see something like 98 with its cycles of black
and white moves, but by moving the BK around andrestricting the pieces (especially the black ones) it
becomes easy to do. The motivation for the moves isof the crudest here (only move, simple access etc.).
In fact black and white ABC move cycles both
singly and together have been set in miniature.
Move cycles with no particular strategy are
extremely easy to compose, though the same cannot
always be said of cycles of strategic effects. In 99
the composer leaves the BK alone but moves the
only mobile black piece all over the place. The result
is a possibly unique cycle not just of moves but of
set play and solution, the solution of one part
becoming the set play of the next (without its initial
black move, of course). How refreshing it was toread the comment of solver W.Will: “profoundly
tedious”! This kind of problem gets helpmates a bad
name.

1.Df5 Kc5 2.De3 Cf2;
1.De1 Ee2 2.Df3 Ed3;
1.De6 f7 2.Df4 Cf6;
1.De7 Ekh3 2.Df5 Eg2.

96 Ž.Janevski

1 Pr Olympic Ty 1990

wdbdwdwd
GwdndwdW
ndKdwdwd
dwdwip4W
wdpdrdw$$wdwdw0W
w0wdP)wd
dwgwdwdW
H#2 4 solutions
1.Df6 Ge3 2.Fe6 f4;
1.Heg4 Ge3+ 2.Lf4 fkg3;
1.Hf4 Ga5+ 2.Le4 f3;
1.Fe3 Eb8+ 2.Ld4 fke3.

98 U.Heinonen

4 HM Thessaloniki 2300 Ty
1986-88

wdwdwdwd
dwdRdrdb
wdwdw0wd
dpdwdwdW
wdwdwdwG
dwdNdw0W
wdwdwdwd
dKdwdniWH#2 b) L>c6 c) L>h5a) 1.Hf8 Gkh7 2.g2 Ef2;b) 1.g2 Ef2 2.f5 Ce5;c) 1.f5 Ce5 2.Hf8 Gkh7.

BLACK TO PLAY
100 M.Myllyniemi

problem 1980

wdwdwdwd
dwdwdwdW
wdkdKdwdGw)wdwdp
Pdwdwdwd
dwdwdwdp
Pdpdwdqd
dw4bdBdW
H#2 b) Bc2>g6, L>c2+c) Bg6>c6, L>g6a) 1.Jg7 Eb6 2.Jb7 Eb5;b) 1.Jb7 Eg2 2.Jb2 Ee4;c) 1.Jb2 Ed2 2.Jg7 Ed3.

102 C.J.Feather

Original

wdwdrHQI
dwdwdwdP
wdw0wdwd
dwdwiwdW
wdwdp0nddwdwdwdb
wdwdwdrd
dwdwdwdW
H#2 3 solutions
1.Lf6 Ig5+ 2.Lf7 Ig7;
1.Lf5 Ig7 2.He5 Ig6;
1.Hd2 Ig6 2.Hd4 Ig5.

104 W.B.Trumper &A.Vlietinck

3 Pr The Problemist 1969-70

wdwdw4wd
dwdRdNdW
w4wdwdwd
dwdwdkhW
wdwdwdwd
HwdwdwdW
Kdwdwdwd
dwdw1wdW
H#3 3 solutions
1.He6 Cc4 2.He7 Ch6+
3.Le6 Gd6;
1.Hb4 Gd6 2.Hf4 Cc4
3.Je4 Ch6;
1.De4 Ch6+ 2.Le5 Gd6
3.Hf4 Cc4.

Some of the most curious cycles arise when thesame piece makes all the moves. In 100, whose
twinning might possibly be excusable because it too
is cyclic, the BQ traces a sort of stuttering triangle.
Notice that in short notation this appears to be amove cycle but in reality it is merely an arrival
cycle. The white equivalent is found among the
problems for solving.
The straight line cycle 101, using tempo as
motivation, is also an arrival cycle; I quote it foranother reason. It occurred to me as I wrote theabove remarks about how easy it is to compose suchthings that you have no reason to take my word for it
and indeed if you have never tried you may be very
sceptical. So I decided to put myself to the test. I had
never seen an orthogonal version of 101 (though I
expect one exists somewhere) so I challenged myself
as follows: if I can’t produce a sound orthogonalsetting with fewer pieces than 101 within half anhour I will delete the remarks about easiness.
Of course, I can’t prove that I am honest (whocan?) but I ask you to believe this: it took me 9
minutes and the result is 102. Now this problem says
nothing at all about my brain power (declining) but agreat deal about the superficiality of the idea. 102 is
trash. Incidentally you have just found out why I
included 31 in chapter 2 – so that I should not be thecomposer of the worst problem in the book!
No, not all move cycles are trash. 103,
incidentally misprinted in the FIDE Album with
WQf4, is brilliant. Not only is it a fourfold white
cycle but it has pinmates and homogeneous
motivation which even extends to the black play, allof which involves getting away from the mating line
and closing another. This problem helps us tounderstand that cyclism can be a framework forstrategy, not merely an end in itself. In later chapters
we shall see more examples, in many of which it
will be features other than moves which cycle.

101 M.Velimirović

1 HM Gavrilović Mem Ty
1974-75

Kdwdwdwd
GwdwdwdW
qdn0wdwd
dp4wdwdW
Q)kdpdwd)w0wdwdW
w0wdwdwd
dwdwdwdW
H#2 3 solutions
1.Hd5 Id1 2.c2 Ikc2;
1.He5 Ic2 2.Ld5 Ib3;
1.Ld3 Ib3 2.Hc4 Id1.

103 J.Retter

3 Pr Blaustein Mem Ty
1976

wdbdwdwg
dwdwdwdW
wdRdwdwd
dwdKdpdW
r0wdwGwd
irdwdwdW
phpdwdwd
dwdwdw1W
H#2 4 solutions
1.Ha7 Ec1 2.Hb7 Ga6;
1.He3 Ga6 2.b3 Ed6;
1.Hg3 Ed6 2.Hg7 Gc3;
1.Dd3 Gc3 2.De1 Ec1.

105 A.Keinz

The first three move cycle (ABC/BCA/CAB)
dates from 1962, I believe, but the best setting fromthat early period is the economical 104. It is in many
ways reminiscent of the echoes with which we
started this chapter. Since 1970 composers havebeen reinventing this particular wheel withmonotonous regularity, encouraged by judges who
don’t seem to know about wheels either. I can
explain this odd phenomenon only by the reason
mentioned above: the awe of the uninformed facedwith something apparently complicated but in fact
quite trivial.

2 Pr Schach-Echo 1979

Some composers have tried to add extra features
to the move cycle, such as the cyclic blocking effectseen in Black’s first and third moves in 105, a cycleof pieces used, not of moves. This problem also
shows some of the technical difficulties. Once a WS
arrives on e5 both WSs control d3, thus elaboratemeans are needed to ensure that the right one goes

1.Df5 Ef2 2.Lkf4 Ce5
3.He4 Cd3;
1.Fg2 Cd3 2.Lf3 Ef2
3.De4 Ce5;
1.Hd2+ Ce5 2.Le3 Cd3
3.Fe4 Ef2.

wdwdndwI
drdwdwdW
wdwhwdwd
dwdwdwdW
wdN4k)w)
dwdwdwGW
wdwdpdwd
1wdwHwdb
H#3 3 solutions

BLACK TO PLAY
106 A.Molnár

1 Pr Magyar Sakkélet 1982

wdwdwdwd
dwdw0wdW
rdwdkdwd
dwdwdwdW
whw1wdwd
drdNHBIW
w0wdbdwd
dwdwdwdW
H#3 b) J>a5 c) J>f1a) 1.Hd6 Cc5+ 2.Le5 Ee4
3.Fd3 Cg4;b) 1.Jg5+ Cg4 2.Lf5 Cc5
3.Dd3 Ee4;c) 1.Hd6 Ee4 2.Jf7 Cg4
3.Ff3 Cc5.

there. These means are the setup on the long diagonal and the pieces needed tostop other cooks which it causes. Move cycles are often beset with this kind ofdifficulty.
Finally a three move cycle with genuine strategy, nothing less than the rare
thirdpin of White, one of the hardest themes of the helpmate. It is not surprisingthat 106 requires twinning or that there is a flaw in the repetition of 1.Rd6; evenwith these defects this is a remarkable work. Studying the way in which the moveorder is forced and the unpins are made unique will teach you more about
helpmate technique than it is possible to put into words. Molnár is anothercomposer who does not contribute to FIDE Albums.
What then do the motifs of this chapter have in common?
Unity which is on the surface and does not extend to the motivation of the
moves unless the composer makes a special effort to face the added challenge this
implies; a composing method that resembles opportunism more thaninventiveness; and a charm which must not fool us into thinking they are difficult
to achieve. Fortunately a few composers do make the effort to add genuine
strategy, but that is both hard to do and, too often, ill appreciated.

BLACK TO PLAY

DO IT YOURSELF!

108 G.Bakcsi
107 C.J.Feather

3 Pr British Chess
Magazine 1979

109 A.M.Kárpáti

110 J.Vilem

Original

1 Pr BTSB 1956

1 Pr Schach-Echo 1974

dwdwdnG
dwdwdp!K
Wdwdwdw0
dwdw4wdw
rdwdpiwd
dwdwdwdw
Wdwdpdwd
dwdwdwdw

dwIwdwd
dwdwdwdw
Wdwdwdpd
dwhPdwdw
W0w4w$wd
gwdwdwH
Wdn4w)wd
dwiwGwdw

dwdwdwd
dwdwdwdw
WdPdwdwd
dwdwdwdw
Ndk0Kdwd
dpdwdwdw
pdwdwdwd
dwdwdwdw

dwdwdwd
dwGndwdw
Wdwdbdqd
Ip4w0pdw
WdwdPiN0
dwdwdwdw
WdwdPdw)
dwdwdwdwa) H#2b) e4=Ac) e4=empty

H#2b) L>d3c) +Dc2>b3d) ++L>c4

H#3 4 solutions

H#3 3 solutions

112 C.M.Fox
111 W.A.Shinkman

Conspiracy 1935 *)Deutsche
Märchenschachzeitung 1932

Kdwdwdwd
dwdwdwdw
Wdwdwdwd
dwdwdwdw
Wdwdwdwd
dwdwiwdw
WdRdwdPd
dwHwdwdw

dwdwdwd
dwdwdwdw
Wdpiwdw0
dwdwdwdw
Wdwdwdwd
dpdw0w0P
W)w0Pdwd
dwdKdwdw

H#4 2 solutions

H#9*) Shinkman died in 1933; it is not clear
whether the problem was found among
his papers or whether there is an earlier
source omitted in error in Conspiracy.

SOLUTIONS ON
NEXT PAGE

BLACK TO PLAY
107. (Feather) 1.Le3 Ike5 2.Ld3 Ic3; b) 1.Hh5 Ic3 2.Lg5 Ig3; c) 1.Lf5 Ig3 2.Hg4 Ike5.
Triangular arrival cycle, superficial but curious. An earlier setting of this by A. Vlietinck had idle whitematerial in every phase.
108. (Bakcsi) a) 1.H4d3 Gkb4 2.Hd1 Ce2; b) 1.He4 Cke4 2.He2 Ckc5; c) 1.Hc2 Ec3 2.Hc4 Gf3; d) 1.H2d3
Ce4 2.Hkd5+ Cd6.
Crosses by two BRs, with amazing technique, dreadful twinning and an anthology of motivations.
109. (Kárpáti) 1.a1D c7 2.Dc2 c8C 3.Db4 Cd6; 1.a1F c7 2.Fc3 c8E 3.Fb4 Ea6; 1.a1H Cc3 2.Ha4 c7
3.Hb4 c8G/I; 1.a1J c7 2.Ja3 c8I+ 3.Jc5 Ikc5.
Almost a Babson task in miniature without twinning!
110. (Vilem) 1.Jkg4 Ka6 2.Fd5 Ea5 3.Fke4 Ed2; 1.fkg4 Ed6 2.Jke4 Ef8 3.Ff5 Eh6; 1.fke4 Ce3
2.Fg4 Ed8 3.Jf5 Cg2.
A curious cycle of the pieces blocking on e4/f5/g4. Unable to trace a correction of the original cookedversion I have added BPh4 to cure it.
111. (Shinkman) 1.Ld4 Gf2 2.Lc3 Ce2+ 3.Lb2 Cc3+ 4.La1 Ga2; 1.Lf4 Cb3 2.Lg3 Cd2 3.Lkg2 Cf3+
4.Lh1 Gh2.
Distant chameleon echoes and a little strategy to allow the BK to cross the second rank. All of 5 men.
112. (Fox) 1.g2 h4 2.g1D h5 3.Dke2 Kke2 4.d1F+ Kd3 5.Fc2+ Kd4 6.Fg6 hkg6 7.e2 g7 8.e1H g8I
9.He6 Id8.
Mixed four promotions with some interesting play.

BLACK TO PLAY
113 A.Benedek

1 HM Probleemblad 1972
128 TT

wdw4wdbd
gwdndr0p
wdp$wdwd
dwHwdBdW
wdpdwdwddw)pdwdW
wGwiwInddwdwdwdq
H#2 6 solutions
1.Db6 Ckd3 2.Dd7+ Cc5;
1.Df6 Ekd3 2.Dd7+ Ef5;
1.De3 Ckd3 2.Dg2+ Cc5;
1.Df4 Ekd3 2.Dg2+ Ef5;
1.Fb8 Ckd3 2.Fa7+ Cc5;
1.He7 Ekd3 2.Hf7+ Ef5.
115 G.Bakcsi

Bilten 1963

bdwdwdwd
IwGwdwdW
wdwdwdwd
dwdwdwdW
wdwdpdwi
dwdwdwdW
wdwdwHwd
dqdwdwdW
H#4
1.Jg1 Eb6 2.Lg3 Cke4+
3.Lh2 Cf2 4.Fg2 Ec7.
117 H.P.Rehm

1 Pr Schach-Echo 1986-88

wdwdwdwd
dw0wdw0W
wdpdwdpd
dwdpdkdW
wdw0whwd
dwdpdwdpwdw)wdw)
dKdbdwdW

CHAPTER 6: JOURNEYS
In this chapter we see how unity may be sought insequences of moves which complete a journey,
which may be a return journey (usually calledswitchback) a round trip, or a change of places withanother man.
The switchback motif dates from the twenties. In
short problems it can seem a very vacuous idea
indeed; it needs to be set at greater length, to beshown with interesting motivation or, as in 113, toappear in intensive repetition. There have been many
2-move settings, few of which are as elegant as thisone. In order to remove the BPd3 White needs to be
unpinned but the only unpinning moves place aguard on the mating line, so once the pawn has beentaken both Black and White must return whence
they came. The black moves are agreeably paired,
two withdrawal unpins and two sets of interferences.
Weaker features are the repeated moves and the factthat the WBf5 guards a square in the BK’s field
while the WS doesn’t.
The double black switchback in 114 is caused
purely by the need to open lines. Restraining the BR
and BQ is difficult; this problem is well constructed
despite the heavy position.
Two white pieces are thematic in 115, whichshows a long chain of interesting motivations asfollows: since the BB must block g2 the WS must
remove the BP; the BQ must block g1 and has to do
so on the first move since the BK cannot yetadvance; the WB will have to move away to allow
the BK into the mating net but apparently it canmove at random; 1.Qg1, however, pins the WS so
the WB must unpin it! A lovely miniature.
115 is elegant but 116 is almost incredible!
Similar settings of a long WS return trip exist, bye.g. Páros (before Kárpáti), Bakcsi, Bernleitner andGeissler (later) but the clever use of the two
diagonals in Kárpáti’s masterpiece is unsurpassable.
The first black move, blocking the square the BK
needs to go to, seems preposterous at first, as does
the thought that the WK will end up on a1.

114 G.Páros & F.Fleck

1 Pr Bláthy Mem Ty 1940

wdwdwdwd
hbdpdwdW
riwdwdpd
dwdpdwdpwdp)wdwd
dwdpdp4p
wdwhwGqg
dwdwIBdW
H#4
1.Hg5 Eh4 2.Jg4 Ekh3
3.Jg2 Ekd7 4.Hg3 Ed8.
116 A.M.Kárpáti

HM Magyar Sakkvilág 1945
(Cooked: see 2012
Introduction)

wdwdNhnd
dwdwdpdp
wdwdwdw1
dwdwdbdW
wdwdwdwd
0pdkdwdW
w0wdwdwd
gKdwdwdW
H#7
1.Fe4 Cd6 2.Fg6 Cc4
3.Le4 Ckb2 4.Lf5 Cc4
5.Fh8 Cd6+ 6.Lf6+ Ka1
7.Lg7 Ce8.
118 W.Alaikov

Schach-Echo 1978wdwdwgwd
dwdpdw0W
Kdw$w0Pd
dwdpdk0Bwdw)wdpddwdP)w)W
wdpdwdwd
dwdb4ndW

With more than an echo of the lovely 15, 117
shows a double switchback of the same piece inorder to admit the WK and finally block h5. The
H#3 2 solutions
prevention of alternative routes explains all theH#7
pawns. In 118, however, the heavy position is
1.Fe2 Gkd5+ 2.Le6
caused by the integration of the switchback motif
Gd6+ 3.Lf5 e4;
1.Fh5 Kc1 2.Lg4 Kd1
into a complex strategic theme: in order to remove
3.Lh4+ Ke1 4.Fd1 Kf2the hampering BPs White must give an unwanted
1.He2 Ekg4+ 2.Lkg6
5.De2 Kf3 6.Dg3+ Kf4
check,
to
which
the
only
answer
is
for
the
BK
to
step
Eh5+ 3.Lf5 g4.
7.Fh5 hkg3.
aside. The white pieces must then return to guard thesquares they have just abandoned and the BK goes back to its original square, making four switchbacks in all.
This combination of minus and plus features (abandon of guard/gain of guard; check/removal of block) is thevery essence of the modern strategic helpmate and makes this the most forward looking problem in this section.
The interchange of functions between the WR and the WB finds an ideal correspondence in the otherinterchange of functions at Black’s first move.

BLACK TO PLAY
119 J.Csák

idée & form 1991

wdwdwdwd
GwdwdwdW
wdwdwdKddwdw)wdW
pdNdwdwd)wdwdndW
wdw0kdwd
dwdb4rdW
H#3 3 solutions
1.Hh1 Ce3 2.Hhg1+ Cg2
3.Hgf1 Cf4;
1.Fb3 Cb2 2.Fc2+ Cd3
3.Fd1 Cf4;
1.Ld3 Cb6 2.Le3 Cd5+
3.Le2 Cf4.

121 T.Baló

Buletin Problemistic 1992

wdwdkdw4
dw1wdndW
wdwdwdwH
dwdw0whW
wdwdwdpd
dwdw0w4W
wdwgwdwI
dwdwdwdW
H#4
1.Dh7 Ckg4 2.0-0 Cf2
3.Hg7 Cg4 4.Dh8 Ch6.

123 F.Abdurahmanović

2 HM Schach-Echo 1975

wdwdwdw4
dwdpdwhW
wdwdwdwd
dwdKdwiW
wdwdpdwd
dwdwdw1p
wdwdwHbg
dwdwdndW
H#4 b) L>e8a)1.Jh4 Ckh3+ 2.Lg4 Cf4
3.Dg3 Cd3 4.Lh3 Cf2;b)
1.0-0 Cke4 2.Hf4 Kd6
3.Hh4+ Ke7 4.Hh8 Cf6.

At first sight the BB and BR manoeuvres in 119
appear to be switchbacks, but strictly speaking they
are not. Since the return journey involves a stopthese journeys, like the BK’s triangular route in theother solution, are round trips. The motivation ineach case is tempo, and the need to answer checks orclose the bishop line at the right moment ensuresthat the WS gets plenty of exercise, although all themates are unfortunately the same.
To see the close relationship between the roundtrip and switchback ideas in longer problems,compare 120 and 121. Both use the need to remove a
black pawn. In the round trip problem this (and theposition of the two kings, avoiding duals) conditions
the rest of the solution, allowing a very light setting.
In the switchback problem, however, the need to
avoid a second BP capture determines White’s
second move, an appropriate touch.
This comparison suggests that round trips areeasier to show than switchbacks of equal length,
which is probably true provided the motivation issimilar. The round trip idea dates back to 1861, in avery unsound setting by Barbe. Its less subtle
versions tend to use capture as motivation since, as
we have seen, that is very easy to arrange. The
elegant 122 uses repeated line closing for the WK in
a setting of matchless economy and grace which
well hides the difficulties the composer had inachieving soundness. The pinned BR is the key
device. In its final form this is one of the few perfect
helpmates in existence, an example of the gift to be
simple, such a rare thing. The adjective “Mozartian”
springs to mind.
The combination of white and black round trips
in 123 is curious. While the motivation in a) is
common, consisting of a clearance on the matingsquare followed by the need to unguard that square
to permit the BK access, that in b) is very unusual.
The BR must reach f4 to close the line which will
permit the WK to advance, but to get the BK to themating square in time this must be done by castling,
thus closing the route back to h8. The other twosides of the rectangle must be used instead, neatly
preventing 1…Sg4. Solvers found this very hard.
My guess is that part a) was an afterthought!
In weaker round trip problems the side notmaking the journey sometimes has nothing very
interesting to do. This could be said of the first partof 123, for example. In order to achieve the double
black round trip (once in each direction) of 124 thecomposer has had to devise some very ingenious
white play involving unpinning the BQ at the rightpoint. The motivation is capture but on a half batteryline this seems more interesting than usual.

120 C.Jonsson

Thema Danicum 1992

wdwdkdw4
dwdwdwdW
wdwdwdrH
dwdwdpdW
wdwdwdwd
dwdwIwdW
wdwdwdw1
dbdwdwdW
H#4
1.Hg7 Ckf5 2.0-0 Cd6
3.Jh8 Cf7 4.Fh7 Ch6.

122 F.Chlubna

HM Thèmes 64 1967 (v)wdwdwdwd
dBdwdwdW
wdrdwhwd
IwdwdwdW
wdwdwgwd
dwdwdkdW
wdwdw)wd
drdndwdW
H#5
1.Db2 Kb4 2.Dc4+ Kc3
3.De3+ Kd2 4.Dd1+ Ke1
5.Dg4 Ekc6.

124 D.Biscan

1 Pr Sahovski Glasnik 1990

wdwdwdwd
dpdwdwdWw)wdwdwd
GpdwdwdKw)pdwdpd
dwdpdwdW
Pdw)qdwd
dNdbirdWH#4 2 solutions
1.Je7 Cc3 2.Jkb4 Cd5
3.Jkd2 Cb4 4.Je2 Ckd3;
1.Jkd2 Kh4 2.Jkb4 Cd2
3.Je7+ Kg3 4.Je2 Cf3.

BLACK TO PLAY
125 H.P.Rehm & U.Ring

feenschach 1986

wdwdwdwd
dwdwdwdW
wdwdniwd
drdwdwdW
wdwdB0wd
dwdwdwdW
p0wIwdwd
4wdwdwhW
H#6½
1…Eb1 2.Le5 Kc2
3.Le4 Kc3+ 4.Le3 Kc4
5.Ld2 Ee4 6.Lc1 Kd3
7.Lb1 Kd2.

127 G.Fuhlendorf &W.KarschKieler Neueste
Nachrichten 1934

wdwdwdwI
dwdwdwdW
wdw4wdwd
dPdkHwdW
wdndwdwd
dwdwdRdW
wdwdwdwd
dwdwdwdW
H#3
1.Hc6 Ge3 2.Dd6 Cf3
3.Hc4 Ge5.

129 H.Angeli

Die Schwalbe 1989

w1wdbdwd
dwdwdwdK
wHwgwdwd
dwHwhwdWw)wiw0wd
dwdwdwdW
wdwdwdwd
dwdwdwdW
H#4
1.Ja7+ Cbd7 2.Ld5 Ca4
3.Jd4 Cdc5 4.Fc6 Cb6.

It would be churlish to complain that the black
play in 125 is dull since the composers havemanaged to introduce a white switchback as well asa white round trip, but in its onesided thematic
approach this finely constructed work does seemrather old fashioned. In general terms I believe thatthe interest of both switchback and round trip
problems lies less in what they do than in why itworks.
We find the third of our motifs, change of places,in the black play of 126. The BQ, BP and BK
exchange places in a closed chain simply motivatedby the need to block the right squares and get the BK
to the right place. But this problem is more subtle
than that. White must unguard and reguard themating square in an effect we have already met in
115; but if you try a simple there and back by the
WB you will find yourself checking too soon.
Therefore the WB must make a tempo move whichmakes the rest of its journey back to b1 take threemoves, the whole manoeuvre making a round trip.
Both the WK and WS are delicately restrained fromwasting two moves as an unwanted alternative. And
if you’re about to complain that there isn’t muchinterplay between Black and White, ask yourself
why the BQ cannot go to c4 via a2.
Not all change of place problems are as subtle asthat one; and many settle simply for an interchange
between two pieces, not the chain effect. 127 is theearliest setting in which pairs of white and black
pieces both exchange places; it shows just how
primitive this idea can be and how mechanical theeffect can seem when there is no interplay.
128 is superior in two ways. First the interplay is
intrinsic to the motivation of the change of places,and secondly the thematic pieces are of the samekind, a much more interesting (and difficult) form of
the idea. The way in which the BS retreats to makeway for the WS is most attractive.
The idea is shown with WSs in 129, where theneed to clear lines for both BQ and BB motivates the
moves and fixes their order. Although the BQ moves
only as a B its orthogonal power is needed to ensure
soundness by means of the check at Black’s first
move. To find this move it is necessary to havegrasped the whole solution.
At the cost of some very boring white play,
making one wonder if this should have been aserieshelpmate, the composer of 130 has managed to
double the chain version of the idea with different
pieces (KRB & QPK). It is much more satisfying to
combine the two kinds of place exchange in one
problem however, as in 131, where White has thesimple version and Black the chain. The a- and bpawns are unfortunately necessary to prevent cookswith the BK on e4.

126 M.McDowell1 Pr Thema Danicum 1983

wdwdwdwd
dwdwdwdW
wdwdwdwd
dwdwdwdW
wdkdwdwddw)pdwdp
wdw1w0wd
dBdNdKdW
H#4
1.Jf4 Ec2 2.d2 Eb3+
3.Ld3 Ea2 4.Jc4 Eb1.

128 R.Queck

3 Pr Die Welt TT 1961-62

wdwdwdNd
Iw0whpdW
wdw1k0wd
dwdndpdW
wdwdwdwd
dwdPdwdW
wdwdwdwd
dwdwdwdW
H#4
1.Dg6 Ce7 2.Dgf4 Cg6
3.De7 d4 4.Dfd5 Cf8.

130 M.Manhart

feenschach 1988

wdwdwdwd
dwdwdwdW
wdwdk4wd
dwdngpdP
wdw0p1wd
IwdwdwdW
wdwdwdwd
dwdwdwdW
H#4 b) –Fe5a)
1.Ld6 h6 2.He6 h7
3.Ff6 h8C 4.Le5 Cf7;b)
1.Je5 h6 2.f4 h7 3.Lf5
h8I 4.Je6 Ih5.

BLACK TO PLAY
131 S.Ylikarjula

2 Pr Die Schwalbe 1987
(172 TT)wdwdwdwd
dwdwdNdW
pdwIwdwd
dpdw0bgW
wdwdwiqd
dwdwdwdW
wdwdwdwd
dwdwdwdW
H#5
1.Le4 Cd8 2.Ff4 Ke7
3.Jg5+ Kf7 4.Fg4 Cb7
5.Lf5 Cd6.

One of the problems for solving shows how the place exchange and roundtrip ideas can be combined in a homogeneous way. In general, though, it seems
that changing places offers rather fewer possibilities for interesting motivation
than the other two ideas in this chapter.
As a means of achieving unity, how do the ideas of this chapter comparewith those of the previous one?
Since the journeys are striking in themselves we naturally tend to wonder
why no other route will work and thus to notice the motivation. Since a whole
sequence is involved the motivation is often more homogeneous. However thecomposer still starts with a pattern in his mind, only then deciding what reasons
shall bring it about. While the pattern of, say, an Albino is essentially a patternin space, happening at the same moment in four parallel solutions, the journeys
in this chapter need both time and space.
In the last chapter the question was “where?”; in this one it is “where andwhen?”; but in the next we shall ask “why?”.

BLACK TO PLAY

DO IT YOURSELF!

132 M.Parrinello

133 R.Queck

134 G.W.Jensch

135 N.Geissler

1 HM Macleod JT 1987-89

Schach 1951

1 Pr Feenschach 1969

feenschach 1991

dbdwdwd
dwdwdwdw
QdwGnHwd)r)wdKdw
WdkdPdwd
dNdpdwdw
Wdw)wgwd
dwdBdrdw

dwdwdwI
dwdwdwdw
Wdwdw0wd
dwdwdwdw
Wdp)wdwd)wiwdwdw
W$Pdwdwd
Gwdwdwdw

qhKgw4wd
dwdwdwdw
WdBdwdwd
dwdwdwdw
Wdwdwdwd
dwdwdBdw
Wdwdwdpd
dw4wdwdk

ndwdwdwd
dKdwdwdw
Wdwdpdwd
dwdBdwdw
WdrhPgkd
dwdw0b4w
qdwdp0pd
dwdwdwdw

H#2 b) -Ae4

H#4

H#4

H#4 b) Ae4<>Bg2

136 A.Uddgren

5 Pr feenschach 27TT
1972-73137 R.Heinz

Biwdwdb1
dwdwdphr
Wdwdw0wh
dwdwdp0w
W0wdwdwd
dP0wdwdw
KdPdwdwd
dwdwdwdR

dwdwdwG
hpdwdwgw
q0wdwdpi
dpdrdwdw
pIwdwdwd)wdwdwdw
Wdwdwdwd
dw4wdwdw

H#4

H#7

Schach-Echo 1990

SOLUTIONS ON
NEXT PAGE

BLACK TO PLAY
132. (Parrinello) a) 1.Dkc5+ Cd7 2.De6+ Ce5; b) 1.Fkc5+ Ef3 2.Ff2+ Ed5.
This was described as “pin/unpin of white with black switchbacks and crosschecks”. Doubtless you noticed
that BRb5 and WQa6 could be replaced by a BPb5, for the loss of an entirely weasely pin arrangement.
133. (Queck) 1.Lkd4 Gb5+ 2.Le3 Ekf6 3.Ld2 Ge5 4.Lc3 Ge2.
A round trip which is intricately blended with surprising white play. This composer is always refreshing.
134. (Jensch) 1.Fc7+ Ee8 2.Fh2+ Efc6 3.Hf3 Eh5 4.g1F Ehkf3.
Change of place by two WBs. Remarkable economy and clever timing with repeated unpinning motifs.
135. (Geissler) a) 1.Fke4 Ec6 2.Ff5 Ed7 3.Lf3 Eke6 4.Fg4 Ed5; b) 1.Fkg2 Eke4 2.Fh3 Ef5+ 3.Lf3
Eke6 4.Fg4 Ed5.
The blend of place change and round trip mentioned in the text. Even the twinning is an exchange of places!
136. (Uddgren) 1.Dg4 Ga1 2.Hh1 Ekh1 3.Jh2 Kb1 4.Jc7 Ga8.
Pure motivation for all the moves in a place change at maximum distance.
137. (Heinz) 1.Fa1 Eb2 2.Hg1 Kc3 3.Hh5 Kd3 4.Lg5 Eh8 5.Fg7 Ke4 6.Fh6 Ke5 7.Hg4 Ef6.
Maximum switchbacks on the same line by BB and WB. Getting the BB to go to al is the hard part; it isachieved by the impossibility of the BB’s ultimately approaching h6 other than from g7 combined with theunusual hazard of mating White if Black is not careful. Though the play after Black’s fifth move is dull thelength is justified by this motivation. I still find it hard to believe that this can be sound!

BLACK TO PLAY
138 A.M.Kárpáti

1 Pr Raketa 1942

wdwdwiwG
dwdwdwgW
wdwdwdwd
dw0whwdW
wdRdwdwd
dwdwdwdW
wdwdwdwd
dwIwdwdW
H#4
1.Df7 Gb4 2.Fa1 Eb2
3.c4 Ea3 4.Fg7 Gb8.

139 F.Chlubna

3 Pl Austria-Switzerland
1977

rdwdkdrd
dwdwhwdW
wdwdwdwd
dwdwdwdW
wdwdwdqd
dwdwdwdW
wgwIb!wd
dwdRdwdW
H#2 b) I>g1 c) I>h1a)
1.Dd5 Gf1 2.Hd8 If7;b)
1.Fd3 Ge1 2.Jd7 Ikg8;
c)
1.Fd4 Gb1 0-0-0 Ib7.

CHAPTER 7: ASKING WHY
I shall devote this chapter to two ideas which may at first seem dissimilar but
will prove to be closely connected. The first is the anticipatory effect: a movehas to be carried out before the need for it becomes fully apparent. The attraction
for the solver is obvious, since an element of surprise and difficulty is naturally to
be found in this style of helpmate. For the composer the challenge is to find subtle
reasons, hence the title of this chapter.
Why, in 138, does White not play Gkc5 at his first move? It is clear that theBB must move in order to let the WB escape, but the solver has to foresee that
there is no way of getting the BB back to its original square in three moves, andthat Black will therefore need a tempo (3.c4). This simple form of anticipatory
effect shows the point of the idea: the composer has deliberately cultivated anapparent possibility which will not work and he has done so because tounderstand why it will not work is to understand why the solution does work.
Thus the solver is called upon to recreate some of the logic which entered into thecomposing process and the dialogue between composer and solver becomes closer
and more meaningful.
Most helpmates in this category are more complex than 138. Obviously if the
problem has more than one phase it will need the unity which comes from similarreasons for the anticipatory effect in each part. In 139 each of the minor pieces
moving at Black’s first move has an arrival effectwhich closes a line so as to forestall an unwanted
140 C.J.Feather
check on the second. The departure effects add to
Moultings 6 1991 (version)
the unity in that each one opens a line for a white
piece which is not yet in position.
wdwdwdwd
It is quite frequent for anticipatory themes tomake use of both arrival and departure effects. Thiscan represent two stages in the solving process. In
140 the solver has first to see why it will benecessary to move the BQ and BR (departure effect)
and then to grasp the reason for their arriving where
they do.

1 HM feenschach 1987

I have found that the line opening motif seen here
in the white play blends well with anticipatory
effects. Some problemists dislike the capture of
black pieces which is inherent in this idea, but to me
this dislike seems irrational, deriving from apreoccupation with directmates.

Kdwdwdwd
dwdwdpdW
w0wdwdwd
dPdwdpdW
B0wgwdk)dPdwdwdn
wdwdwdP0
dwdwdw$r

Clearly the anticipatory effects in twomovers
must operate on a briefer timescale than those inlonger problems. With four moves at their disposal(one each?!) the composers of 141 have come up
with a truly mysterious start in 1.Fe3. To see why it
is necessary one has to understand not only that the
BR must remove b3 but where it can go afterwards.
Which is not even to mention the attractive
clearance and return by the WR!

141 G.Büsing, H.Moser,
M.Nieroba, A.Buckenhofer

H#4

Anticipatory line closing can be shown in two
moves but to make it convincing some kind of
1.Fe3 Ga1 2.Hb1 g3
interchange of functions is usually necessary. Why,
3.Hkb3 Gg1 4.Hc3 Ed1.
in 142, must the BS go to d7 and the BR to f3? To
cut a line of guard which is already interrupted by
two black pieces! It was a pleasant bonus to be able to make the BK start on d5
and apparently retreat from the scene of action, but the interchange of functions
between d6 and e4 is the focal point of the problem, for without it there would bea ruinous lack of economy.

GwdwdwdW
wdwdwdwd
dKdw0wdW
Rdw1pdwddwdQ)kdp
Rdrdw0wd
dwdwdwdn
H#2 b) a4=Ea) 1.Jka7 Ikc2 2.Lke3
Ike4;b) 1.Hka2 Ikd4 2.Le2
Id1.

142 C.J.Feather

Moultings 6 1991

wdw1wGwd
dKdwdwdW
wdp4whQd
dwdk0rdW
wdwdpdRd
dwdwhwdW
wdwdPdwd
dwdwdwdb
H#2 2 solutions
1.Dd7 Ikd6+ 2.Lc4 Id3;
1.Hf3 Ike4+ 2.Lc5 Ikc6.

BLACK TO PLAY
143 J.Csák

4 Pr Mat-Pat 1988

RdqHw4wd
dpgniwdw
wdwdwdw0dw)wdwdw
BdrdwHKd
dw0wdwdw
wdwdwdwd
dwdwdwdw
H#2 2 solutions
1.De5+ Kg3 2.Jf5 Cd5;
1.Df6+ Kf3 2.Je6 Cg6.

144 M.Myllyniemi

3 Comm Die Schwalbe
1966

wdwdwdwd
dwdwdwdw
NdwdPiw)$wdwhPdw
r0wIwdwd
dwdwdwdw
wdrdwdwd
dBdwdwdw
H#2 2 solutions
1.Hg2 Cc7 2.Hg5 Cd5;
1.Dg6 Cc5 2.De7 Ce4.

145 M.Myllyniemi

Suomen Shakki 1980

wdwdwdwd
dwdw0wdw
wdwdwdpd
dwdRdBdw
wdw4qdpI
dwhkdwdw
wdwdn)wd
dwdwdwdw
H#3 2 solutions
1.e6 Ekg6 2.Jf5 Gkf5
3.Hc4 Gd5;
1.e5 Gd8 2.Hd7 Ekd7
3.Jc4 Ef5.

The next example, 143, makes a fascinating study. The double checks by the
BS at the first move seem quite paradoxical enough at first glance but there ismore to them. Each is a double anticipatory line closing. One line is present but
not yet obviously relevant and the other has yet to be set up. Thus 1.De5+ closes
the BB’s line to g3, so that when the WK moves, as it must, it can find a safe
haven there without pinning the WS which must mate. The move 1.De5+ also
closes the line from f5 to d5 so that when the BQ arrives on f5 it will not preventthe mate. The motivation for the BQ’s departure from c8 is of course to allow the
WR to guard d8; its arrival effect is a hideaway. The motivation for White’s firstmove is in fact not to answer the check but to escape from the pin of the WS by
the BRc4, but this in no way detracts. This is an impressively concentrated
thematic scenario; it would be truly miraculous if the same rationale lay behindthe other solution, wouldn’t it? Alas, it doesn’t! It looks as though it does, but assoon as one realises that the BS must go to f6 to block that square, any line effects
start to look very weasely. Indeed, since 2…Cg6 covers f8 the BRf8 need noteven be present for this solution to work. Weasel fans will not mind this in theleast, of course. (Have you decided yet whether you are a fan?)
I would substitute the BPh6 with a WPg5 and move the whole position East, sothat g1 becomes h1. The correspondence in motivation and effect between the twosolutions is then perfect. However, it is also necessary to add a BP on the new c6
square to stop a cook. The composer clearly thought this a fault in economy. Whatdo you think?
Let’s move on to the second idea which causes us to ask “why?”.
In 144 Black either blocks g5 with the R or e7 with the S. It is no accident that
the R can also get to e7 and the S to g5, via a unique route in each case. Why willthese moves not work? With g5 blocked and e7 empty White must mate by Sd5,
but this closes the line of guard from the WR to f5. With e7 blocked and g5 empty
White must mate by Se4, but this closes the line of guard from the WB to f5. Ineach case one line to f5 is opened by Black and White must not close it again.
This is dual avoidance, which we have already met in 63 and 73.
Great theoretical arguments rage around this term, distracting attention to thequestion of what is and what isn’t dual avoidance and away from the question ofwhat it is for, namely to make us ask why moves work as they do. To avoid
theory I intend to use the term in its loose sense: dual avoidance occurs when an
idea from one phase can apparently be interchanged with an idea from another but
there is a single reason why this will not work. *)“Idea” can mean something like “which square can be blocked with which
piece?” as in 144 or can refer to a move or moves as in 145. Here the only reason
why you cannot interchange the two initial white moves is that a BP gets in theway! This is less crude than it sounds, since it is tempo which makes Black put
the P in the way; the switchbacks are also attractive.
Why do I put anticipatory effects and dual avoidance together? In the case of
138 I said that the composer deliberately cultivated an apparent possibility which
did not work and he did so because to understand why it did not work was tounderstand why the solution did work. The same applies to dual avoidance but inthis case the apparent possibility becomes the other phase of the problem;
consequently to understand why the phases do not mix is to understand the
problem as a unified entity.
-----------------------------------------------*) Note for theorists: By using the vague word “idea” I am intentionallysidestepping the usual distinction between partial and total dual avoidance; if you
like you can say “move or sequence of moves” instead (= partial dual avoidance)
but you will then have to define total dual avoidance separately. For a theoretical
discussion see the articles by Ternblad and Knöppel in problem, no. 127-132,
1969.

BLACK TO PLAY
146 J.M.Kricheli

1 Pr Shakmaty 1965

wdwdwhwI
dB$wdwdW
wdwdw0rddwdwdwdW
wdw)Pdwddw)kgwdb
wdpdwdwd
4wdwdwdW
H#3 2 solutions
1.Hd1 Gc6 2.Lke4 Ea8
3.Hd3 Gkf6;
1.Ff1 Ec6 2.Lc4 Gc8
3.Fd3 Ea4.
148 J.M.Kricheli

Schach 1967

wdwdBdwd
dwdwdwdW
wdwdpdwI
dwdkhw$W
whwdwdwd
dw4PdwdW
wdwdwGwd
dwgwdwdb
H#2 b) e5=Ba)
1.Fa3 Gg4 2.Hc5 Gd4;
b)
1.Fb2 Gg7 2.Dc6 Gd7.
150 R.Vieira

The Problemist 1984

wdwdwdwd
dbdw0pdW
wdpdwdw$dw)wiPGW
wdKdwdwd
dndwdPdW
wdpdwdwd
dwdqdrdWH#2 6 solutions
1.Dd4 Gh4 2.Dkf5 Ge4;
1.e6 Gh8 2.ekf5 Ge8;
1.Jd7 Eke7 2.Jkf5 Ed6;
1.Hkf3 Gh3 2.Hkf5 Ge3;
1.Fc8 Eh4 2.Fkf5 Eg3;
1.Lkf5 Eh4 2.e5 Gf6.

In 146 the BK will go to c4 or e4 and in either case a black piece must blockd3. The two available pieces are the BRa1 and the BBh3, which must makeBlack’s first move since the BK’s destinations are initially guarded. It seems thateither can start and the BK can be mated on either square. Only when we get to
White’s second move do we see what we should have anticipated: he lacks atempo. He must move one of his pieces back into the line of either the BR or the
BB at a8 or c8, so he must choose whichever of these two squares has been
unguarded by the departure effect at Black’s first move. That means that only oneof White’s first moves will work, the one which is made by the piece which does
not need to step backwards on the second move. The solutions are so logicallyunified that to see one is immediately to see the other. It is a quality of the very
best helpmates to be mysterious initially and then directly comprehensible as awhole as soon as one gets the idea. This is one of the finest helpmates inexistence.
In 147 you should try exchanging 1…Ga5 and1…Ih5 to see the dual avoidance, unusually
motivated by capture causing unpin. If the board
were bigger a single BS would have sufficed in thisproblem!
Another interesting motivation is based on ourfamiliar arrival and departure effects. The BB in 148
must leave c1 to unpin the WR but equally it must
arrive somewhere. Either arrival (b2/a3) sets up a
black battery so that when the BR or BS moves oneof the mates is prevented. The master touch isrevealed by the fact that the only reason these pieces
need to block squares is white self interference, as
the WR cuts off the bishops’ guard of c6/c5.
Changing taste is apparent in the use of twinning
here. This problem is correct with a BRe5 and twosolutions; had he composed it in the eighties I’m
sure Kricheli would have presented it that way.
The term “dual avoidance” suggests two phases;
there may be more, though it would be tedious totalk of “triple avoidance” etc.. Páros provides a very
early example in 149 where the strategy is very
simple but homogeneous and clear. Each S-move at
Black’s first turn guards two mating squares, themotivation being tempo, and each of the white firstmoves permits an unguard of the remaining square.
In 150 six different black pieces go to f5. The
inclusion of the 1.Lkf5 line was an error of
judgment not merely because it repeats the move
1…Eh4 found in another solution but because it isirrelevant to the dual avoidance effect. Without it wewould have five different black pieces arriving on f5
and each excluding four mating possibilities. The
reasons are very mixed (guard / unguard / line
opening / line clearance) but it would be a very dull
solver indeed who could unravel this helpmate
without asking the question “why?”.

147 V.Schneider

1 Pr Die Schwalbe 1972

wdwdwdbd
dwdw0QdW
wdwdr0wd
dwdwdwdW
R4kdwdwI
dwgqdwdW
PdRdBdwd
dwdNhwhW
H#2 2 solutions
1.Dkc2 Ga5 2.Dd4 Ce3;
1.Dke2 Ih5 2.Dd4 Cb2.

149 G.Páros

Die Schwalbe 1948

whwdwdwd
dwdwdwdW
w0wdK0wd
dR0wdPdW
Pdk0pdPddw0N)wdW
wdPdwdwd
dwdwdwdW
H#2 3 solutions
1.Da6 g5 2.fkg5 Ce5;
1.Dc6 a5 2.bka5 Gkc5;
1.Dd7 ekd4 2.ckd4 Gb4.

BLACK TO PLAY

DO IT YOURSELF!

154 P.A.Petkov
151 J.M.Kricheli

152 C.J.Feather

153 M.Persson

Feenschach 1966

Moultings 7 1991

Springaren 1993

1 Pr Sinfonie
Schacchistiche 1970

dwdwdwd
dwgpdw0w
WdwdNdwd
dwIwdndw
WdwdwdBi
drdwdwdw
Wdn4P)wd
dwdwGwdw

dwdwdwd
dpgrdwdw
W0kdwdwd
dpdwdQdK
WGqdndwd
dwdwdndw
Wdwdwdwd
dbdrdwdB

r1BIwHwd
gpdwdwHw
ndwhp0wd
dwdb4pdw
Wdwdw0wd
dwdw0kdw
Wdwdwdpd
dwdwGwdw

rdwHKdwd
gwdwdwdw
Whp0pdwd$w0kdpdw
b0wdwdpd
dwhP4qdw
Wdwdwdwd
GwdwdwdB

H#2 b) C>h2

H#2 2 solutions

H#3 2 solutions

H#2 2 solutions

155 P.A.Petkov

156 F.Chlubna

3 Pr Schach-Echo 1971

Comm. Schach-Echo 1975

dwdwdwd
dwdwdwdw
Wdwdwdwddp)khpdw
Wdbdr1wd
dNdN0Bdp
W0wgwdw0
4wdQdKdw

Kdwdwdwi
dwdwdwdw
Wdndw1wd
dwdwdPdw
Wdw0wdwd
dw4wdwgw
Wdwdwdwd
dwdwdwdw

H#2 2 solutions

H#4 2 solutions

SOLUTIONS ON
NEXT PAGE

BLACK TO PLAY
151. (Kricheli) a) 1.Dcd4 Kd5 2.Dd6 f3; b)1.Db4 Kb5 2.De3 f4.
White needs to lose a tempo, which conditions the arrival effects at Black’s first move and causes dual
avoidance. Kricheli was the master of such themes but I wonder why he didn’t place the WS on h3 in a), forneater twinning?
152. (Feather) 1.Dfg5 Ike4+ 2.H7d5 Ie8; 1.Deg5 Ikf3+ 2.Jd5 Ic3.
An odd use of what looks like a halfpin. I am tempted to call the effect at Black’s first move an anticipatory
uncheck. All the moves have thematic departure and arrival effects.
153. (Persson) 1.De4 Cfke6 2.Hke6 Ckf5 3.Hb6 Cd4; 1.Fe4 Ckf5 2.Hkf5 Cke6 3.Hc5 Cd4.
The departure effects at Black’s first move cause an interchange of the white moves over the two solutions.
Homogeneous line opening motivation.
154. (Petkov) 1.Fb8 Ckc6 2.Db5 Ce7; 1.Dc8 Cke6 2.De4 Cc7.
A curious mixture of legitimate dual avoidance (try interchanging Black’s first moves) and weaseldom. You
are supposed to imagine that 1.Dc8 Ckc6 2.Db5 Ckb4 may work until you notice that you have unpinned theBPc5; similarly that 2…Cf4 may be mate in the other line. The pins in question are totally unnecessary in the
problem as a whole; had the composer managed to arrange it so that they had some function I should view thisdifferently. As it is, you can delete a5, b4, e3, c5, g4 and h1, move the BQ to e3 and you have a sound problem,
six pieces fewer and the same solutions.
155. (Petkov) 1.Ha6 Ie2 2.Hc6 Ckf4; 1.Jh6 Ee2 2.Je6 Cb4.
However this is brilliant! The square block idea is obvious but try 2.He6 or 2.Jc6 and you will find that you
have just unpinned a black piece which stops the mate. Unpinning motivation and avoidance runs through thewhole problem and each avoided pin is needed in the other line.
156. (Chlubna) 1.Fc7 Kb7 2.Je5 f6 3.Hh3 f7 4.Hh7 f8I; 1.Jh6 f6 2.Fb8 f7 3.Hg3 f8I+ 4.Hg8 Ikh6.
The two mates are the familiar ones with BR and BK in the corner, but in each case the arrival of the BR
causes an unwanted pin unless Black forestalls it when getting his B out of the R’s way. This is appropriately
combined with two BQ hideaways and an ingenious use of tempo to achieve the anticipatory unpin effect on
two different lines. Such an elegant problem could not possibly win a prize, of course. It’s obviously far too
easy to do. Why then do I wish that I had composed it?

BLACK TO PLAY
157 Y.Blaustein

2 HM Israel Ring Ty 1967

wdw!Kdwd
dwdPdwdW
wdwdwdwd
dwdwdwdW
wdwdkdwd
dwdq4pdW
w0Pdbdwd
dBdw$wdW
H#2 2 solutions
1.Ja6 If6 2.Fb5 c4;
1.Ja3 Ig5 2.Hb3 c3.

158 P.Sola

1 Pr Deutsche
Märchenschachzig 1932

wdwdwdwd
dwdwdwdWwdw)wdwddK0r)wdW
wdwgwGwd
dw1PdwdR
wdkdpdwd
dwdb4ndQ
H#2*
1…Gh8 2.Lkd3 Ih7;
1.Ja1 Ie4 2.Fb2 d4.

159 I.Telkes

Comm Magyar Sakkvilág
1937

wdwdwdwd
dwdwdwIW
wdwdwdwd
dwdwdw)W
P0wdwdwd
dP0wdpdW
w$P0k0wd
dwdrdrdW
H#4
1.Ha1 Gb1 2.Hh1 Gg1
3.Hd1 Gg4 4.Hhf1 Ge4.

CHAPTER 8: LINES
Since three of the six chess pieces are line pieces and the pawn can on occasion
make a fourth, line themes must play an important part in all genres of problem.
Helpmates featuring line moves tend to be quite clear thematically; however theline play itself may already be quite familiar from direct mates and so thedifficulties for the composer come in arranging interesting motivations for the line
effects and in deciding what other play blends most satisfactorily with them.
Depending on composers’ varying success in this, some of the best and some of
the worst helpmates fall under this heading.
Let’s start by looking at a group where the interest centres on play along lines.
In 157 we have attractive clearances by BQ/BB and BQ/BR. Essentially these are
double hideaways, crossing a critical square so that the WP can move so as toprevent their return to d3. The halfpin of BB and BR is both pleasing andnecessary. The slightly restricted WQ position is regrettable; I should have chosena BS on d7 and placed the WK on gl for an increase in mobility which Alybadix
shows as 3813 moves as contrasted with 2732. Where the problem is leastsatisfactory is in White’s first move, where the motivation is not a line idea but asimple guard. The composer has done well to find an arrangement which makes
the WQ’s arrival square depend on the BQ’s arrival square but in doing so hasgiven the WP a second reason for its moves (guard of d4/d5) which further
distracts attention from the main line theme onto the square guarding motif.
Clearly, to arrange some line effect also at White’s first move would haverequired a much heavier setting. This is a familiar dilemma in this genre: there isso much potential thematic space even in a short helpmate that inadequate or
merely neutral use of some of it can detract from the overall artistic impression.
Some composers wrestle very consciously with this dilemma but others treat it
purely instinctively. It seems to me that as the helpmate has become moresophisticated so the need for the conscious approach has grown.
Back in the thirties such notions were unthought of and 158 was a remarkableproblem. The set play features a white clearance and the solution a black one. The
motivations are not equal and it is perhaps a pity that the WR guards d3 initially.
This problem is a curious example of the influence of fashion. The set play form
is not at all suited to this kind of theme and in fact without the WPd6 the problem
is sound in two solution form, with a rather appropriate first black move added tothe set play in the shape of 1.Hd8! The composer must have seen this.
A slightly different clearance idea is seen in 159.
All the moves except the mate are onto, away fromor (especially) along the thematic line and all,obviously, are rook moves. It would be interesting toknow whether the composer conceived of the idea
initially as a double clearance or a double
switchback; the fact that we cannot tell proves how
homogeneous the effect is.
The modern descendant of this problem is 160, a
considerably harder task because the double
clearance goes in the same direction and thus
necessitates the extra length, leaving Black’s third
move and White’s fourth to be filled in somehow.
The former is easily occupied with an admittedly
unthematic block but the latter is hard. The use of
tempo, making it necessary to immobilise the WK,
may be the only practicable solution.

160 M.Ott & N.Geissler

Die Schwalbe 1992

wdwdw$wd
dwdwdwdW
wdwdwdwd
dwdw0pdW
bhr0wdwd
0k4p0wdW
wdw0wdwd
dndKdwdW
H#5
1.Hc8 Gf6 2.H3c7 Gc6
3.Da2 Gc2 4.Hc3 Gc1
5.H8c4 Gkb1.

BLACK TO PLAY
161 M.McDowellComm Münchener SK 1987

wdwdwdwd
dwdw4wdW
wdwgwdwd
dwdw1wdp
wdKdRGw0
dwdwdwdP
wdw0wiPd
dwdwdwdW
H#3 b) H>e6a) 1.Jh8 Ekd6 2.Hg7 Ge5
3.Lg3 Ge2;b) 1.Ja5 Gke6 2.Fc5 Ee5
3.Le3 Eg3.

163 J.M.Kricheli

1 Pr Schach-Echo 1973/1

wdwdwdwd
dwdwdwdW
Bdbdw0wd
dwdwgwHW
wdwdndwd
dwdwiwGq
Rdwdwdw0
4whwdwdKH#2 2 solutions
1.Fd4 Ef1 2.Dd3 Ge2;
1.Ff4 Gg2 2.Dd2 Ef2.

165 G.Bakcsi

1 Pr Europe-Echecs 1971wdwdwdwd
dwdwdwdW
wdw0p0wd
dwdwiwdW
p$p0phPd
IQ4wdwdr
wdwdwdw1
dwdwdwgb
H#2 b) Bc4>c5 c) +Bd4>d5
a)1.Hce3 Id3 2.c3 Ikd4;b)
1.Hcf3 Ie3 2.d3 Ike4;c)
1.Hcg3 If3 2.e3 Ikf4.

All our examples so far have shown the crossingof critical squares. This idea is shown to perfectionin 161 where Black’s hideaways are mirrored by
White’s line closings to give the BK access to themating squares and White’s critical square isinitially occupied by the BQ which makes Black’s
critical moves. It is hard to use the word “critical”
without also being critical of the judge! Admittedly
the various motifs in this problem are none of themnew, but thematic unity like this makes it worth aprize in any company.

162 Z.Maslar

It is interesting to compare this problem with 162,
which is less homogeneous but has even betterinterplay, with black pieces clearing the criticalsquare for White to cross before they return to allow
the BK access. This has been called the mousetrap
theme but as in the cartoons the mouse has the last
laugh!

H#3 2 solutions

More paradoxically, critical play can put thethematic piece on the wrong side of the criticalsquare, as in 163 where the need to prevent a checkin anticipation (in order to permit an essential
unguard) motivates the WB and WR to go to squares
where the mating moves will cut off their lines ofguard, thus giving the unguarding move (Black’s
second) a blocking arrival effect. The difficulty of
expressing that in words is itself a tribute to theintricacy of the idea. The move which does not form
an intrinsic part of the theme (Black’s first)
appropriately shows another blocking effect.
Another idea involving movement along lines is
the so called magnet, in which one piece appears to
draw another magnetically after it, ideally in several
solutions. This idea, which can be shown with white
pieces, black pieces or a mixture, often suffers from
ill unified motivation, as in 164, which clearly
belongs to the “more is better” school ofcomposition. Two solutions in a) show the WB
moving to guard a square, while in the other one themotive is purely clearance. In b) the WB guards
each time but the moves 1.Fd3 and 2.Df3 areparticularly weak.
Vastly more impressive is the mixed magnet in
165, where the motivation (line closing / criticalmove / unpin + line opening) is well unified andidentical in each case.
One of the most original helpmates of the eighties
is 166, related to the magnet but considerably more
subtle. The white line pieces lead the BQ but
hesitate so that their subsequent check can be
answered by the BQ’s selfpin. The need for eachthematic line to be five squares long makes thistechnically difficult. The white interchange offunctions is absolutely intrinsic to the idea.

feenschach 1986

Bdwdwdwd
dwdpdwdWRdw)wdwddk)wdwdW
wdwdwdwd
dwdwdwdW
ndwdKdbd
dwdwdwdW
1.Db4 Ga1 2.Da2 Ec6+
3.La6 Gka2;
1.Fh3 Eh1 2.Fg2 Ga5+
3.Lc6 Ekg2.

164 R.Wiehagen

Schach 1989

wdwdwdw4
dwdwdwdW
w0wdw0wd
dk0wgw0W
w0pdw0w1
dwdwdw0W
wdwdwdBh
dwdKdbhQ
H#2 3 solutions b) L>g4
a)
1.La6 Ea8 2.La7 Ib7;
1.Ha8 Eb7 2.Ha5 Ic6;
1.c3 Ec6+ 2.Lc4 Id5;b)
1.Lf5 Ed5 2.Dg4 Ie4;
1.Dh3 Ee4 2.Df3 Ikf3;
1.Fd3 Ef3+ 2.Lh3 Ig2.

166 B.Schauer

1 Pr Die Schwalbe 1984

wdwdwdwd
dwdwdw0W
pdwdwdwd
iwdpdpGp
w0wdw)wd
dP0w0K)W
wdw$rdnd
dwgwdwdq
H#3 2 solutions
1.Jd1 Gd4 2.Jd3 Gkd5+
3.Jb5 Ed8;
1.Jh4 Ee7 2.Jf6 Ed8+
3.Jb6 Gkd5.

BLACK TO PLAY
167 K.Widlert

1 Pr Die Schwalbe 1988

Kdwdwdwddw$w)q0W
wdrdwdwG
dwdwdwgb
wdw0wdwd
dwdwdw4W
P0wdpHw)$niwdwdW

Finally in our survey of movements along lines I invite you to consider 167, in
which the essential motivating factor is the need for the BQ to hide away on either
f4 or c4. If nothing is done in compensation this will create an unwanted unpin of
the piece making the square block at Black’s first move. Consequently the pinning
white pieces must follow along the pin line and cross those critical squares. What
I should like you decide for yourself before reading on is why the composer added
the WPs on a2 and h2.The problem is quite sound without them…

Well, one commentator rather unkindly described 167 as “a queer fish”.
Reading that, you may wonder whether the WPs are merely red herrings but I
believe that they are not. Without them one could argue that the anticritical effectof 1…Ee3 and 1…Gc3 is spurious since these moves are the only way to shutthe BR from the mating line and so must be played anyway. With the pawns theH#2 b) Hg3>b3
possibility of a) 1.Fd2 hkg3 2.Jf4 Gkc6 and b) 1.Hc2 akb3 2.Jc4 Ekg5 existsa) 1.Fd2 Ee3 2.Jf4 Gkc6;
but these fail because of the unpin. Thus the anticritical moves become genuinelyb) 1.Hc2 Gc3 2.Jc4 Ekg5.
thematic and the BR is relegated to its proper role of ensuring soundness. In myview the adding of WPs here improves the economy of idea to such an extent thatthe poorer economy of force is quite acceptable. Less agreeable is the idle pin a1-c1. You will easily see howdifficult it is to control b1 any other way, but it seems to me that a composer whose views are enlightened
enough to allow him to add those WPs really ought to have had the nerve to use a third BR on b1!
Talking of pins, my heart sinks. That ubiquitous line motif the pin, seen as a minor feature in so many
problems in this book, is so easy to indulge in that when the attempt is made to elevate it to thematic status it
seems to bring out the worst in even the most reputable composers. We have already seen its incarnation as
weasel in 132. A few years ago a great fuss was made about a helpmate by two well known composers because
it showed triple pin mates four times over. Now this “insuperable task”, which I cannot bring myself toreproduce here, has a total of 8 entirely unused (static) pinlines over its four solutions, an average of 2 persolution. (That makes one for each composer, I suppose – thank goodness it wasn’t composed by Snow Whiteand the Seven Dwarfs!)
168 I.Olasz

TRDFCR 1939

wdbdwdwd
dwdwdBdW
wdwdrdwd
dwgkHwhW
Kdw0wdp$
dw4PdpdWw)ndw0wd
dw$wdQdW
H#2
1.Hkd3 Ckg4 2.Lc4 Ce3.
169 K.Császi

1 HM Magyar Sakkélet
1976

wdwdwdwd
dp1ndwdK
wgwdwdwd
dwdkdwdW
BhwHwGwddwdr)wdW
wdRdwdwd
dwdwdbdW
H#2 4 solutions
1.Jc3 Ed6 2.Lc4 Eb3;
1.Jc4 e4+ 2.Lc5 Ce6;
1.Jc5 Cb5 2.Lc6 Cc7;
1.Je5 Eb3+ 2.Ld6 Cf5.

I wonder how many problems in this book could be embroidered by theaddition of useless pin lines? We have just seen an example where the composer
added one for a technical reason, but to do so merely in order to be able to breathe
the word “task” *) is to share the mentality of those who wish that there was atrombone part in Beethoven’s “pathétique” sonata. No doubt Beethoven could
have written such a thing; but the real artist knows the meaning of the word
restraint.
Not that the task mentality is new, as 168 proves with its quadruple pin mate.
At least in this case only one of the pin lines is static. No, not new, but dangerous,
because it substitutes quantity for quality.
Quality and quantity are not mutually exclusive. The next three problems show
cumulative effects without too much compromise and all the pins and unpins inthem form an active part of the solution.
169 contains 4 pin mates of the same piece with
exemplary use of the white material and as its only
flaw just one repeated move, while 170 offers 5
different unpins with most of the remainder of theplay featuring some kind of line opening or closing,the only real weakness being the very feeble move
2.Fb5. Double pin mates in the three move
helpmate are rare because of soundness problems;
171 [on next page] manages to show three of themcreated in a strategically harmonious manner. There
are a couple of pairs of repeated moves and the
difficulty of the undertaking is underlined by therather colourless white play but there is nothing
spurious, nothing stuck on.
*) an acronym for “Technically And Stylistically
Kitsch”, as you no doubt know

170 P.Bansac

1 Pr Pest Ty 1966

wdwdwhqd
dwdpdwdW
wIwdwdB4
dwdpdwdr
bdkdwdn0)pgwdpdW
wdwdwdwd
dwdRdwdW
H#2 5 solutions
1.Fc6 Eb1 2.b2 Ea2;
1.d6 Ee8 2.Fb5 Ekb5;
1.De6 Ee4 2.De5 Ekd5;
1.Df6 Ekh5 2.f2 Ee2;
1.Ff6 Ee4 2.d4 Gc1.

BLACK TO PLAY
171 G.Bakcsi

Probleemblad 1979

wdwdbdwd
0wdwdpdW
wdwdwhP0
0wdk0pdW
Rdwdqdw$
dpdpdndWwdw)wdwd
dwdwdwdKH#3 3 solutions
1.Jf4 g7 2.Dd4 g8I
3.Le4 Ig2;
1.Jc4 gkf7 2.De4 f8I
3.Ld4 Id6;
1.Jb4 gkf7 2.Dd4 fke8I
3.Lc4 Ic6.

173 J.Csák

1 Pr 9th Solidarity
Tourney 1986-89

wGwdwdwg
dw$wdwdw
wdwdwdp$dwdnHwdw
wdwdwdwh
dwdwdpiP
wdrdw0pd
Iwdwdwdw
H#2 2 solutions
1.Df6 Ckf3 2.Dkf3 Gc3;
1.Dc3 Ckg6 2.Dkg6 Gg7.
175 G.Bakcsi

4 HM Probleemblad 1967

rdwdw$wI
0wdwdwdw
wdwGwdwd
dndwdwdP
bdw0wHw$
dw0wiwdp
wdwgw0wd
dwdwdwdn
H#2b) Bd4>e4 c) Bd4>f3
a)
1.Dg3 Ge8+ 2.De4 Gkh3;
b)
1.Dd4 Gkh3+ 2.Df3 Ec5;c)
1.Hd8 Ec5+ 2.Hd4 Ge8.

The task approach is only one way to make thepin/unpin motif thematic; a more satisfactory way is
to seek interesting motivations for strategy based on
pinning. In the mysterious 172 each of the BS andBB finds itself in the way after performing thenecessary removal of the WP, so its only recourse is
to selfpin by capture. Meanwhile White pins theother one of the pair. The homogeneity of thisstrategy is emphasised by the three function
interchanges (BS/BB, WR/WQ, WS/WS). The
construction looks precarious but the inaccessibilityof f2 is skilfully used in avoiding cooks. Have you
noticed what is mysterious about this problem? The
answer appears at the end of this chapter.
The same composer’s 173 also shows how
pinning can motivate interesting strategy although,unlike the last problem, it rather suffers from a lackof interchanges of functions. The BSh4 must movein order to let the WR guard h3 but cannot do so
without imposing a guard on the mating line. The
only solution is to arrange for this BS to pin itself.
This requires an unpin of the WS so that it cansacrifice itself to permit the BS to get to the rightsquares. Mating moves which pin are interesting inthemselves; there is still scope for originality inseeking curious reasons why they should happen.
Although, as we saw in chapter 5, cycles aremostly unsatisfactory as an end in themselves, cyclic
form can often be used to give simple motifs likepins and unpins added unity and intensity. The
brilliant 174 shows the white pieces moving in
cyclic order as they are unpinned by Black, each one
in two different ways, one at Black’s first move andone at his second. The skill which is evident in thearrangement of the mating nets is of the highest
degree of refinement.
In 175 we find a cyclic interchange of functionsof the three white pieces, as they take it in turns topin, mate and guard f4. In each case the black moves
are prompted by the need to selfpin in order to blocka square and also by the need to unguard the mating
line, a double but well balanced motivation.
Like the pin, the halfpin cannot now claim to be atheme in itself, though it once did, as 176 shows.
This is elegantly set (though by moving f5 to e5 wecould do without g4) and the critical BB move is
pleasing, but the mating move is the same, which
considerably eases the construction. In more modern
times the halfpin either has to serve as one motif
among several (as in 83 or 157), to act as bluff (afavourite notion of mine, see 152) or to beintensified in some way. The next two problems areboth remarkable examples of such intensification.

172 J.Csák

4 HM Rusek Mem. 1987

wdwdwdwd
dwdQdpdw
qdpdw0wd
dwIwdwdw
RdwdwdPddwhp)PdB
w0r)bdNd
dwdwhkHR
H#2 2 solutions
1.Dkf3 Ikd3 2.Dkg1 Gf4;
1.Fkf3 Ga1 2.Fkg2 If5.

174 A.Molnár

2 Pr Magyar Sakkélet 1963

wdwdndw4
IwdwHwdr
wdbiwdPd
GwdpdBdpw)wdwdwd
1w0wHw0w
w0wdwgwd
dwdwdwdw
H#2 3 solutions
1.Fe1 Cg4 2.Hh6 Cc8;
1.Dg7 Ckd5 2.Jb3 Ec7;
1.Fa4 Ed8 2.d4 Cc4.

176 C.M.Fox

1 Pr Chess Amateur 1930

wdwdwdwd
dwdwdwdw
wdqhNdwd
dwdkdpdw
wdNdr)Pd
dwdwdrdw
wdpdwdw0
dwIwdwgB
H#2*
1…gkf5 2.Hf2 Ce3;
1.Fc5 Cg5 2.Hd4 Ce3.

BLACK TO PLAY
177 J.Kiss

2 Pr Dunaujvárosi Hirlap
TT 1962

wdwdwdKd
dw0wdpdW
wdNdBdwd
hPiw4qHR
Pdwdwdwd
dwgwdwGW
wdbdwdwd
dw$wdw4W
H#2 2 solutions
1.He4 Ekc7 2.Fg7 Cke4;
1.Jf2 Ckf7 2.Fg6 Ekf2.
179 V.Schneider

3 Pr Tipografia TT 1969

w4w1rHbg
dwiw0wdR
w0wHwdwd
dwdwdwdW
wdwdwdwd
dwdwdPdWwdw)K)Pd
dwdwdw!RH#2 2 solutions
1.Fg7 Ih2 2.e6 Gc1;
1.Ff7 G1h6 2.e5 Ic1.

At a surprisingly early date for such a theme, 177
combines three halfpins, two black and one white(and thus three different interchanges of functions),
in a setting where the line openings by BR and BQ
for the BBs are particularly attractive.
Admittedly with poor twinning, 178 shows
something quite extraordinary. The BK moves into
three different halfpins, each formed of two of theblack pieces in the triangle at the centre of the board.
Obviously these cannot be complete halfpins in thesense that the ones in 177 are, with each piece fromeach halfpin moving in turn. Instead each of thethree pieces in the triangle moves once, and they all
block the square just vacated by the BK, taking it incyclic order to block or to remain to be pinned. The
WQ establishes the halfpin in each case only after
the BK moves, so the effect is anticipatory. The
constructional problems are apparent but the
problem is thematically faultless and outstanding asa feat of the imagination.

178 M.Myllyniemi

Tidskrift för Schack 1979

wdbdQdwd
dwdwdp1W
wdwHphw0
dwdngwdp
wdrdriwddw)pdP$P
wdwdwdwd
dwdwdKdW
H#2b) Gg3>d1 c) Cd6>b7
a)1.Le3 Ike6 2.Ff4 Ckc4;b)
1.Lkf3 Ic6 2.Hf4 Gkd3;
c)
1.Lf5 Ib5 2.Df4 Cd6.

We have already seen in 106 that it is possible to go on from the halfpin to thethirdpin. Decent thirdpin helpmates are very rare, though, so now let us turn ourattention to a pin/unpin idea which I shall call the change of pin motif. A black
piece is pinned initially but is unpinned by the interposition of a second black
piece, allowing the first to move away and leave the second pinned instead. Thus
in 179 the BPe7 is unpinned by each BB in turn so that it can move to intercept
the other one, leaving the first one necessarily pinned. This exchange of functions
between the BBs is matched by an exchange of mating and guarding duties
between WR and WQ, providing an interplay which can easily be missing insettings of this idea.

The interplay springs from the fact that each BP move also closes a potential
white line of guard, which must therefore be avoided. Indeed we have a kind of
dual avoidance, since the sequences 1.Fg7 G1h6 2.e6 Ic1 and 1.Ff7 Ih2 2.e5 Gc1 can be played; thereason for their failure highlights the interplay. The problem appeared in a cooked form; I do not know if thecomposer ever corrected it so I have added the WPd2 to make it sound.
The change of pin motif is attractive precisely because of the scope it leaves for interesting motivations andfor the choice of suitable white play. Not all possible motivations have been fully explored. We shall look at
two more of the subtler ones which have been found.
The twinning of 180 is not very good but thematically the problem is excellent. To permit the initiallypinned BR to block on c4 and d5 instead of the BPs which prevent the mates, not only must the WB be enabled
to sacrifice itself on those squares but the BR must be unpinned by the BQ or the other BR. This last featureaccounts for the arrival effect at Black’s first move. The composer’s stroke of genius was to make the departureeffect of those same moves a line opening which
180 G.Bakcsi
181 C.Fougiaxis
permits the WB sacrifices. This, along with the fact
3 HM Talaber JT 1981
1 Pr Sinfoniethat the unpins take place on the same square,
Scacchistiche 1984
unifiestheprobleminamostsatisfying
way.
w$wdwdwg

dwdwdwdW
wdpdwdwd
dwip0NdW
wdp4rdwd
dqdwdwdW
BdwHwdwI
dwdwdwGW

H#2 b) Ea2>h1
a)1.Je3 Ekc4 2.Hkc4 Cb3;b) 1.He3 Ekd5 2.Hkd5 Ce4.

Even more subtle is the motivation for the changeof pin in 181. The play centres on the need for White
to guard e2. By playing Cdc3 or Cdf4 to do this,however, he will unpin one of the BSs which will
prevent the mate. Therefore the BSs must be
unpinned by the BB and the BR, whose lines canthen be shut off by the unpinned BS. The one movewhich is not yet accounted for is White’s first, whichappropriately closes the remaining black line. This
logic is perfectly worked out in close parallel in thetwo solutions. Only the BQ, stopping a single cook,
is rather expensive. I should have preferred a WPg3.

wdwdw$wd
IBdwdw4r
wdwdphw0dwdN)wdW
wdw0wdpd$wdwhkdWbdw)Ngwd
dwdqdwdW

H#2 2 solutions
1.Fb3 Gf7 2.Dc4 Cdc3;
1.Hf7 Gb3 2.Dd7 Cdf4.

BLACK TO PLAY
182 F.Abdurahmanović

1 Pr NBvSV JT 1991

wdRdwdwd
hwdw0wdR
wiwdwdwd
dndwdpdp
B)wdwdwd
4wgKdbdr
wdwdwdwd
dw!wdwdW
H#2 2 solutions
1.Dd4 Gb8+ 2.Lc7 If4;
1.e5 Gd8 2.Lc6 Ih6.

183 F.Pachl

Schach-Report 1992

wdwdw4wd
dBGQ$wdW
wdwdwdwd
IwdNHwdW
wdPgwhPd
dw0wdwdW
wdwdqipd
drdwdwdW
H#2 2 solutions
1.Dkd5 Cf7 2.Lf3 If5;
1.Fke5 Cb4 2.Le3 Eb6.
184 F.Abdurahmanović

2 Comm Schach-Echo
1974

wdwdwdwg
dwdwdwdW
wdwdwdwd
GwdwdwdW
bdwdw4Pi
dwdrdwdp
wdwdwdwd
dwIwdndW

If 181 perhaps reminds you of the direct mate theme known as the Goethart
unpin, 182 may suggest that related idea, the Gamage unpin. Black will pin the
Bc3 by moving his K to the c-file but the WQ is able to unpin it again on themating move because at Black’s first move the BSb5 or the BPe7 has closed its
diagonal in advance. It is nice that the BK’s moves pin whichever one of the BS
or BP has not already moved to intercept. It looks as though certain direct matethemes will transfer beautifully to helpmates after all!
Were you fooled? The unpin of the BBc3 is pure window dressing. If you
move the WQ to d2 nothing changes except that the pin is removed (oh, and you
won’t need the BRa3 any more). You could add a BPd4 and the solution starting
1.e5 would still work because the point of the move to e5 is not to close a line atall, it is simply the only way to stop the BP from interfering at e6! I admit that I
was a little surprised to find this problem winning a theme tourney for precisely
the kind of unpin which we have just seen that it can manage without, but it isafter all a matter of taste. We all like a good magic show (and Abdurahmanović iscertainly a technical wizard!), we know something of the illusions on which themagician’s art depends, yet we are still entertained. We want to believe inwonders. Magicians know this and make their living from it. Long may they
continue pulling weasels from their hats.
Our next example, 183, will help us to move on to our final line play idea.
There are selfpins by capture which are somewhat reminiscent of 172 but thistime they are anticipatory. The main interest of the problem lies in the play atWhite’s first move, which is very striking, opening two white lines and closing
one black one each time. The motivation of each move is exactly the same as thatof the corresponding move in the other solution and there are (unusually in a
helpmate in 2) three different interchanges of functions between white pieces(S/S, Bc7/Q and Bb7/R).
There are many other problems in this book in which the line opening andclosing idea features incidentally, but it is time to consider a few where it forms
the main content.
Because pinning ideas need intensive treatment to be convincing I haveconcentrated on helpmates in 2 throughout the last section. Line closing can also
operate very effectively in longer problems, as we have already seen in 122. 184
contains a magical and well motivated closed chain of interferences to permit the
WK to approach the BK. First a BR shuts off a BB, then the same BR is shut off
by the other BB, which is then intercepted by the remaining BR. Finally this R isitself closed out by a move of the first BB. Cyclic effects of any kind are rare in
the four move helpmate but a cycle which is expressed by successive moves (asopposed to corresponding ones in different phases) is even more unusual. This is
Abdurahmanović at his best, with technique andinspiration going hand in hand.
185 C.J.Feather

My objective in 185 was to show double
anticipatory line closings at Black’s first move. The
fact that I need to tell you that may prove that it isH#4
not very convincing! Thus 1.Fd4+ provides both for1.Hb3 Kd1 2.Fc3 Ke2
the WK to go to e4 without a subsequent check from
3.Hd4 Kf3 4.Fd7 Ed8.
the BRa4 and for the BK to go to c5 without asubsequent check from the WBg1. The effects are
similar in part b). The subsequent moves to c4 (Black’s third moves) are notgenuine line effects, rather a choice of blocks, but at least they prevent the pieces
on the a-file from appearing too weasely!

Moultings 5 1991

Whereas the double interference in the last problem is interesting because it
affects both Black and White, some interference effects need to be single in theirmotivation if they are to seem convincing. One of the most difficult ideas of thiskind is the black interference cycle in which R, B and P each close the line of thenext in sequence. It is difficult because the necessary two-square pawn move isrestricting and because finding suitable accompanying play seems almost
impossible.

H#3 b) –Ad5a)1.Fd4+ Ke4 2.Lc5 Gb3
3.Fc4 Ekd4;
b)
1.Hd3+ Ke2 2.Lc3 Ec5
3.Hc4 Gkd3.

wdwdwdwd
dwdwdwdW
bdw4wdwd
dwdPdwdW
rdkdwdPd
dwdwIw$W
wgpdwdwd
dndwdwGn

BLACK TO PLAY
186 J.M.Kricheli

5 Pr Europe Echecs 1977bdwdwdwd
dw0ndwGW
pdwdw$r4
0wdBdwdW
piPdwdwg
1wdwdwdW
wdndwdwd
dwdwdwdKH#2 3 solutions
1.Dc5 Gka6 2.c6 Gb6;
1.Fc6 Gf3 2.Df6 Ef8;
1.Lb3 Gf4 2.Hc6 c5.

187 M.Persson

3HM Schach-Echo 1974/1

wdwdrdwd
dwdwdwdb
wdp0wdwd
dwiqdwdR
wdPdnGRd
dwdpdwdW
wdwdwdKd
dwHrdwgW
H#2 b) –Bd6
a)1.Je5 Ca2 2.Df2 Ee3;b)
1.Jf5 Ec7 2.Dd2 Ckd3.

188 J.Csák

The Problemist 1991

rdwdwdwg
HkdwdwdW
Ndpdwdwd
0wdwdwdW
wdb$wdw4
dwdBGwhq
pdwhwdRd
IwdwdwdW
H#2 b) Ba5>g6
a)1.Df5 Gg7+ 2.Ff7 Gd7;b)
1.Dde4 Gb2+ 2.Fb3 Gb4.

I have tried this theme myself and come off considerably worse than Kricheli
does in 186. His setting is not completely satisfactory but I know of none better.
Perhaps you would like to set to and produce one? If so, good luck! Anyway, let’s
see what happens in 186. The thematic pieces are those on g6, a8 and c7. In thefirst solution the BP interferes with the BR at Black’s second move after somemost appropriate critical play by the WR. Unfortunately the BP’s move also
unguards the mating square (b6) but the possibility of playing 1.c5 with the same
effect shows that that is not its real purpose. In the second solution the BB
interferes with the BP at Black’s first move and his second move is (suitably)
another line closing. In the last solution the BR interferes with the BB at Black’s
second move; this line is rich in white line openings. The supporting play is all in
keeping with the idea, but is not very well unified. My main regret, though, is thatthe second interference is at Black’s first move, not his second. While that oughtin theory to have been avoidable it is not easy to see how!
Putting together a couple of the ideas in this chapter we come to the notion ofinterference by a pinned piece. Like so many of the motifs we have been
considering, this is not so much a theme in itself as an element which requires the
admixture of complementary motifs to make a satisfactory whole. That is exactly
what is achieved in 187. The BQ departs from d5 to avoid giving a check at
Black’s second move but arrives at e5/f5 in order to close a line of guard. Thiseffect whereby a pinned piece stays pinned but changes its position seems to me
to constitute a genuinely active use of the pin line. What happens at White’s firstmove is a little colourless (simple guard) but Black’s second shows interesting
departure and arrival effects (opening of a white line, closing of a black one) andthe mates exploit all the strategic features mentioned. Some of the black line
pieces feature only in their own solution (the BBgl stops cooks, too) but with a
total of seven thematic lines that is virtually inevitable.
This is thoroughly typical of modern line play in the helpmate in 2, showing
the relative ease with which a skilful composer can achieve considerable
complexity. It also illustrates another dilemma of the modern short helpmate: ifsuch content can be achieved with such ease, shall we not need ever more striking
effects if we are not to appear merely to repeat ourselves?
One such striking effect appears in 188. White finds himself checking too soon,and since that check both causes an unpin and requires an interference thisproblem may make a fitting conclusion to our discussion of these and related
motifs. The striking feature, however, is that the subsequent mate takes place on
the line which has just been closed off, making an effect which is both opticallyand logically interesting. The motivation of Black’s first move is also line closing
and there is a (technically very astute) white line opening on the second move, so
the whole complex is well unified. It is a slight pity that one BB move both
unguards and closes a line while the other merely closes a line, but that is a tiny
point.
This problem both encourages us to believe that original line combinations arestill possible and leads us back to our question “why?”. The composer can only
have conjured up this idea by asking himself (whether consciously or not) “Whyshould a white check on a given line not give mate while a subsequent one from adifferent but similar piece on the same line does so?”.
********
Answer to Csák Mystery: The BQ and the BPc6 are quite unnecessary.

BLACK TO PLAY

DO IT YOURSELF!

189 F.Chlubna

190 P.A.Petkov

191 J.Korponai

192 K.Gandev

4 Pr Schach 1973

Schachmatna Misl 1986

2 Pr Budapest S.Sz. 1965

2 Pr Schach-Echo 1970/II

GkdwdwI
dwdwdw$w
WdwdN1pd
dwdwdn0w
W0wdwdwd
0wdwdrdw
Wgwdwdwd
dwhwdwdw

dwGwdwd
IQdwdw4w
Wdwdwdpd$wdbdwdw
Whwdw1wd
dwdwdkdw
Wdwdw0wd
4wdRdwdw

drdbdwd
dwdwdpdw
p)wdR0QdiwdwgRdw
WdwHwdwd
dwdqdwdr
WdBdwdwd
Iwdwdwdw

dwdRdwd
dwdwdpdw
Wdw0wiwd
0w$wdwdw
p1nIwdpd
hwdw0wdr
WGwdwdwd
dBdwdbdw

H#2 2 solutions

H#2 2 solutions

H#2 2 solutions

H#2 2 solutions

193 M.Persson

194 G.Páros

1 HM Springaren 1990

2 Pr BCF 27TT 1937-38

BGwdwdwd
dwdw4wHK
Wdwdw0wd
dw0wdp0n
Wdwgwdkh
dwdw0w4p
pdwdwdwd
dbdwdwdw

Bdwdwdw4
Gw0wdwdw
Wdw0wdwd
dndwiwdw
pdwdwdpd
dwdbdw$w
Kdwdwgw4
dwdwdn1w

H#2 2 solutions

H#3 b) Fd3>f5

SOLUTIONS ON
NEXT PAGE

BLACK TO PLAY
189. (Chlubna) 1.Hc3 Cc5 2.Ja6 Gg8; 1.Dd4 Ea7 2.Jf5 Gc7.
The first moves of White are not very interesting, but Black executes four unpins of Rg7! The indirect
unpins are connected with dual avoidance, the direct ones are hideaways.
190. (Petkov) 1.Lg4 Gd4 2.Ff7 Ig2; 1.Le3 Eg5 2.Fa2 Ge5.
One pin changes to another, with the originally pinned piece finally unpinning. Perfect equivalence between
the solutions with two attractive white interchanges of functions.
191. (Korponai) 1.Jb5 Ig4 2.Fg3 Cb3; 1.Fb5 Ig1 2.Fc7 Cc6.
The change of pin motif with square block (b5) and the need to close black lines as motivation. The whiteself interferences are an ideal accompaniment nicely compensated for in advance by White’s first move.
However, the pin of the WS (which merely stops one cook, by Qb6) adds a slightly spurious touch to what is anotherwise splendid problem. It can be avoided by moving the WK to e7, the WQ to g7, deleting the BPf7 andadding a BSa8.
192. (Gandev) 1.Je1 Gh5 2.Dd2 Kd5; 1.Jb8 Eh7 2.Db6 Ke4.
This looks a little messy but is in fact well constructed, the main problem being to prevent the WK fromgoing to c3 and then discovering mate. (Anti-) critical play by both sides nicely blending and excellent use of
the whole board.
193. (Persson) 1.He5 Ce8 2.Df4 Ckf6; 1.He4 Ckf5 2.Hf3 Ch6.
This is a paradoxical line closing idea in which the necessary interference with a black piece causes anunwanted interference with a white line of guard and thus necessitates a compensating square block. As in 191
the resulting idle white piece in each line is thematic, not a failing in economy.
194. (Páros) a) 1.Fe1+ Ef2 2.Fc3 Ge3+ 3.Ld4 Ge4; b) 1.Fe3+ Eg2 2.Ff4 Gf3 3.Le4 Ge3.
Astounding for its date, this would appear highly publishable even now. The two solutions match perfectly
and even achieve a kind of strategic chameleon echo with long range critical moves by White.

BLACK TO PLAY

CHAPTER 9: CAPTURE OF WHITE
Capture of white material has been one of the most fashionable of all helpmate ideas, both in single line
form in the thirties and forties and in multiphase form in the last twenty years or so. Most often the surpriseeffect of such a paradoxical kind of “help” is cited as the reason for its obvious attraction for both composers
and solvers; but this surprise has long since worn off, so there must be more to it.
Captures change the tactical possibilities of a position more radically than other moves, and since Whitecannot capture his own pieces, Black must do it for him; thus it should be obvious that capture of White createsnovel opportunities for strategy with inbuilt interplay. In addition it is virtually impossible to compose or solve
this kind of helpmate without facing important questions: How can it “help” to reduce the available mating
force? Why must the capturing moves be played?
These questions highlight the idea of the motivation of moves which has been the guiding principle of ourlast few chapters. The decisive point in the popularity of the idea, though, seems to me to be its compactness:though a capture is in itself a clearly recognisable motif, it takes a single move, leaving ample room for thecomposer’s originality in devising suitable accompaniments or complicated antecedents and consequences. In
the early days there was no doubt the additional challenge for the composer of getting his capture helpmate
sound, since the presence of white material not used in the mate must increase the chance of cooks. Technique
gradually improved, and some remarkably precarious looking positions turn out to be quite possible if the rightmeans are used (e.g. the use of the square f2 in 172).
However it is generally true nowadays that the most interesting thematic complexes involving capture ofWhite are to be found in the two move helpmate. Such problems may need five or six white pieces in addition
to king and pawns. For reasons of soundness it is unusual to find that amount of white material in longer
helpmates. As a result of this and of the compactness of the capture motif, settings of it in longer helpmates areoften unconvincing. They tend to contain a number of colourless moves which make one wonder whether they
really justify their length; most of the examples I have seen (or composed!) tend to look like twomovers withbits added on.
It’s time to start looking at some examples, starting with 195. Decide what you
195 I.Telkes
thinkabout this problem before reading on.
Die Schwalbe 1933

wdwdwdwd
dw0wdpdW
wdRdw)wd
dpIwdwdWw)wdwdwd)wdwdwdW
wdwGkdwd
dwdNHwdW
H#3
1.Lkd2 Kd4 2.Lkd1 Ke3
3.Lke1 Gc1.

196 C.J.Feather

Moultings 2 1991 (version)

wdwdwdwd
dwdwdNhW
wdw)wipd
dwdPdw0W
wdwIwdPd
dwdwHq0W
wdwdw$rddwdwdwdb
H#2 2 solutions
1.gkf2 Cd8 2.Jkd5+ Ckd5;
1.Hkf2 Ch6 2.Jkg4+ Ckg4.

If you remember chapter 2 you will have realised that the sacrificial weasel has
just reared its head again. If a white piece is there only to be captured, how does
one justify its presence in the first place? The question is hardest in the case of
single line helpmates like 195 in which the captured white pieces do not move. In
this case one has to decide either that the paradox of capture is sufficientjustification, or that the piece in question must prevent cooks. There is no otherchoice. Both these points of view were espoused by early helpmate composers,
Dawson and Fox going for the cook prevention justification and the composer of
195 choosing the justification by paradox. There is no doubt that the WB in 195 isnecessary but both WSs are weasels. They can be removed without changing
anything, which means that all the pawns can also go. If you think that theremaining four pieces do not make much of a problem, it may be because there
was not much of a problem to start with!
We have seen an example of the Dawson/Fox approach in 30, where the WQ
cannot be replaced by a WR. I cannot help feeling that it is zoologicallyinteresting that a fox should shun weasels.
The multiphase form is clearly more satisfactory because it offers a wider
choice of justifications for the use of captured material. A piece captured in one
phase may be active in another, the most generally favoured approach. If captured
and mating pieces exchange roles between phases we have the Zilahi theme (oneof the few themes with an inbuilt interchange of functions), which has produced
many fine problems.
If the same piece is captured in each phase that may be justified by a dual
avoidance effect or something similar. In 196 each of the two captures of the same
WR causes a different added guard on one of the mating squares, the point beingthat the two similar captures are not interchangeable.

BLACK TO PLAY

197 I.Sztankovszky

1 Pr Feenschach 3TT
1952

wdwdwdwd
dwdwdwdW
wdwdwdwd
dwdwdwdW
kdwdwdwH
dwdwIwdWw)wdpdw0
dwdwdwdW
H#5
1.e1F Cf3 2.Fa5 Cg1
3.hkg1F+ Kd3 4.Fc5
Kc4 5.Fa3 b3.

198 M.Caillaud

1 Pr Rex Multiplex 1986

wdwdwdwd
dwdwdwdW
wdwdwdw0
dwdwdwdk
wIP)wdwd
dwdwdw4p
Bdw0pdwd
Gwdw1wdW
H#4 2 solutions
1.Lh4 Eb3 2.h5 Ed1
3.ekd1F d5 4.Fg4 Ef6;
1.Hg4 Eb2 2.Jh4 Ec1
3.dkc1F c5 4.Fg5 Ef7.

199 C.J.Feather

Arbeiter-Zeitung (Wien)
1975

wdwdwdwd
dwdwdwdW
wdpdwdwd
dwdw$KdW
qdkdBdRd
dwdwdwdb
wdw0wGwd
dwdwdrdW
H#2 2 solutions
1.Ja5 Gb5 2.Lkb5 Ed3;
1.Jc2 Ed3+ 2.Lkd3 Ge3.

Multiphase helpmates in which captured white material is justified by its
preventing cooks seem almost nonexistent now but the sacrificial weasel still
thrives and is indeed nourished by many important composers. A problem by
Garai in which an unnecessary wQ is twice captured won a prize in a theme
tourney of Mat in 1987 (see Janevski / Stolev, no. 258). The judge of the 1970/I
tourney of Schach-Echo (U.Ring) gave a special prize to a problem by Bakcsi
with a similar feature, highlighting his dilemma by describing it as both a“constructive tour de force” and a “formally simulated” idea “at a high cost in
economy”.
In keeping with my belief that you should spot weasels yourself I shall not
quote any more sacrificial ones here where you will be expecting them, but there
may be some later! Meanwhile let us start looking at the various forms which thecapture idea can take.
a) The white piece moves to the capture square
As the first of several different forms of the capture of white idea we consider
the case in which the white piece moves to the square where it will be taken. Why
should it do so? It may be in order to capture a black piece and by sacrificing
itself to make the square available for a second black piece, as we have alreadyseen in 180; it may be the special case when the second black piece is the king, as
in 52; or it may be that the white move gives Black access to the square in someother way. One of the charms of the idea is that many variations are possible.
In 197, for example, the WS must sacrifice itself to allow Black to promote to abishop on a dark square so that it can block in the right place. The problem dates
from an age when such a sacrifice seemed enough of a theme in itself; it contains
some very colourless moves but comes close to justifying its length by filling inthe spare black moves with another similar promotion and block.
The composer of 198 has doubled the idea of capture for promotion and indoing so has created an effect in which white bishops seem to change into black
ones! It appears curious at first that a black bishop on a given square can move to
make a block in the BK’s field while a white bishop on the same square does not
guard the BK’s field. The trick works thanks to the curious nature of the pawn,
which can clear a diagonal and turn into a bishop in one move. The combinationof BQel and WKb4 is a skilful device to prevent both BPs from promoting
orthogonally without wasting time. While the bishop colour change is a neat trick
the problem does contain some padding, especially on the first moves. I havealready expressed doubts about capture of White in problems longer than two
moves; in a way this problem both proves and disproves my thesis, since on the
one hand it could have been set as a twin helpmate in three without losing
anything genuinely thematic, but on the other hand it would then certainly havemade the fullest possible use of its length. So much for generalisations!
Another version of the white sacrifice idea is for it to be the only way for
White to unguard the square to which the BK needs access. This can be rather
obvious if the move is literally the only way of getting rid of the unneeded white
piece (bishops tend to play from corner squares) but there is a more subtle variant,as seen in 199. The thematic pieces are initially free but in blocking squares the
BQ creates a pin which leaves the sacrifice as the only means of unguard. A
further variation on this idea is to make the preceding black move a check which
the sacrifice parries by interference.
b) The white piece is on the capture square
The remaining forms of the idea can apply both when the captured white piecedoes not move at all and from the point when, in one of the effects mentioned in
the last section, it has just moved to the capture square. The former is very
common but the latter clearly makes a more complex effect. We shall see
examples of both. There are three different cases according to what happens to theblack piece after the capture.

BLACK TO PLAY
200 C.J.Feather

Moultings 4 1991

wgwdwdwd
dwdpdNdW
pdw0wdbd
dRhwdkHW
qdpdwdp4!wdndwdWw)B0wdwd
IwdwdwdW
H#2 2 solutions
1.Jkb5 Ikd3+ 2.De4 If1;
1.Jkc2 Ikc5+ 2.De5 If2.
201 F.Abdurahmanović

3 Pr Olympic Ty 1984

wdQdwdwd
dwdwdwdB
Kdw$wdwd
dpdwGwdWb)wdw$wddk)ndwdW
w0pdwdwd
dwdwdwdW
H#2 2 solutions
1.Dkf4 Ig4 2.Lc4 Eg8;
1.Dke5 Ih8 2.Lkc3 Gd3.

b1. The capturing black piece stays put
The first case is when the capturing black piece stays where it is after taking
the white piece. The capture may (rather boringly!) block a square in the BK’s
field, or it may be the only available tempo move, as we saw in Black’s second
move of 67. Alternatively, as in 173, the capture may be the only nondisruptive
move, in other words a special case of the black hideaway idea. A more dynamic
variation features the need for the black piece to pin itself so that it cannot returnto prevent the mate. We have seen this idea in both 172 and (in anticipatory form)in 183.
One of the most interesting types occurs when a pinning piece is captured.
There is a wide range of possible reasons for this unpin, depending on what the
freed black piece is to do next. The composer of 57 intensified the capture idea by
arranging that the motivation of the unpin by capture was to permit a further
capture by the unpinned BP. In 200 the BSs must be unpinned by capture only sothat they are free to answer the check which the WQ must give on the way to themating square. There is still scope for composers to devise new motivations forthis kind of play.
An idea which is related to capture for unpin is capture for unguard. The white
piece is captured because it guards a square to which the BK needs access. I am
particularly fond of the anticipatory version of this, in which the square needed by
the BK is not yet guarded but would become guarded but for the capture. You
have seen this in 12 and 140. There are many effective examples featuring theremoval of a direct guard, however. In 201 the composer has shown good taste inchoosing to accompany this with first white moves
202 Ž.Janevski &featuring a further unguard as departure effect and a
F.Adburahmanović
pin of the capturing piece as arrival effect. The
Sakkélet 1991
interchange of functions at White’s second move is
wdn4wHbg
also nice. So often the success of helpmates with
capture themes depends on the appropriate use of the
dwhwdBdW
noncapturing moves.
wdkdwdwd

202 goes further, showing capture unguards for the BK which are also
prospective selfpins by three different pieces. The differentiation of the solutions
according to which piece makes the capture is most skilful and well unified. It
depends on unguards of the mating line or square, a motif which blends well withthe main idea. Perhaps I should not be quoting this as an example of capture ofWhite, though, since nothing changes if we delete the WRd4. So Abdurahmanović
must be added to the list of important composers favouring the sacrificial weasel.
It seems striking to me that that this remains (becomes??) a very good selfpin
problem without that WR!
If the capturing black piece is the BK then unpin and unguard effects are
obviously excluded. Consequently this type can be rather dull unless the captured
piece has just sacrificed itself actively. 203 is a
203 Ž.Janevski
lovely example, with line closings and three
1 Pr Phénix 1989
pinmates, all by the WQ, in a cyclic effect. This
theme is far from easy to show so considerable skill
bdwdwdwd
has gone into the easy looking position. The only
dwdwdw0W
enigma is the BBa8, which seems to have no
wdw$Q0wd
purpose.

dKdwdwdW
rdpgw)wd
dwindwdr
wdphwdNd
dwdRdwdq

H#2 3 solutions
1.Df3 Gkd3+ 2.Lkd3 Ie3;
1.Db4 Gkd4 2.Lkd4 Ikc4;
1.Fg1 Gkd2 2.Lkd2 Ie1.

One of the most frequent cases arises when thecapturing piece is a BP. Since a capture is often the
only way for a pawn to get out of the way, this istechnically one of the easiest types and goes back along way, as we saw in 30. In 204 it is found in theset play and blends well with the idea of sacrifice for
BK access which we have just seen. The set playform lends itself very well to this change ofmotivation for capture.

0wdwdwIW
rdw$w)wd
GPdRdwdW
wdwdw1wd
dwdwdwdW
H#2 3 solutions
1.Hakd4 b4 2.Ld6 b5;
1.Fkd4 Cg6 2.Ld7 Ce5;
1.Jkd4 Eh5 2.Ld5 Ef3.
204 W.Hagemann

3 Pr Schwalbe Ring Ty
1949

wgwdwdwd
dw0wdwdW
wdwdwdwd
dw0wiwdW
wdP0wdwd
dwdPdwdW
wdPdwdwd!wIwdwdW
H#3*
1…c3 2.dkc3 Ia8 3.Ld4
Ie4;
1.c6 Ikd4+ 2.Lkd4 Kd2
3.Fe5 c3.

BLACK TO PLAY
205 M.Sosedkin

206 P.A.Petkov

207 P.A.Petkov

3 Pr diagrammes 1982-83

3 Pr Schachmatna Misl
1978

feenschach 1990

208 C.J.Feather &F.Abdurahmanović

wdwdwdwd
dwdwdwdw
wdwdwdwd
dwHwdw1w
wiPdwdwg
0wdpHKdwwdw)n!wd
dwdwGwdw

wdwdwdNg
4wdwdwdw
Qdrdpdwd
dbdw1khw
wdw$pdwd
dwdw0wdw
wdwdpdNd
Iwdwdwdw

wdwhk1wg
dwdwdwdw
wdwdbdwd
dwdw$wdw
wdrdw0pd
dwdpdn0w
wdw0Bdwd
Iwdw$wdr

wdRdwdwd
dwdwIpdQ
wdBdwdwd
dpdwdR0w
w0bhwdpd
dpdrdwdw
w)k)wdPg
drGwdwdw

H#2 2 solutions

H#2 2 solutions

H#3 2 solutions

H#2 2 solutions

1.Df4 Cc2+ 2.dkc2 d3;
1.Dg3 Ie2 2.dke2 d4.

1.Fa4 Id3 2.ekd3 Ch4;
1.Hc3 Gd5 2.ekd5 Ch6.

1.Hd4 Gc5 2.Ff7 Gc2
3.dkc2 Eb5;
1.Dd4 Gh5 2.Fd7 Gh3
3.gkh3 Eh5.

1.Fe6 Ef3+ 2.Fkc8 Gc5;
1.Hh3 Gf1+ 2.Hkh7 Ee4.

Schach-Echo 1977

The BP capture idea features more prominently in 205, one of the most attractive examples I have seen, with
its elegant anticipatory line closings at Black’s first move and the wonderful interchange of functions between
WQ and WS which is used to differentiate the pawn moves at White’s second turn. Do have a really close lookat this one.
An interesting comparison may be made between 206 and 207, two examples of this motif by the same
composer but in different lengths of problem. In both cases the BPs need to capture to open lines and so whitemust sacrifice. Although the two unpins at Black’s first move in the threemover are differentiated in an
attractive and thematic way, this problem lacks the interchanges of functions of
209 V.Schneider
the shorter one and once again makes me wonder about its length, especially since
1 Pr Schach-Echo 1966
White’s first move is so weak. The double check mates are inelegant comparedwith the economical use of the WSs in the shorter setting.
wdwdwdwd

dwdpdpdw
wdwdk0qd
dwdwdpdw
wIN$bdwd
4wdwdwdw
Bdwdwdwd
4wdw$wdw
H#2 2 solutions
1.H1ka2 Ce5 2.Fc2 Cd3;
1.H3ka2 Ce3 2.Fb1 Cc2.
210 J.Csák

4 Comm Europe-Echecs
1988

wdwdwdwd
dwdwdwdwwdw)w)Pd
dw)NdR!w
wdbiwGPd
dq4wHw)p
wdwdndwd
dwdwgKdw
H#2 2 solutions
1.Hke3 Eke3+ 2.Jke3
Ike3;
1.Fkd5 Gkd5+ 2.Jkd5
Ikd5.

Finally in this section where the black piece captures and does not move again
there is the type exemplified twice in 58: the capture answers a check, which isusually a side effect of some other necessary manoeuvre undertaken by White.
This is seen in 208, where the nuisance check is created when the WB and WR
move to guard squares. The paradoxical nature of the idea is here increased byhaving the mates use the same lines as were previously controlled by the captured
pieces.
A more subtle variant involves forestalling a check rather than answering it.
Thus in 209 the WS will cause a check when it moves to unpin the BB, so a BR
must prevent the check before it happens by removing the WB. The choice of
capture introduces a dual avoidance motif based on line closing, a very fitting
accompaniment since the WS both opens and closes lines each time it moves.
b2. The capturing black piece is captured
The second case occurs when the capturing black
piece is itself then captured. The second captureneed not happen immediately. This is in essence amechanism whereby one white piece can replace
another without more than one white move being
involved. In 210 the idea is carried to an extreme bybeing doubled consecutively in each line but theprice in economy and mobility is naturally high.
The idea in its single form offers a variety ofdifferent possibilities for the reason why the second
white piece needs to get to the thematic square. Thus
in 211 the captures allow the BS to be pinned.

211 C.J.Feather

Moultings 12 1993

wdwdwdwd
dKdwdw!w
wdN0w0Rd
dw0wdbdw
wGw4ndwd
dwdwiqdw
w$ndrdpd
dwdwdwdw
H#2 b) C>a5a)
1.Hkb4+ Gkb4 2.Lf4 Ih6;b)
1.Fkg6 Ikg6 2.Ld3 Gb3.

BLACK TO PLAY
212 C.J.Feather

Schach-Report 1992

wdwdwdwd
dKdw0wdW
wdwdp!wd
0wdN4r0W
wdwgkHwd
dwdw1pdp
wdwdwdwd
dwdwdwdW
H#2 2 solutions
1.gkf4 Ckf4 2.Lkf4 Ih4;
1.ekd5 Ckd5 2.Lkd5 Ic6.

213 T.Garai

2 Pr The Problemist 1987

bdwdwdwd
dwdRdwdW
wdndw$w1
dpdwdwdW
wdwdw!Pd
HkdwdwdW
Ndwdwdw0
4wdwgwdKH#2 2 solutions
1.Jkf4 Gd2 2.Ja4 Gf3;
1.Jkf6 Ga7 2.Jb2 If7.

214 M.Persson

Schach-Echo 1979

wdwhwdKd
dwdwdwdW
wdwdNdw$
dwdkdw0W
w0wdwdwd4w)wdpdW
wGwdPdrd
dwdwdBdW
H#2 3 solutions
1.Hkc3 Ckg5 2.Hc5 e4;
1.Hke2 ckb4 2.He4 Cc7;
1.Dke6 ekf3 2.Dc5 c4.

Other reasons might be to guard squares, to gain access for a subsequent moveor to create a clearance when the second white piece moves again. There is scopefor originality here. More simply the double capture may be the only way toeliminate the black piece concerned. In 212 the BPs can be got rid of only if theycapture a WS, necessitating a subsequent sacrifice of the other WS so as to clear
the square for the BK.
b3. The capturing black piece moves on
The third and last case is perhaps the most interesting: the black piece capturesand moves again. We saw a simple version of this in 147 where the white piece
was captured merely because it lay on the black piece’s only route to its
destination; although this motivation is obvious it was used in that problem tocreate a very interesting form of dual avoidance, thus showing once again that it is
the accompanying play which often determines the quality.
In addition there is of course a variety of reasons why the black piece shouldneed to reach its destination, so this idea merits further experimentation. In
problems 8, 11 and 172 we have already seen some of its possibilities. 213 is avery curious example where it is hard to say what the reason for the captures
really is. Clearly in the line where the BQ must reach a4 the only route passes
through f4, just as in the other line the only route to b2 passes through f6. No
doubt for that reason, Janevski describes the idea as “pseudo annihilation”,
meaning that the capture occurs only because the white piece occupies a square
which would be needed even in its absence. As an experiment let us forget thefirst line for a moment, move the BQ to g5 and make g4 a BP. Now the 1.Jkf6
line still works but the alternative route 1.Je5 does not, because the mating moveis blocked by the WR which has not been removed. Thus we have shown that the
motivation in this line is really a clearance. We have incidentally also confirmed
the analytical usefulness of possibilities which fail only because of a single
difference in strategic effect from the solution.
On closer inspection of this problem, though, we see that the clearance
motivation applies only because the WQ possesses a diagonal power which the
WR lacks. The WQ can mate from f7 but the WR cannot. Turning to the othersolution, no matter what alternative route we might imagine for the BQ, it would
not fail to work for lack of a clearance since the WQ, whose powers include thoseof a rook, could simply mate on f3 instead of the WR. Therefore the motivation inthis line is indeed an accidental annihilation.
There is no way in which the composer could have avoided this slight
imbalance; and the problem is splendidly light and airy for such spectacular
content. I do find it a little worrying though, that the judge did not comment on
any of the above, referring merely to “impressive strategy”.
Mutual clearances between WQ and WR are impossible but the idea of
removing white pieces to open lines can be shown genuinely and effectively, as
the lovely 214 shows. Each of the thematic black pieces (which are, mostsatisfactorily, the only black pieces!) needs to block a square in the BK’s field andhas a choice of ways of getting there. Of these one involves capturing a white
piece, thus opening a line of guard, and the other does not, and for precisely thatreason will not work. The white moves blend perfectly in that White opens theother two lines in each case; and the final refinement is that there is a cyclic
interchange of functions in the use of the two WPs and the WS, each being
captured in one solution, making White’s first move in the next and his second in
the remaining one. This helpmate is perfect in its clarity and harmony, myfavourite among all of its composer’s problems. Incidentally it is high time we
had a published collection of Manne Persson’s works, since he started composing
in 1933!

BLACK TO PLAY
215 F.Pachl

4 Pr Thema Danicum 1989

Kdwdwdwd
dwdwdndW
wdwdndwd
drdwdR)k
RdwdNGwd
4wdwdwdW
wdwdwdwd
gBdwdwdb
H#2 2 solutions
1.Hkf5 Ee3 2.Hd5 Cg3;
1.Dkf4 Ge5 2.Dg2 Cf6.

216 A.Zarur

1 Pr The Problemist 1989

wdwdwdwd
gqhwdQ0W
rdwdw$pd
dwdw0w0W
rdwdw$pd
dwdwdB0W
bdwINdPd
dwdwdkdW
H#2 2 solutions
1.Hkf4 Gb6 2.Hc4 Ee4;
1.Hkf6 Gc4 2.Hb6 Ec6.

The lines of guard opened by the black captures in 214 were each blocked only
by a single white piece, but it is easy to extend this by positioning another white
piece on the same line and having it move as part of the solution. An attractive
version of this idea is to have two intersecting lines of guard and site the extra
white piece where they meet, as in 215. Indeed the idea is taken even further byhaving this extra piece (the WS) pinned initially. From this there arises somecomplex strategy at Black’s second move, where the thematic black pieces bothclear the white line, unpin the WS and do so with dual avoidance, since the wrong
choice would put an unwanted guard on the mating square. Among currently
active composers Pachl stands out for his understanding of the nature of modern
strategy in the helpmate: it would be hard to say neatly what the “theme” of thisproblem is, but the blend of motifs is so chosen as to exploit the resources of theposition and ensure perfect balance. All the moves except Black’s first moveshow both arrival and departure effects and every one of them is connected withline opening or closing.
216 shows an even more complex line clearance by capture. There are three
heavy pieces bearing down on the BK behind the WBf3 but the two nearest are
securely guarded by BPs. There is time for one to move away, closing some blacklines in the process, but the other must be removed by a black piece. This thenmoves away for further line closing, while the remaining white move both opens
the mating line and contributes further to the line closing idea. The interchange oflines closed between White’s first move and Black’s second is most attractive. Of
course the WQ serves only as a R, but that is inevitable if we stick to the usual
conventions about promoted force.
The above discussion of the different ways of using the white capture motif
covers, however briefly, all the possible types and could be expanded into acomplete system of classification. Where such a classification would be open
ended is in the motivation of the moves. In the immense popularity of the capture
motif in recent years we have seen time after time the same sorts of captures forthe same sorts of reasons. Consequently the motif itself has acquired connotationsof staleness which are not fully deserved. If composers and solvers would
concentrate on the reasons for the moves they would find that there is still
freshness in the idea of capturing white pieces. It is after all one of the most fertileof all helpmate ideas and if it ever becomes truly exhausted then the helpmate
itself will be dead. Of course, some problemists believe that the helpmate is nearly(or already) dead, but that question takes us on to the next and final chapter…

BLACK TO PLAY

DO IT YOURSELF!

217 G.Smits &N.G.G. van Dijk

218 T.Garai

220 G.Bakcsi
219 Z.Janevski

feenschach 1982

Sinfonie Scacchistiche
1987

Sachova Skladba 1991

3 Pr Sinfonie
Scacchistiche 1970

dwhwdbd
dwdwdwdw
WdN0wdwd
dwiBdwdw
pdw$wdw4
4wdw0wdQ
ndwdKdwd
dwdwdwdw

dqdwdwd
dw0wdwdQ
W0K0wdwG
dn0wdpdw
Wdndwdwd
dwdw0wdw
bipHwdwd
dwgwdwdw

dw$wdwI
gwdwdwdw
Bdwdwhwd
dw4Qdwdw
WdN$Pdwd
dN0w0Pdw
W0wdkdwd
dwdwhwdw

dbdwdwg
dwdwdwdw
Wdpdwdwd)wdN0wdw
kdwdPdwd
dwdwdPdp
pIwdB0w!
dwhwdr1w

H#2 3 solutions

H#2 2 solutions

H#2 2 solutions

H#2 b) K>b6

221 G.Bakcsi

222 C.J.Feather

1 Pr Probleemblad 1969

Moultings 9 1992

dwdwdwd
dndRdwHQ
WgKdPiPH
1w0w0Pdw
W0wdpdwd
0wdwdw0w
Wdwdrdwd
dwdwdbdw

dwdRdwd
dwGqdwdpW)wdwHpg
dwdNdpdwWdw)p0pd
dwdr4khw
Kdwdwdwd
dwdwdwdw

H#2 4 solutions

H#3 b) Bf5>f7

SOLUTIONS ON
NEXT PAGE

BLACK TO PLAY
217. (Smits & van Dijk) 1.Hkd4 Ca5 2.Lkd5 If5; 1.Fkd5 Gb4 2.Lkc6 Ic8; 1.Dkc6 Eb3 2.Lkd4
Ike3.
A cycle of captures of white pieces, the motivation alternating between unguard for BK access and passive
annihilation by the BK. The three mates by the WQ add unity. Curiously, a2 can be a BP. I guess that thecomposers must at some stage have been working on a version with the whole position one rank lower on theboard! Careless of them to miss this, though.
218. (Garai) 1.Dca3 Ikc7 2.Dkc7 Eg7; 1.Dba3 Eke3 2.Dke3 Ig7.
The white captures provide hideaway squares for the BSs, with attractive white and black interchanges offunctions and a nice touch in the block of a3, which Black cannot use for both Ss at once!
219. (Janevski) 1.Hkd5 Gd3 2.Lkd3 Ca3; 1.Dkd5 Gd1 2.Lkd1 Cke3.
The presence of the WRd4 is clearly justified by the fact that it moves, but what does the WQ do? If you
think that the answer is nothing, you are wrong, for it stops the cook 1.Dd7 Gdl 2.Lkdl Cke3. Now wouldn’t
it have been dull to stop that by putting the WK on f8? If we do that we can not only remove the WQ but also
the BPb2.
220. (Bakcsi) a) 1.ckd5 Ike5 2.d4 Ib5; b) 1.Dke2 Ikf2 2.Dd4 Ika2.
Black clears a line for the WQ which selfpins and therefore determines the arrival effect (unpin) on Black’s
second move. Cunning thematic twinning changes the selfpin line but avoids cooks by also changing the guards
on the BK’s field. Perfectly balanced motivation.
221. (Bakcsi) 1.Ja8 Cg8+ 2.Jkg8 Ih4; 1.Dd6 Ce8+ 2.Dke8 Ie7; 1.Hh2 Ch5+ 2.Hkh5 Ie7; 1.Fh3
Cg4+ 2.Fkg4 Ih4.
The only way to bring the WQ into play is to move a WS but all their moves give check! Thus Black mustarrange to answer the check with a capture, using four different pieces on different squares. The repeated mates
are hardly a fault. This checking idea became quite fashionable in the eighties, when nobody bothered toremember that Bakcsi had worked it a decade before.
222. (Feather) a) 1.Jke8 (Je7?) Cke4 2.Lke4 Ee5 3.f3 Cf6; b) 1.Jkc7 (Jd6?) Ckf4 2.Lkf4 Ge5 3.Hf3
Cd5.
An attempt to show a genuine 3-move theme involving capture of White. To unguard the sacrifice squares
e4 and f4 Black must capture on his first move because if he tries to selfpin instead then White’s second move
will unpin the BQ and prevent the mate. This requires three white moves (sacrifice, unpin and mate). I’m notsure whether I’m convinced but if I am it’s the interchange of functions between WR and WB which does it.

BLACK TO PLAY

CHAPTER 10: ALTERED IN FULFILMENT… what you thought you came for
Is only a shell, a husk of meaning
From which the purpose breaks only when it is fulfilled
If at all. Either you had no purpose
Or the purpose is beyond the end you figured
And is altered in fulfilment.
(T.S.Eliot, 'Little Gidding')
Twenty or so years ago, when I would have wished to read a book like this, I should have been very
optimistic about the future development of the helpmate; and indeed the intervening years have seen an
enormous flowering of the genre. When I took a rest from chess problems in the eighties I felt that I had no
more to say as a composer of helpmates and wondered if that was because I was getting jaded or because thegenre itself was becoming played out.
I returned to composition in September 1990 when a helpmate in 2, in virtually finished form, simply cameinto my head, attracted no doubt by the ample empty space available therein; since that time I have composed
about 300 more, and even with my inexhaustible talent for repetition I have to believe that two or three of themare original! So why am I not more confident about the future of helpmates?
In the first place I am dismayed at the low standards which many helpmate composers set themselves, bothtechnically and imaginatively. The most obvious ideas and motifs have been very thoroughly worked but thisdoes not stop composers from treading these well trodden paths again and again. And the worst thing is thatsolvers and judges do not seem to mind. It’s almost as though people look to helpmates merely forentertainment and do not really like originality; they don’t want to make the effort to think analytically andstudy the motivations of the moves. Helpmates must be as undemanding as a Lehar waltz while it is left to othergenres to correspond to Beethoven sonatas or Mahler symphonies. The helpmate is the lazy person’s chessproblem. Much as I should like to be optimistic I cannot see it shedding that image and I have to accept that it ispartially deserved.
The only hope is that helpmate enthusiasts may start to adopt the critical approach which I advocated in the
introduction. That is why I have dwelt so often on imperfections in this book: our mistakes are the most usefulthings we have, if only we are prepared to acknowledge them.
Secondly, I am not sure that helpmates in more than two moves genuinely offer the scope for development
which one would initially expect. When selecting examples for this book I looked at a good many recent
threemove helpmates and found that most of them failed to justify their length. They tend to use the same
motifs as twomovers, but spread more thinly because of the soundness problem, in other words they are afurther example of more not meaning better.
If you agree with my assessment that it is misleading to speak of helpmate themes in the conventional sense(see chapter 2) you will see that it provides one reason why this may be so. Of the various styles of helpmates
which we have looked at only journeys (chapter 6) seek unity in sequences of moves spread out over time;
although there obviously are other thematic combinations which require length to make their point, they areperhaps the exception rather than the rule. Putting this together with the soundness problem it may be that there
is simply less scope in helpmates than in direct problems and that they are consequently bound to be exhausted
sooner. A good many composers appear to take this view, if only tacitly, as is shown by the drift to unorthodox
forms, especially unorthodox conditions such as Circe or Madrasi. In writing this book one hope which I have(though not a very confident one) is that composers might really make the effort to search out thematic
complexes which genuinely justify three or more moves. They do exist.
Thirdly, I cannot really see any equivalent in helpmates of virtual play in directmates. The fact that after
many attempts nothing of this kind has really caught on (see chapter 5) seems to support this view. One
approximate equivalent ought to be dual avoidance (chapter 6); although dual avoidance helpmates are notscarce it puzzles me that they are not much more plentiful. I used to think that this was because Páros
concentrated so much on the idea at one stage of his career that he made other composers shy of it, but that was
thirty years ago. It would delight me if this book could help to persuade composers to make greater use of dual
avoidance in company with more modern themes. 223 [on next page] is a good example of what I mean: thedual avoidance is achieved by black departure effects rather as in 63 but it is combined with white sacrifices ina very elegant manner, showing that this kind of novelty need not mean crowded positions.

BLACK TO PLAY
223 M.Parrinello

feenschach 1991

wdwdwdwhdwdpdwIW
wdw0w$pH
dwdwdwib
wdwHwdw0
dwdw4wdW
wdwdw4wd
gwdwdwdW
H#2 2 solutions
1.Hc3 Ge6 2.dke6 Cke6;
1.Hb2 Cdf5 2.gkf5 Gkf5.

225 C.J.Feather

Schach-Report 1994

wdwdwdwd
dBdwdwdW
wdrdwHwd
dKdndwdW
wdw1wdpd
dw$wGkdp
wdPdwdwd
dwdwdNdn
H#2 b) L>g2a)
1.Hkc3 Ckd5 2.Jh8 Ckc3;b)
1.Dkf6 Gkc6 2.Ja1 Gkf6.

226 G.Bakcsi

3 Pr USPB 1984

w4wdwiwd
dwdPdndP
wdwdwdbd
dwdwdwhW
wdw0pdwd
dwdw0wIW
wdwdQGw4
dwdwdRdW
H#2 2 solutions
1.d3 Ib2 2.e2 Ec5;
1.Hkf2 d8E 2.Hke2 h8I.

Finally, it seems that new helpmate themes are
becoming very rare indeed. In 224 you will see one,an addition to the family of line themes which we
saw in chapter 8. The WQ has to find its way aroundbehind the BB and BQ in order to follow them along
a line for the ultimate mate, crossing its starting
square again in the process. This visually andintellectually attractive theme has yet to find its
perfect expression but clearly offers some scope fororiginality. It would be nice to accompany it withten or a dozen other new themes from recent years
but I cannot.

224 B.Ellinghoven &H.P.Rehm

feenschach 1990

wdndwdwd
dbdqdwdW
wdwdwdpd
dwIQ)pdWw)P)w0wd
dwdwiP0W
rdwdwhwd
dwdwdwdr

H#3 b) K>g2
In some of the earlier chapters I have suggesteda)possible areas for development, but it is difficult to
1.He2 Ig8 2.Fkf3 Id8
do more than combine motifs in what one believes
3.Jkd4+
Ikd4;
are appropriate ways and hope that the resultingb)thematic complex seems fresh; and above all it is1.Hd2 Ia5 2.Jkd4 Ia8
difficult to find novel combinations which lend
3.Fkf3+ Ikf3.
themselves to a variety of satisfactory expressions.
Thus I have recently been experimenting with a twomove idea in which white pieces are captured at Black’s first move in order toclear squares as arrival points for other white pieces which mate by discovery. In
225 this is shown in the Zilahi form (see chapter 9), thus ensuring that there iswhat I see as an indispensable interchange of functions. This idea takes care ofthree of the four moves but it was enormously difficult to find anything sensiblefor Black’s second. You may or may not think that I have found a good solution
to this difficulty in the shape of the BQ hideaways; but you should easily see thatthe range of possibilities is very limited.

Thus even if it is original this problem is not going to lead to a whole family of
related compositions in the way that the best ideas do, shown long ago by Comins
Mansfield in his Adventures in Composition. None of the constituent motifs in
225 is anything but very trite in itself, thus the most that the combination can
aspire to is a lesser kind of originality.
That all seems very pessimistic, but there is also room for some optimism. It iseasy to agree that helpmates need unity and we have seen all the usual ways ofachieving it exemplified in earlier chapters. There may be other ways, though. In
the curious 226 there is a kind of unity which is hard to describe, perhaps basedon the line opening idea, the pin of the BS and the
227 G.Bakcsi
fact that White needs a Q and a B for each solution
1 Pr Vizügyi SC TT 1987
but does not have time to use the same ones! Bakcsi
has made a number of problems like this, some of
q!wdwdwd
which I find frankly unconvincing, but you cannot
dpdwdw0W
deny that this one is both economical andwdwdw0Kd
interesting. We need composers to make such
4wdw4P0R
experiments, even if they do not always work.
Another idea of Bakcsi’s is to aim for unity in the
wdwdwdPd
interchange of motifs between the black and whitedwdb$PiW
play. Thus in 227 while in a) Black performs a
wdwdwhpg
clearance on the left hand side and White adwdwdwdW
switchback, in b) there is a white clearance on theH#2 b) I>h8
right hand side and a black switchback. The unity isa)more visual than strategic and the twinning is fairly
1.Ha1 Gke5 2.Ja2 Ge3;
extreme but the principle is general enough tob)suggest a range of other possible combinations
1.Fg1 Gh1 2.Fh2 Ikh2.
which composers ought to be exploring.

BLACK TO PLAY
228 C.J.Feather

Die Schwalbe 1974

wdwdwdwd
dw0wdwdr
wdkdwHRd
dwdwdpdW
wdwdN0wd
dwdwdBdW
wdw0Pdnd
IRdrdw1W
H#2 2 solutions b) D>h4
a)1.Jc5 Cd7+ 2.Jd6 Cec5;
1.Hd7 Cc5+ 2.Hd5 Cfd7;b)
1.Dkf3 Gg3 2.Dd4 Gc3;
1.Dkg6 Eh5 2.De7 Ee8.

230 C.J.Feather

Moultings 3 1991

Kdbdwdqd
dwdwdRdW
wdpdwdwd
dwHkdwGrw)whwdPd
dwdwdwdW
wdwdwdwd
dwdwdwdW
H#2 2 solutions b) c5=Aa)
1.Le5 Gf8 2.Jd5 Ef4;
1.Ld6 Ed8 2.Hd5 Ec7;b)
1.Le6 Eh4 2.Hd5 Ge7;
1.Le4 Gf3 2.Jd5 Ge3.

I have repeated that more does not mean better; ironically I was responsible for
introducing a new type of helpmate which may be thought to suggest the
opposite! This involves taking a normal helpmate with two solutions and twinningit with another similar one, with quite different themes in the two parts. I
discovered this possibility quite accidentally in 1973 when composing the second
half of 228. The first half just appeared of its own accord and was obviously toointeresting to jettison. Since then I have intentionally composed other problems inthis form and it does seem to offer interesting possibilities. It presents a greatchallenge to the imagination because the usual difficulties of achieving asatisfactory blend of motifs are doubled at a stroke; knowing what elements toattempt to blend together is indeed the hardest part because although there aretechnical difficulties they are not usually insuperable.
There are some possible variations on the idea: touse the multisolution form rather than twinning isquite possible; to have more than two thematic parts
is imaginable but very hard indeed; to make thedifferent themes more closely related can increase
unity but seem rather less original (see 229); or one
can mix the parts so that each contains one solution
belonging to each theme. This last idea can be seen
in very simple form in 230. I am inclined to prefer
this variant but it can be even harder to handle if thestrategy is not as rudimentary as it is here.
The idea has been taken up by a few othercomposers but has certainly not caught on in a big
way; I doubt if there are more than a hundred or sosuch works in existence twenty years after the first.
My collaborator Friedrich Chlubna is, however,convinced that this style does offer the best chanceof novelty in the further development of thehelpmate. Without being entirely convinced, I verymuch hope he will be proved right.

229 Y.Gordian &V.F.Rudenko

Phénix 1988

wdwdwdwd
dwdpdb0W
wdwdwiwd
dwdn4wgW
wdwdP)wd
dwdwdwdW
wdwdwdwd
Iwdw$RdW
H#2 2 solutions b) +Bf5
a)
1.He7 e5+ 2.Le6 f5;
1.He8 f5 2.De7 e5;b)
1.De7 ekf5 2.d5 fke5;
1.Le6 fke5 2.Fe7 ekf5.

This book has been a personal statement about helpmates, which I had thegood fortune to encounter as my first type of chess problem. My main thesis has
been that serious work needs serious criticism. The helpmate genre is significant
enough to need and benefit from such critical analysis and to deny it is to adopt a
condescending attitude which does it great harm. In putting forward that view I
have tried to be provocative wherever possible because there are too many
problemists who think that helpmates are undemanding. I should like to end,
though, by reminding you that you were never meant to agree with my views andto warn you that if by some awful chance you do agree you should visit a
psychiatrist at the earliest opportunity.

BLACK TO PLAY

C. J. FEATHER AND HIS HELPMATESA SMALL SELECTION WITH COMMENTS BY
FRIEDRICH CHLUBNA
As the translator and publisher of C. J. Feather’s book BLACK TO PLAY it seems to me that it would beincomplete without a small but representative selection of his own best helpmates. For after studying these
problems nobody will doubt that this man, who is not afraid to condemn spurious composing practices or todescribe the helpmate as “the lazy person’s chess problem”, is himself one of the genre’s most accomplishedpractitioners and is thus fully entitled to write critically about it.
Christopher John Feather was born on March 24, 1947. He lives with his wife Anne and his son Harry (bornin 1978) in Stamford, a picturesque old town about 90 miles north of London. He works as Deputy Head at
Stamford High School and also teaches a little French. His various interests include literature, music(especially Renaissance polyphony, Bach, harpsichord music and string quartets), recreational mathematics
and computer programming, crosswords and wine. He would also be keen on cooking (food, that is!) if his wife
did not already excel in that department.
Feather’s interest in chess problems dates from 1968; he was encouraged by John Rice and especially John
Driver (who was to die so prematurely). Driver lived in Kettering, not far from Stamford. Right from the start
Feather was fascinated by orthodox helpmates (without unusual pieces or conditions); about 85% of his
compositions are of this type. In addition he has composed about 50 serieshelpmates and a few helpmates withgrasshoppers or Circe rules.
In 1989 he published a booklet entitled PLUCKINGS which contains the best works from his first period ofcomposition. From the next year, when he took up composing again after a long break, his new works appearedat such a pace that the chess problem magazines of the whole world would not have had enough space topublish them all. Consequently he began the series of MOULTINGS, twelve tiny booklets containing an averageof about 27 originals each, which he sent out to problemists all over the world.
In fact just over half of his problems (including some masterpieces) have never competed in any tourney. He
is decidedly proud of that record. When he composes he does it purely for the satisfaction of the activity itself.
Tourneys, FIDE-Albums, Master Titles and all the other paraphernalia which composers think they need inorder to satisfy their ambitions seem ridiculous to him. He has never kept a tally of his award-winningproblems and he insisted that no awards be mentioned above any of those in the following selection. You canguess from the quality, though, that there are a number of prizewinners among them.
Let’s start the show!

BLACK TO PLAY
231 British Chess
Magazine 1972

wdwdwdwd
dwdwdwdW
wdpdw$wd
dw0whwdW
wdkdwdNd
dw1wdpdW
wdrdwdN0
hKdQdwdr

1.Jd4 Cf2 2.Ld5 Ce3;
1.Dd3 C2e3+ 2.Ld4 Gf4;
1.Hd2 Gf4+ 2.Ld3 Cf2.
A white AB-BC-CA cycle whose nicely unified pinning strategy makes it standout among the vast mass of cyclic problems in existence.

H#2 3 solutions

232 Thèmes 64 1972

wdwdwIQd
4wdwdwdW
w4phRhwd
dwdpdBdRwgk0wdwd
dw0pdpdW
wdwdwdwd
dwdwdwdWa) 1.Dkg8 Ge4 2.dke4 Ee6;b) 1.Dkh5 Ee4 2.dke4 Ge5.
A frequently reprinted work from Feather’s early composing period. He does
not rate it very highly now because of the repeated move 2.dke4. However since
this pawn stands at the intersection of the lines g8-c4 and h5-b5 it is hard to see
how this could be avoided. The anticipatory motivation for the black first moves(unpin of the Pd5, so that it can accept the subsequent sacrifice on e4) is still
impressive.

H#2 b) L>c5

233 Schach-Echo 1974

wdwhwgwd
dwdwdwdQ
wdwdwdwd
drdNdK$W
wdk0wdwd
0pdNdwdW
wdwdwdw1
dbdw4wdWa) 1.Hkd5+ Kg4 2.Hd6 Gc5;b) 1.Fkd3+ Kf6 2.Fe2 Ic2.
Two double line openings with dual avoidance: White must consider carefully
whether to park his king on g4 or f6.

H#2 b) –Bb3

234 Schach-Echo 1974

wdwdRdnd
dBdpdwdw
wdw0wgwd$wdKdk0w
wdpdw1wddw0w)w4P
wdwdpdpd
dwdwdwdw
H#2 b) L>f3a) 1.Je5+ Kkc4 2.Jka5 Ee4;b) 1.Je4+ Kkd6 2.Jkb7 Gf5.
The wK stands at the intersection of R and B lines. When it moves to open one
line the simultaneous opening of the other would cause a disruptive discovered
check if the BQ did not forestall it. However, by arriving on the e-file the BQ
interferes with the WR on e8 and so must move again. There is thus more to thisproblem than the rather inflexible-looking position initially suggests.

BLACK TO PLAY
235 feenschach 1974 (v)Kdw$r1wd
dwdwdwdW
wdw0pdwd
dwdp0wdW
NdwdRdwd
dw0kdbdW
Qdp0wdwd
4ngwdwdW

1.Da3 Ic4+ 2.dkc4 Cc5;
1.Fa3 Cc5+ 2.dkc5 Ic4.
The combination of white and black halfpins has often been shown in
directmates so this is not specifically a helpmate theme. Good construction,
though.

H#2 2 solutions

236 Schach-Echo 1975

wdwdwdwd
dwdwdrdrk)wdwdwd
dwdNdwGR
wdwdwdwd
dwdwdRdW
wIwgwdwd
dwdw1wdB

1.Fkg5 Gb3 2.Fe7 Cc7;
1.Hkf3 Ed8 2.Hc3 Cb4.
A partial pre-echo of 215 which is quite rightly among Feather’s best known
works. If you want to get the most out of this splendid blend of line openings andclosings you should also investigate why 1.Fkg5 Gf6? and 1.Hkf3 Ee3? do notwork. Furthermore the captures on g5 and f3 are singly motivated, as becomesapparent if you try 1.Fb4? and 1.Hc7?. A gem!

H#2 2 solutions

237 Sinfonie
Scacchistiche 1975

wdw$wdwd
dwdwdwdp
wdpdb0w)
dwhwiNdK
wdr$w4wd
1wdndwdW
wdwdwdwd
gwdwdwGW

1.Hf1 Ce3 2.Df2 Eh2;
1.Fc8 Cd6 2.Dd7 Ge8.
A fine example of black and white interplay. White must choose the arrival
square of the Sf5 in such a way that it causes an anticipatory interference on theline which Black is about to open.

H#2 2 solutions

238 4th Makuc-Moder
Tourney 1975-76

wdwdwdwd
dwdwdw0W
wdbdwdPg
0w0kdndR
wdw0r!wd
dwdwdwdW
wdwdwdBd
dwIwGwdq
H#2 b) Bc5>e6a) 1.Jkh5 Eg3 2.De3 If7;b) 1.Jkg2 Ec3 2.He3 Ikd4.
Black has to capture white pieces in order to unpin his own men which in turnwill unpin the WQ. You may think that the additional unpin of the Be1 is rather
too much of a good thing but Feather had no choice about it since if this bishop is
not pinned in the initial position the problem is cooked in both parts.

BLACK TO PLAY
239 Tipografia
Páros MT 1976bdwdwdwd!wdwdwdW
wdrdwdwd
dwdwdwdW
wdwdwdwd
dwdwdKhW
P0wdpdw$
gk1NdBdW

1.ekd1D Gh1 2.Dc3 Ed3;
1.ekf1F Ig1 2.Fc4 Cc3.
In this thematic complex involving the creation of batteries along the first rank
I particularly like the interchange of functions between the Qa7 and the Rh2. But
the Sd1 and the Bf1 also exchange their roles, producing the Zilahi theme. This
subtle problem also shows what Feather means when he writes that for him
promotions do not make a theme unless they are part of a complicated strategicidea.

H#2 2 solutions

240 Tipografia
Páros MT 1976

wdwdwdbd
dwdBdwdW
wdw0wdRd
dpdw1pdW
wdpdkdwd
dwdRGwdW
Kdwdwdwd
dwdwdwdW
H#2 2 solutions

1.d5 Gkd5 2.Lkd5 Ec6;
1.f4 Ekf4 2.Lkf4 Gg4.
An interesting idea, perfectly constructed. Black can get rid of his own
troublesome pawns only by playing them to precisely the square to which his kingwants to move. Thus White is forced to sacrifice on that square in order to make itavailable for the BK. You have already met this idea in a particularly subtle
setting (23) as well as in an unsatisfactory one (22). Feather has worked the theme
a number of times, having first encountered it in a problem by the Austrian
Helmut Zajic.

241 Die Schwalbe 1976 (v)wdwhwdwd
dw$wdwdW
wdwdwdw!
dwdw0wdW
Rdw0Pdwd
4wdkdwdW
wdpgqdwd
hwdwdwdK

1.Hc3 Ie3+ 2.dke3 Gd7;
1.Je3 Gc3+ 2.dkc3 Ia6.
A Zilahi with queen and rook as thematic pieces. Each time Black blocks thesquare on which the sacrifice takes place in the other line.

H#2 2 solutions

242 British Chess
Magazine 1976

wdwdwdwd
dwdw0wdW
wdwdw0pd
dRhwdkdp
bdpdwdr1
dwdndKdW
w4Bdpdwd!wdwdwdW
H#2 b) Bg6>g5a) 1.Fkb5 Ia8 2.De6 Id5;b) 1.Hkc2 Id4 2.Df4 Ie4.
At a casual glance you may see the theme merely as unpins by capture
followed by line closings. Only when you try 1.Hkb5 Id4 in a) and 1.Fkc2 Ia8in b) will you notice the witty dual avoidance: Black has created batteries whichconsequently prevent the mates. Highly original! Feather rates 242 as the best of
his compositions.

BLACK TO PLAY
243 British Chess
Magazine 1977

wdRdwdwd
dwdwdw0W
wdwdwdwd
dpdwdwhW
Rdngbiwd
drdwdwdW
wGwdwHwI
dwdwdwdWa) 1.De5 Gc3 2.Ff5 Ec1;b) 1.Ff5 Kg2 2.Fe3 Ee5;c) 1.Fe3 Ekg7 2.De5 Gf6.
Cyclic black blocks with third-pin, economical and with relatively good
twinning. The motivation of the white play is not well unified.

H#2b) Gc8>e7 c) Gc8>g6
244 British Chess
Magazine 1977

wdwdrdwG
dwdwdwdW
wdwdqdwddwiN)BdR
w0Ndwdwd
dPdwdwdW
wdwdwdwd
dwdwIwdW

1.Jkd5 e6 2.Je4+ Eke4;
1.Jke5+ Ee4 2.Je7 Cke7;
1.Jkf5 Ce7 2.Jc8 e6.
A white cycle with a touch of humour. The BQ must make a clearance on theblocked fifth rank and thus in its turn becomes an obstacle which has to be dealt
with. Here the black second moves are not well matched: the queen is twice
sacrificed and once hidden away.

H#2 3 solutions

245 Novi Temi 1977

wdwdwdwd
dwdwdwdW
wdN0wdwd
dqHk4wdR
wdpdbdKd
dwdwdwdW
wdwdwdBd
dwdwdwdW

1.Fkg2 Cke5 2.Jc6 Cf3;
1.Hkh5 Cke4 2.Jc5 Cg5.
Feather is constantly finding original motivations for the capture of whitematerial. Here White’s second moves would unpin black pieces and these canescape only by capturing their pinners. Once again the construction is admirable.
All the men on the board are used in the solutions, not a single piece being there
merely to stop cooks.

H#2 2 solutions

246 Schach-Echo 1977

bdw1rdwg
GwdwdwdW
wdwdwdwd
dwdwdwdW
wdpdwdpd
dRdRdw)W
KdwdPdBi
dwdwdwHr
H#2 2 solutions

1.Hke2+ Gb2 2.He5 Ee4;
1.Fkg2 Gd2 2.Fd5 e4.
White must carefully consider which of his rooks to use in order to build abattery on the second rank. If he chooses wrongly it becomes impossible to shutoff all the black pieces. A good example of the anticipatory effects of which
Feather is so fond: in order to choose the right move among a range of apparently
equivalent possibilities, White has to know in advance what Black can or cannot
do on the following move. The BPc4 is not necessary for soundness but is there toensure single motivation.

BLACK TO PLAY
247 Tribune de Genève
1977 (v)wdwdwdwd
IwdwdwdW
pdpgwdwd
dw0kdpdb
wdwhrdw$
dwdw0wdW
rdwdqdwd
GwdRdwdB

1.Jd2 Gke4 2.De6 Gg4;
1.Jf3 Ekd4 2.He6 Eb2.
Changes of pin with attractive choices of first move for Black: not 1.Jd3 or
1.Jg2 since the lines a2-g2 or h5-d1 must not be opened.

H#2 2 solutions

248 Sinfonie
Scacchistiche 1978

rdR$wdwd
dwdBdphW
wdwdwdwg
dwdwdwdW
wdwdwdwd
dKdw0wdW
Pdw0PdNd
dwdkdw4q

1.Ha5 Gc1+ 2.dkc1H Eb5;
1.Jh3 Ce1 2.dke1H Eg4.
Here too Black must think far ahead. He must move the Ra8 or the Q in such a
way that after the white sacrifice and the subsequent battery opening by the WB
the d-file will not be guarded. In this problem the interplay between Black andWhite pervades the whole course of the solutions right through to the mate.

H#2 2 solutions

249 British Chess
Magazine 1978wdwdw$wG
dwdw$wdB
wdpdwdwd
dwdwgn0W
w1Pdkdwd
dwdw0wdW
wdKdwdwd
dwdndwdr

1.Jke7 Gkf5 2.Fh2 Gf7;
1.Hkh7 Eke5 2.Dd6 Eg7.
Once again Black must unpin his own men so that they can close a black lineon the second move (and open a white one at the same time). The arrival effect of
the black first moves (control of the subsequently created white battery)determines the mating moves. A fascinating helpmate with a great deal of strategy
and including both white and black interchanges of function (Re7/Bh7 andQb4/Rh1).

H#2 2 solutions

250 British Chess
Magazine 1978wdwdwdwd
1wdwdBdK
wdwdrdwd
dwdndpdW
wGkHPhw$
dpHwdwdW
wdwdPdwd
dwdwdwdW
H#2 2 solutions

1.Db6 Cke6 2.Dke6 ekf5;
1.Hb6 ekd5 2.Dkd5 Ckf5.
The presence of five black and two white hindrances makes a mate from theRh4 seem more of a wish than a reality. It happens though. Incidentally thisproblem completely anticipates T. Garai’s no. 641 in the FIDE Album 1983-5.

BLACK TO PLAY
251 Magyar Sakkélet
1978

wdbdwdBd
dpdwdwdW
wdwdn0wd
dwdwiwdW
rdqhwdKd
GwdwdPdW
wdwdwgwd
dwdRdwdWa) 1.Df4+ Ee6 2.Ddke6 Ed6;b) 1.Df5+ Gd4 2.Dekd4 Ef4.
If Black could move a knight without giving check, mate would follow
immediately. The way in which the two black batteries shut each other off and in
so doing force White to sacrifice a piece is amusing and skilfully arranged.

H#2 b) Ea3>c1

252 The Problemist 1979

wdwdwdn4
dwgpdwdn
wdwGk0wd)wdwdRdW
wdNdwdwd
dB0qHPdW
wdw)wdwI
drdw$wdW
H#2 4 solutions

1.Jkd6+ Ckd6+ 2.Hkb3 Cec4;
1.Jkf5 Ckf5+ 2.Hke1 Cce3;
1.Jke3 Gg1 2.Lkf5 Cke3;
1.Jkc4 Ea4 2.Lkd6 Ckc4.
A fine example of two pairs of thematically distinct solutions which arenevertheless all connected by the fourfold capture of white pieces by the BQ. Yes,
I still think that this form of helpmate might and should have a future (see chapter
10). Undoubtedly it requires skill and patience in the construction but theexamples in this book (there are more to follow) show that it offers novel
possibilities for inventive composers.

253 British Chess
Magazine 1979

wgkGnHwd
dNdwdndW
wdqdpdwd)wdwdpdW
wdwIwdwd
dwdwdwdW
wdBdwdwd
dw$wdwdW

1.Jc7 Ekc7 2.Lkc7 Ee4;
1.Jd7+ Ckd7 2.Lkd7 Ea4.
The same theme as in 240 but this time with the BQ as the thematic piece inboth solutions. The white battery works once directly and once indirectly.

H#2 2 solutions

254 Schach-Echo 1979

wdwdwdKd
dn0wdNdWw)kdwdw0
dpdw1wdR
wdP0rdwd
dwdNdndW
wdwdwdwG
drdwdwdB
H#2 2 solutions

1.Jkh5 Ekc7 2.Dg5 Cfe5;
1.Jkh2 Gkb5 2.Hf4 Cde5.
The Feather-mechanism (see 12) is here combined with a black halfpin.
Paradoxically on the first move the BQ plays away from the square from which
the white knights want to give mate. Consequently instead of Black’s second
moves being by the king, as usual, they are shutoffs of the BQ instead. In contrast
the white first moves are rather simply motivated by the need to guard b6.

BLACK TO PLAY
255 British Chess
Magazine 1980 (v)wdwdwIRd
dwdwdwdW
wdwdw0b)dwdwdwdp
rdwdwGkg
4wdwdwdN
pdwdwdw)
dwdwdRdWa) 1.Hkh3 Eg5 2.Fe4 Gf4;b) 1.Hkf4 Cg5 2.Fd3 Eh3.
A theme which is very hard to describe in words. However, the play on thesquares h3, f4 and g5 speaks for itself and is well unified in effect.

H#2 b) f1=E

256 Sinfonie
Scacchistiche 1980

wdwdwdwg
drdwdwdW
wdwdkhRd
dwdwdn!W
Kdwdwdwd
dwdwdwdB
pdw1wdwd
dbdwdwdW
H#2 4 solutions

1.Jd6 Gg7 2.De4 Ikf5;
1.Hd7 Eg2 2.Dg7 Ikf6;
1.Jd5 Gg7 2.Dd7 Ie7;
1.He7 Eg2 2.Dd4 Id5.
Four selfblocks, two each by the BQ and BR, introduce the solutions and arefollowed on the second black move by four line closings by the unpinned knights.
The repetition in the white first moves does not bother me at all, in fact it even
seems thematic, giving the problem a kind of modern touch which might becompared with the mate changes found in direct mates. The construction using
little more than the thematic material is very good.

257 Magyar Sakkélet 1981

wdKdwdw$
dwGpdwdN
wdr4pdwd
dwdpdwdW
wdwgwdPd
dwdwdPhW
QdwdRdPi
dw1wdwdW

1.Jg1 Gke6 2.Hke6 Cf6;
1.Fg1 Ikd5 2.Hkd5 Cg5.
It is essential to unpin the Sg3, which can be done only by sacrificing a white
piece in order to free the incarcerated BR on d6. Which sacrifice is correct
depends on which black piece is left controlling the h-file after Black’s first move.
Thus it is once again necessary to think ahead when solving. Unlike Feather,though, I do not believe that we can use the term “dual avoidance” if it is achieved
merely by means of departure effects.

H#2 2 solutions

258 Deutsche
Schachblätter 1984 (v)wdwdwdwG
dwdwdNdW
w$r0wdwd
dw0wdpdK
wdphw)wd
dwindwdR
pdw0pdwd
dwdB4wdW
H#2 b) C>g5a) 1.Hkb6 Ce5 2.Dc6 Ckc6;b) 1.Hkd1 Cf3 2.De1 Cke1.
Although the WS is clearly out of play the solutions are surprising. In making
room for the knights the black rooks rather unwillingly capture white pieces, sinceon other squares they would prevent the mate. This creates flight squares for the
BK but these flights will be covered by the knights at the end. The solver has tograsp this before daring to try the correct first moves.

BLACK TO PLAY
259 Die Schwalbe 1985

KdwdwdBd
GwdwdwdW
wdwhwdwd
dwdwiwdW
wdwdwdwd
HwdbdPdW
wdwdrdwd
dwdwdRdW
H#2 b) C>b3 c) +K>b8a) 1.Fe4+ fke4 2.Dke4 Cc4;b) 1.De4 fke4 2.Hke4 Eb8;c) 1.He4 fke4 2.Fke4 Ed4.
A black cycle in which all the moves are to the same square must surely beunique. With the simplest means Feather ensures that in each phase there is only
one sequence of moves which works. The repetition of the move 1…fke4 is an
essential part of the theme and should not be cause for complaint. At first glance
the twinning seems rather messy but a closer look reveals it to be very subtle.

260 Moultings 1 1990

wdwdwdwd
1wdw$wdK
wdpdPdwd
dwdb!wdW
wdwdwdwd
dwgkdwdW
wdpdw4wd
dwdwdwdW

1.Hf7+ ekf7 2.Jd4 Ie2;
1.Jd7 ekd7 2.Fc4 Ie3;
1.Fke6 Ike6 2.Hd2 Ie4.
This problem is convincing proof that black sacrifices can also make anattractive helpmate theme. The three thematic black pieces perform a cyclic
interchange of their sacrificial and blocking roles.

H#2 3 solutions

261 The Problemist 1991 (v)bdwdwdwd
dwdwdwdK
wdw4w0wd$w)wdkHW
wdwdqdpd
dwdndwdW
wdwdwHphdBdwdRdW

1.Df4 Cke4 2.Fke4 ckd6;
1.Jf4 Ckd3 2.Hkd3 c6.
The halfpin is bluff. One of the two pieces changes over to be pinned on the ffile while the other is captured in order to allow a different black piece to bepinned in its place. Witty and unusual.

H#2 2 solutions

262 Schach-Aktiv 1991

wdRdwdwd
Gw4wdwdW
wgwdwdwd
dwindwdW
bdwdndwd
dRdpdwdW
wdwdwdwd
dwdKdBdr
H#2 2 solutions

1.Ld4 Eb8 2.Hc2 Gkd3;
1.Lc4 Gb8 2.Fg1 Ekd3.
Helpmates can hardly be more perfect and harmonious than this one, which
seems almost miraculous to me. Once again Feather bluffs the solver with pins
which are not used as pins. With white ambushes and black unpins which
simultaneously open two white lines, the solutions are original and far fromobvious.

BLACK TO PLAY
263 Moultings 2 1991

wdw4whBd
dwdpdNdW
rdwdkHw$
dwdwdwdP
wdwdq)wd
dwdwhwdW
bdwdwdwd
dwdwIwdW

1.Le7 Cd6 2.Fkg8 Ckg8.
1.Lf5 Cd5 2.Hkh6 Ckh6;
Did you expect the batteries to open? Once again it’s a quite different story; ineach solution one of the white batteries is completely destroyed and the other isused only indirectly. A genuine puzzle but at the same time a fine, well unified
problem.

H#2 2 solutions

264 Moultings 2 1991

wdwdwdwg
dwdpdndW
wdpGk0wddw)rdwdp
pdwhr$wI
dwdNdwdW
Bdwdwdwd
dwdw$wdW

1.Db3 Gd1 2.Hkc5 Ckc5;
1.De2 Eb1 2.Hkf4+ Ckf4.
Exchange of functions between Ba2 and Re1 with puzzling ambushes. A
refreshing “Aha!” reaction surely awaits every solver with the discovery that therook must guard d6 and the bishop f5. I can reconcile myself to the idea that the
300 or so helpmates in the MOULTINGS series did not participate in tourneys;
much more regrettable is the fact that they were not solved!

H#2 2 solutions

265 Moultings 3 1991
(dedicated to F.Chlubna)

wgwdwdwd
0wdndpdW
wdwdpdQd
dwGk4wHW
w0wdpdwd
dw4p0wdW
wdwdpdbI
dwdwdRdW
H#2 2 solutionsb) Cg5>b5 c) +b5=Aa) 1.f6 Cke6 2.Lke6 Ig8;

1.f5 Cke4 2.Lke4 Ikg2;b) 1.Fc7 Ike6+ 2.Lke6 Ckc7;

1.b3 Ike4+ 2.Lke4 Ckc3;c) 1.Hc4 Gf5 2.ekf5 Ic6;

1.Hkc5 Gf3 2.ekf3 Ikd3.

I regard 265 particularly highly but not just on account of the dedication. If you
reread the text to 252 you will know why. The achievement of 3 x 2 solutions
with active white sacrifices is unique; I know of no other example. Even the black
first moves have equal motivations in each pair of solutions. The danger of cooks
which haunts all helpmates is here dealt with by Feather as though it simply didn’t
exist.

266 Moultings 3 1991

wdwdwdqd
IpdwdwgR
wdwdwdwd
dRdbdwdr
wdw4wdwd
iwdpdwdW
wdwdwdwd
dwdwdwdW
H#2 2 solutions

1.Fe5 Ghkb7 2.Fc4 Ga5;
1.He5 Gh1 2.Hc4 Ga1.
There are many helpmates with a double black Grimshaw. In this one,however, the black first moves close lines even before they are opened. The
admirable economy and the exchange of functions between the white rooks also
deserve to be mentioned.

BLACK TO PLAY
267 Moultings 3 1991

wdbdwdwd
dwdndwdW
wdw0wdw0
IwdwdRdr
Rdwdwdw!
4wdp0pdp
pdw0kgwd
dwdwdwhWa) 1.d5 Gkf3 2.Lkf3 Ig4;b) 1.De5 Cke3 2.Lke3 Ie4;c) 1.Dc5 Ekd3+ 2.Lkd3 Ic4.
The underlying scheme with the three clearance sacrifices on neighbouringsquares is not new, having been used a number of times both in the directmate andthe helpmate. The combination of the idea with three different unpins andForsberg twinning may well be original though.

H#2 b) f5=C c) f5=E

268 Moultings 3 1991

wdrhKdwd
dwHRdwdb
pdwdwGNd)wdrgwdW
wdwiwdwd
dP0q0wdW
wdwdwdwd
dwdwdwdWa) 1.Hkd7 Cke5 2.Fe4 Ckd7;b) 1.Fkf6 Ckd5 2.Hc4 Ckf6.
The play seems reminiscent of 245 but the capture of white pieces is motivateddifferently: Black must make squares accessible for the mating moves of the whiteknights. Thus the solver has to visualise the last moves when finding the firstones.

H#2 b) Ab3>b4

269 Moultings 4 1991

wdwdwdwd
dqdw$pdN
rdwdr0w0
dwdbdkdB
wdwdwdnd
dpdKgpdW
wdwdwdw0
dwdw$wdW

1.Fb6 Gke6 2.De3 Gkf6;
1.Hec6 Gke3 2.Fe6 Gkf3.
The slipshod typesetter appears to have left out any indication of which WR
should play to e6 or e3! But to get a better understanding of the originality of thisproblem you’ll need to find out for yourself anyway!

H#2 2 solutions

270 Moultings 4 1991

wdwdwdwd
dwdwdwdW
wdp0Ndwd
dwhqiwdW
wdwdb0wd
dwdwgwdW
BdwdRdwd
IQdwdw4r
H#2 2 solutions

1.Jd3 Ikg1 2.Fc1 Ig5;
1.Jd2 If1 2.Fb1 Ikf4.
More than just a combination of black halfpin and unpins of the WQ, thisproblem is really about the dual avoidance caused by the BQ’s moves. Since thequeen obstructs a different BB each time, White must consider carefully which
continuation will work.

BLACK TO PLAY
271 Moultings 4 1991

wdwdRdwd
dBdwdqGW
wdw4bdwd
dwdPgw)n
wdwHk)w$
dwdpdwdW
wdwdwdwd
IwdwdwdW

1.Fkf4 dke6+ 2.Hd5 ekf7;
1.Fkd5 fke5+ 2.Jf4 ekd6.
Exchange of functions between two pairs of black pieces: the ones which arepinned in one solution are captured in the other. The white pawns on d5 and f4
also exchange their roles.

H#2 2 solutions

272 Moultings 6 1991

wdwdwdqd
dwdwgwdW
wdwdwdbd
dwdwirdW
wdr0p0wd
dKdwdpHP
wdwdNdwd
dwdw!wdWa) 1.Fc5 Ckd4 2.Lkd4 Ike4;

1.Jd5 Cke4 2.Lke4 Cc1;b) 1.Je6 Ckf5 2.Lkf5 Ikf4;

1.Fg5 Ckf4 2.Lkf4 Cf1.

Another fascinating helpmate of the “2 + 2 type”. The clearance sacrifices by
the white knights are common to all the solutions but there are differences in theblack first moves (two blocks away from the BK by the BB and two next to the
BK by the BQ) and in the mates (direct or battery). This time the solutions are notpaired AA+BB but AB+AB, as in 230, which gives the composer even greaterdifficulties. The WPh3 is a tribute to these difficulties, for it is used only in b).

H#2 2 solutions b) I>h2

273 Moultings 6 1991

wdwdwdwhdwdpdndW
wdw0piwg
4wdQdwdWwdw)w0wd
dqdwdw$W
wdRdwdwd
dBdKdwdW

1.Jkd5 Gg6+ 2.Lf5 Gc5;
1.Jkg3 Ie5+ 2.Lg6 Gg2.
In this problem the capture of the most powerful white pieces is combined withmating moves which create pins, an extremely challenging thematic mixture. The
white first moves are unexciting but at least their motivation is analogous. The
construction is very astute, indeed it is hard to believe that there really are nocooks in this position.

H#2 2 solutions

274 Moultings 6 1991

wdndw!bd
dwGpdwdW
wdwgrdpd
dwdwir$W
wdwdwdwd
dKdwdwdW
wdwdwdw)
dwdwdwdW
H#2 4 solutions

1.Lf4 Gg3 2.Fe5 Ib4;
1.Ld5 Eb6 2.Hfe5 If3;
1.Hkg5 Ikd6+ 2.Lf5 If4;
1.Fkc7 Ikf5+ 2.Ld6 Ic5.
Two pairs of solutions which are quite distinct thematically and yet go welltogether. With its line closings by pinned pieces the first pair can claim greater
strategic interest while the other pair with its captures of the pinning white pieces
has a more obvious appeal.

BLACK TO PLAY
275 Moultings 6 1991

wdwdwdwhdwdpdpdQ
wdwdwdqd
dwdwdP)P
wdwdwdkd
dwdwdw)p
wdwdKdwd
dwdwdwdW
H#2 3 solutions

1.Jkf5 Ikf7 2.Jkg5 If3;
1.Jkg5 Ih6 2.Jkh5 If4;
1.Jkh5 g6 2.Jkf5 Ih4.
The BQ goes to the squares f5, g5 and h5 in cyclic order, first opening a line byremoving a pawn and then blocking a square. It is interesting to compare this with
F. Simoni’s H1759 from The Problemist, January 1994. The latter takes 18 pieces
to show exactly the same cycle. Admittedly the white strategy in Simoni’s
problem is much better. Whether it justifies a 50% increase in material is ofcourse a matter of taste.

276 Moultings 7 1991

wdwdQdwd
dKdwdwdW
BdP$wdwd
dwdwdrGW
wdwdwdrddwdn)w0W
wdpiwdwd
dwhqdwdW

1.Hd5 Ed8 2.Df4 Ea5;
1.Hd4 Id8 2.De5 Ia5.
Change of pin with interesting dual avoidance. White must bear in mind thatwhen the BS moves away at move 2 it will not only shut out the second BR but
also close one of the white lines of guard pointing at e3. Thus the WQ in one partand the WB in the other are prevented from moving away to give mate.

H#2 2 solutions

277 Moultings 7 1991

wdwdwdKd
dNHw0wdWP)kdpdwd
dwdwdwdW
wdwdwdwd
dpdB$wdW
wdwdwdwG
dwdw4bdqa) 1.Hke3 Eg1 2.He2 Eb5;b) 1.Fkd3 Gd2 2.Fe2 Gke6.
Two annihilations followed by line closing on e2, not a very profound orcomplicated theme but much enhanced by the interchange of functions between
the pairs of pieces on d3/e3 and e1/f1.

H#2 b) h2=G

278 Schach-Report 1992

wdwGKdwd
dwdwdwdW
wdwdwdwd
dw0pdP!W
wdbdw1RddwindrdW
wdpdwdwd
dwdw$wdW
H#2 2 solutions

1.Jkg5 Gd4 2.Ld2 Ea5;
1.Jkg4 Id2+ 2.Ld4 Ef6.
The Feather-mechanism (see 12) was the subject of an interesting article in
Thema Danicum in October 1992 and January 1993, with no fewer than 12
examples. This idea can obviously be set in a variety of ways; here, with a WQ
used instead of the usual B, it gives rise to an original motivation for the captureof the white pieces. The subsequent moves to the d-file are caused purely by theneed to pin the BS.

BLACK TO PLAY
279 Moultings 8 1992

wdwdwdwd
dw$rdw0W
wdwGwdPd
dwdwdpdW
wdwdnHkd
dQdRdN0W
wdw)bdwd
dwdwIwdW

1.Dkd6 Ib8 2.Lkf4 Gc4;
1.Fkd3 Gcc3 2.Lkf3 Id1.
Here too the purpose of White’s very surprising first moves is to set up
subsequent pins. I particularly like the exchange of roles between the Qb3 and theRc7.

H#2 2 solutions

280 Schweizer
Schach-Magazin 1992

wdwhwdwd
dBdwdwdW
wdndw1pd
4QdPiwdW
RdbHwdpd
dwdwdwdW
wdwdwdwd
IwdwdwdW

1.Dkd4 Ikc4 2.Df5 If4;
1.Fkd5 Ikc6 2.Fe6 Ic7.
Genuine black and white teamwork to clear the doubly blocked lines a4-f4 andb7-e4, with subsequent closing of BQ lines. A great deal of strategy, though theanalogy is not perfect in every detailH#2 2 solutions

281 Moultings 8 1992

wdwdwdwd
dwdKdwdW
w1wdw0wd
dwdbdw0Q
wdwdwdBd
dwdPdrdW
nGkdPdw$
drdwdwdW

1.Hf5 Ekf5 2.Fb3 e3;
1.Hh3 Ikh3 2.Jb3 e4.
The annoying BR can be made to disappear on f5 or h3 (but not on d3!). As aresult the square d3 becomes guarded from one of two different directions, which
determines which mating move must be played. Then Black still has to block b3,
making sure he chooses the right piece. The black and white play meshes together
like precision clockwork.

H#2 2 solutions

282 Moultings 9 1992

wdKdwdwd
0wdwdw0W
pdPdwdwd
HwdrhQhR
piwdwdqd
0rdwdwdW
bdwdwdwd
dwdwdwgWH#2b) Hb3>c3 c) Hb3>g3a) 1.Dd7 Ikd5 2.De4 Ic4;b) 1.De6 Ike5 2.Hd4 Ib8;c) 1.Hd7 Ikg5 2.Dd3 Id2.
An impressive cycle of interchanging functions. The three black pieces on thefifth rank take it in turns to unpin the WQ, be captured and close a line. This
ambitious theme is shown in a relatively light position with very good twinning.

BLACK TO PLAY
283 Moultings 10 1992

wdnGwdwd
dw0wdpdW
qdpdwdwd
dpIpdkdP
PdNdw0wd
dw0P)wdp
w!wdndwd
gr4wdbdW
H#2b) Hb1>a2 c) +Lf5>e6a) 1.bka4 Ib8 2.Hb7 Ikc8;b) 1.Dg3 Ih2 2.Hg2 Ikh3;c) 1.c2 Ig7 2.Ff6 Ig4.
Three times the white lady leads a black gentleman up the garden path. An
impressive task which has some weaknesses: 24 pieces, unattractive twinning andidle white pawns in c). Feather dislikes this problem but I have neverthelessincluded it here so that you shall not think that he avoids tasks because he cannot
construct them. With his enormous technical ability he could doubtless produce
numerous records such as this, but it is a style which simply fails to correspondwith his idea of what a good helpmate should be like.

284 Moultings 11 1992

w!wdwdwd
dw$bdwdW
wdwdwHwd
dPdBgwdW
w1w4pdwddw)PdwdR
w0k4w)nd
dwdwdKdWa) 1.Fkh3 Id8 2.Lkd3 Eke4;b) 1.Fkc7 Ih8 2.Lkc3 Cke4.
Related to 279 but with perhaps even more unexpected pins on the lines d8-d3
and h8-c3. However this time the exchange of functions between pinning andmating pieces is missing. The moves 1.Fg3? and 1.Fc6? are possible but
unsuccessful.

H#2 b) Lc2<>Hd2

285 Schach-Echo 1972

wdwdwdwd
dwdB$ndW
wdw1Pdwd
dwdk0wdW
wdwdwdwd
dwdwdwdW
wdwdwdwd
dwdwdwIna) 1.Jke7 Ec8 2.Jd7 ekd7 3.Le6 d8I;b) 1.Jkd7 Ge8 2.Jd8 e7 3.Le6 ekd8I.
An early and extremely economical example of the capture of white material in
the three move helpmate. The motivation is the need to make e6 accessible to the
BK, after which the BQ is sacrificed in order to show the WQ the way to thecorrect promotion square.

H#3 b) B>f5

286 Moultings 5 1991

wGwdwdwd
IwgwdwdW
wdwdpdnd$rdwiwdW
b0wdwdpd
dwdwdPdW
wdwdPdwd
dwdwdwdW
H#3 b) f3=Ba) 1.Lf6 Ekc7 2.Hg5 Ee5+ 3.Lf5 e4;b) 1.Le4 Gkb5 2.Fg3 Ge5+ 3.Lf4 e3.
No profound strategy but harmony down to the last detail! The BK stands at a
focal point which is first crossed by a black piece and then occupied by a whiteone. Attractive twinning by changing the colour of the pawn on f3.

BLACK TO PLAY
287 Moultings 8 1992

wdw4wdwd
dpdwdpdWw)bdw)wd
dwdniwdW
wdwdwgwd
dwdw4wdW
wdwdwdwG
dwdw$wdK

1.Ld6 Eg1 2.He7 fke7 3.Hd7 e8C;
1.Le6 Gf1 2.Fc7 bkc7 3.Fd7 ckd8C.
Here again the diagram position contains the pair of pins (WR/BR and
WB/BB) which we have already met, e.g. in 262. These pins disappear totally inthe course of the solution. There are attractive white ambushes, with blacksacrifices to make the white promotions possible. The final black moves are notentirely homogeneous since the R blocks and closes a line while the B merely
blocks.

H#3 2 solutions

288 Moultings 8 1992

qdwdwdwd
dw4wdwdW
wdwdKdw0
dwdwdwdW
wdw0Pdwd
dPdkdw4R
w0bdwdwg
dBdwhwdWa) 1.Lke4 Ea2 2.Hkb3 Gf3 3.Hb7 Ed5;b) 1.Lc3 Gh4 2.Fke4 Ec2 3.Fc6 Gc4.
And yet again the appearance of a pinning theme turns out to be puredeception. Instead Black first opens a white line and then closes a black one,while the white mating piece creeps up from behind like a Red Indian. The
analogy between the solutions is almost perfect. It would be complete if the Rg3
could be on f3, but that is unfortunately impossible because of cooks.

H#3 b) Bd4>d2

289 Sakkélet 1993

Ndwdwdbd
dpdwdBdp
wdwdwdw)
dp4ndwdKw)wdkdPd
dnGpdwdW
wdwdwdwd
gwdwdwdWa) 1.Dkb4+ Ed5+ 2.Lkd5 Ee5 3.Lc4 Cb6;b) 1.De7+ Ee5 2.Lke5 Ed5 3.Lf6 Cd7.
The very first black moves come as a surprise. Who would imagine that theknight goes to b4 and e7 in order to block flight squares? The white bishops havetheir hands full protecting their king from the Rc5; in the process they exchange
functions and also their moves in an AB-BA pattern.

H#3 b) C>b8

290 Moultings 12 1993

wdwdwdrd
dwdwdBdW
wdwdp0wd
dw0w0pdW
wdkdrdw$
0wdwdwdK
wdndwdwG
dwdwdwdW
H#3 2 solutions

1.Ld5 Eh5 2.Hc4 Gd4+ 3.ekd4 Ef3;
1.Lb3 Eke5 2.Ha4 Gb4+ 3.ckb4 Eke6.
It is no easy matter to show two active WR sacrifices in a three move helpmate
without cooks. Feather achieves it with such elegance and harmony thatcomposing looks like child’s play. My only regret is that the surplus effect of themove 3.ekd4 (opening of the line h2-d6) could not be avoided. Unfortunately it is
impossible to put the Bh2 on b8 instead.

BLACK TO PLAY
291 Moultings 12 1993

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4wdwdndWa) 1.Dkd5 Ib7 2.Df4 Ikf3+ 3.Lkf3 Ee4;b) 1.Dkg6 Ig7 2.Df4 Ikg3+ 3.Lkg3 Gg5.
This time White actually sacrifices his queen twice, after Black has alreadycaptured another white piece in order to open a line! There cannot be many
correct helpmates in three with 2 x 2 white sacrifices. Don’t you agree that inview of the content the somewhat unattractive setting is quite acceptable?

H#3 b) Bg4>h4

292 Schach 1994

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dwdKdwdWa) 1.Le6 Gkc6+ 2.Fd6 Ekd6 3.He5 Ec5;b) 1.Lf6 Eh4+ 2.Hg5 Gkg5 3.Fe5 Gg3.
Line clearances by Black for White allow the setting up of batteries. This
causes the Bg3 to find its way to c5 and the Rc5 to go to g3 – an originalexchange of places!

H#3 b) Bg6>e6

293 British Chess
Magazine 1976

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H#4

1.Ld6 Ig7 2.Le7 If6+ 3.Lf8 Ike5 4.Fe7 Ih8.
You really have to solve this yourself in order to understand the joke fully. Do
at least find out why the WQ cannot make a return trip to h8 by way of suchmoves as 2…Ig6? or 2…Ike5+?.