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The Mestrovic Variation of the Nimzovich DefenseĮnglish.
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Tango: A Dynamic Answer to 1.d4 by Richard Palliser In any event, you are still playing for an early.
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Most people would be more comfortable with the Black Knights Tango, but I find 1.d4 Nc6!? tends to keep play in my territory. Modern Practice 1.Nc6!? by Igor Berdichevsky I have been playing a Nimzovich move-order as a way of entering the Open Game while avoiding a lot of junk - though I find myself still playing against the King's Gambit from time to time after 1.e4 Nc6 2.f4 e5!? 3.Nf3 f5! (a line I will have to discuss here at some future date). Of course, John Emms's suggestions against the Vienna are also sufficient. I have also been experimenting with the line 1.e4 Nc6 2.Nc3 e5 3.f4 Bb4!? often followed by Nf6. Play the Open Games as Black by John Emms Playing these lines as White on occasion can help you understand them better. This should be at the core of any Open Game repertoire for Black. Most of your opponents will play 4.d3(?!) anyway. You don't have to play the currently popular "Berlin Wall" when you adopt 3.Nf6 against the Spanish. You can save effort by ignoring the Nimzovich Defense suggestion and focusing on the Open Games against 1.e4 and the Black Knights Tango against 1.d4, but the Nimzovich can add an interesting dimension to the repertoire. The idea is to play Nc6, e5, and Nf6 in whatever order works. I have experimented with 2.Nc3!? but 2.dxe4 3.Nxe4 Qd5!? 4.Nc3 simply transposes back to main lines anyway, so what's the point?Ī simple opening short-cut that may lead to the Four Knights on occasion.ġ.e4 Nc6 2.Nf3 d6 3.d4 Nf6 4.Nc3 Bg4 5.Bb5!? Simple development is sufficient to gain an edge. Seen as a Reversed Nimzovich or Reversed Tango, this line is very easy to play and leads to positions that are often unfamiliar for Black.Ī super-solid line that is easy to learn.ġ.e4 d5 2.exd5 Qxd5 (2.Nf6 3.Nf3!) 3.Nc3 Qa5 4.d4 Nf6 5.Nf3 Perhaps when I come back I'll write some articles. I may in the future recommend instead Fischer's other favorite, the Two Knights (1.e4 c6 2.Nc3 d5 3.Nf3!?), but there is not much good material on that line from the White perspective. The Exchange Variation and the surprising Apocalypse version of the Exchange are quite solid and well-documented. You can also consider the interesting line 1.e4 c5 2.Nc3 Nc6 3.Bb5!? which keeps options open.Ī Startling Chess Opening Repertoire by Chris BakerĬhess Openings for White, Explained by Alburt, Dzindzichashvili, and PerelshteynĬaro-Kann Exchange Variation or Apocalypse Attackġ.e4 c6 2.d4 (or 2.Nf3!? d5 3.exd5 cxd5 4.Ne5!) 2.d5 3.exd5 cxd5 4.Bd3 The idea, as I explain in my articles on the Two Knights Sicilian, is to choose between 3.f4 or 3.Nf3 depending on what Black does. Two Knights Sicilian and Grand Prix Attackġ.e4 c5 2.Nc3 followed by either f4 or Nf3 The great joy for me of this line is that it has encouraged me to rediscover the games of the late-19th and early 20th-century masters, from which I have a lot to learn.Īn Unbeatable White Repertoire after 1.e4 e5 2.Nf3 by Larry Evans and Ken Smith The basic scheme is to play 1.e4 followed by Nc3 and Nf3, with some exceptions.ġ.e4 e5 2.Nf3 (or 2.Nc3 first) 2.Nc6 (2.Nf6 3.Nc3!) 3.Nc3Ī super-solid choice that has a lot to teach developing players. To some extent, I set this repertoire forth as a guide for myself to know what future opening articles I might write upon my return to blogging in January. I have also offered eight book suggestions (which I've tried to hone to the absolute minimum) and links to material from my own archives. I have never seen anyone suggest such a system (though Andrew Martin's " Repertoire Suggestions" at ChessPublishing come close), and so I thought I'd sketch it out for interested readers. It is also so solid that it will give your opponents nightmares trying to beat you. I think I have hit upon something rather original lately, which I like to call my "Knightmare Repertoire" due to its emphasis on early Knight development with Nc3 and Nf3 as White or Nc6 and Nf6 as Black. Of course, I have never followed all of their recommendations, prefering to pick and choose to construct my own system, which is a project with no end. I have collected many repertoire books over the years and I enjoy seeing the way these guides try to create coherent systems out of the morass of opening theory we confront as chessplayers.