Drawing general conclusions about your main weaknesses can provide a great stimulus to further growth.
Bobby Fischer is the greatest Chess genius of all time!
You must not let your opponent know how you feel.
The main thing that develops positional judgement, that perfects it and makes it many-sided, is detailed analytical work, sensible tournament practice, a self-critical attitude to your games and a rooting out of all the defects in your play.
Here is a definition which correctly reflects the course of thought and action of a grandmaster: - The plan in a game of chess is the sum total of successive strategical operations which are each carried out according to separate ideas arising from the demands of the position.
It is better to follow out a plan consistently even if it isn't the best one than to play without a plan at all. The worst thing is to wander about aimlessly.
In order to become a grandmaster class player whose understanding of chess is superior to the thousands of ordinary players, you have to develop within yourself a large number of qualities, the qualities of an artistic creator, a calculating practitioner, a cold calm competitor.
All candidate moves should be identified at once and listed in one's head. This job cannot be done piecemeal, by first examining one move and then look at another.
The placing of the centre pawns determines the "topography" of a game of chess.
Sit there for five hours? Certainly not! A player must walk about between moves, it helps his thinking.
You will already have noticed how often Capablanca repeated moves, often returning to positions which he had had before. This is not lack of deciciveness or slowness, but the employment of a basic endgame principle which is 'Do not hurry'.
Time trouble is blunder time.
There is no doubt that the reason for my awful oversight was over-confidence that sapped my sense of danger. So that is where to look for the cause of bad blunders - in the exulting feeling of self-congratulation.
I can remember a case where Capablanca worked out an impressive combination, but then chose to make a simple move in answer to which his opponent resigned at once!
It has always been recognized that chess is an art, and its best practitioners have been described as artists.
Go through detailed variations in your own time, think in a general way about the position in the opponent's time and you will soon find that you get into time trouble less often, that your games have more content to them, and that their general standard rises.
I cannot think that a player genuinely loving the game can get pleasure just from the number of points scored no matter how impressive the total. I will not speak of myself, but for the masters of the older generation, from whose games we learned, the aesthetic side was the most important. -
After a great deal of discussion in Soviet literature about the correct definition of a combination, it was decided that from the point of view of a methodical approach it was best to settle on this definition - A combination is a forced variation with a sacrifice.
Experience and the constant analysis of the most varied positions builds up a store of knowledge in a player's mind enabling him often at a glance to assess this or that position.
Anyone who wishes to learn how to play chess well must make himself or herself thoroughly conversant with the play in positions where the players have castled on opposite sides.
If you study the classic examples of endgame play you will see how the king was brought up as soon as possible even though there seemed no particular hurry at the time.
When you have finished analyzing all the variations and gone along all the branches of the tree of analysis you must first of all write the move down on your score sheet, before you play it.
Just as the pianist practices the most complicated pieces to improve the technique of his fingers, so too a grandmaster must keep his vision in trim by daily analysis of positions with sharp possibilities, and this applies whether he prefers such positions in his play or not.
The study of typical plans is something that the leading grandmasters devote a great deal of time to. I would say that the most far-seeing of them devote as much time to this as to the study of openings.
If a chess statistician were to try and satisfy his curiousity over which stage of the game proved decisive in the majority of cases, he would certainly come to the conclusion that it is the middlegame that provides the most decisive stage.
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