Hello, I've been working on my positional chess skill and I have found a lack of understanding of the weak color complex. Anyone have some resources on how I can better study those? Used a judit polgar book as a guide on where to start. Got most the examples wrong but could understand some themes. Looking to strengthen that part of my game. Please help.
Have a look at this :- www.chessable.com/light-dark-magic-color-complexes-in-chess/course/107597/
@Lord_of_chess15 said in #1:
> I have found a lack of understanding of the weak color complex.
This lichess study lichess.org/study/x08jyej1 and this chessgames.com collection www.chessgames.com/perl/chesscollection?cid=1002011 might help.
> I have found a lack of understanding of the weak color complex.
This lichess study lichess.org/study/x08jyej1 and this chessgames.com collection www.chessgames.com/perl/chesscollection?cid=1002011 might help.
Thank you everyone.
I actually have a perfect example to showcase the concept of "weak color complex"
On move 41, my opponent resigned. Why? When you have some pawns that are on the same color square (in this example,dark) and a lack of the defenders of the opposite colored squares (he had a bishop but the same as his pawns), we say that the other color complex is weak, or as I usually say "Those light squares seem to be very juicy" and because I had a lot of attackers of the other color complex: The Dragon/Queen (she can fight on both), Horsey/Knight (he/it can fight on both if well rerouted) and Lishey/Light-squared bishop (he can fight only on light squares). So He couldn't do anything with his rook because it's not a fighter of a particular complex,even if I was down the exchange.
On move 41, my opponent resigned. Why? When you have some pawns that are on the same color square (in this example,dark) and a lack of the defenders of the opposite colored squares (he had a bishop but the same as his pawns), we say that the other color complex is weak, or as I usually say "Those light squares seem to be very juicy" and because I had a lot of attackers of the other color complex: The Dragon/Queen (she can fight on both), Horsey/Knight (he/it can fight on both if well rerouted) and Lishey/Light-squared bishop (he can fight only on light squares). So He couldn't do anything with his rook because it's not a fighter of a particular complex,even if I was down the exchange.
From the commentary on the first game in the Bronstein book about the Zurich 1953 tournament:
"I have long suspected, whenever the books I have read began discussing darksquare weaknesses or an attack on the dark squares, that the subject under discussion was not only beyond my understanding, but beyond the author's as well. 'Certainly,', I would say to myself, 'it must be true that the enemy dark squares will be weak if his pawns stand on light squares and he loses his darksquare bishop. But if he then removes all of his pieces from the dark squares, what will be left for me to attack?'
Such was my line of reasoning, until the day I realized that a weakness of the dark squares is also a weakness of the pieces and pawns on the light squares. Lightsquare weaknesses are also possible, resulting in a weakening of the enemy pieces and pawns on the dark squares -- as occurred, for example, in the Geller - Najdorf game in round 13. The point is that, by placing my pawns and pieces on the dark, I attack my opponent's pieces and pawns on the light.
The Szabo - Geller game provides a clear example of the method of exploiting a darksquare weakness; and the combination which was possible after Black's 24th fairly begs to be included in a textbook, taking place as it does entirely on light squares.
1. c2-c4 Ng8-f6
2. g2-g3 e7-e6
3. Bf1-g2 d7-d5
4. d2-d4 d5:c4
5. Qd1-a4+ Nb8-d7
6. Ng1-f3 a7-a6
7. Qa4:c4 b7-b5
8. Qc4-c6 ...
Having hatched a plan to weaken the enemy dark squares, Szabo undertakes a delicate maneuver aimed at bringing about the exchange of the darksquare bishops, which will further strengthen his grip on the dark squares.
8. ... Ra8-b8
9. Bc1-f4 Nf6-d5
10. Bf4-g5 Bf8-e7
11. Bg5:e7 Qd8:e7
12. 0-0 Bc8-b7
13. Qc6-c2 c7-c5
14. d4:c5 Nd7:c5
15. Rf1-c1 Rb8-c8
16. Nb1-c3 Nd5-f6
..."
http://store.doverpublications.com/0486238008.html
"I have long suspected, whenever the books I have read began discussing darksquare weaknesses or an attack on the dark squares, that the subject under discussion was not only beyond my understanding, but beyond the author's as well. 'Certainly,', I would say to myself, 'it must be true that the enemy dark squares will be weak if his pawns stand on light squares and he loses his darksquare bishop. But if he then removes all of his pieces from the dark squares, what will be left for me to attack?'
Such was my line of reasoning, until the day I realized that a weakness of the dark squares is also a weakness of the pieces and pawns on the light squares. Lightsquare weaknesses are also possible, resulting in a weakening of the enemy pieces and pawns on the dark squares -- as occurred, for example, in the Geller - Najdorf game in round 13. The point is that, by placing my pawns and pieces on the dark, I attack my opponent's pieces and pawns on the light.
The Szabo - Geller game provides a clear example of the method of exploiting a darksquare weakness; and the combination which was possible after Black's 24th fairly begs to be included in a textbook, taking place as it does entirely on light squares.
1. c2-c4 Ng8-f6
2. g2-g3 e7-e6
3. Bf1-g2 d7-d5
4. d2-d4 d5:c4
5. Qd1-a4+ Nb8-d7
6. Ng1-f3 a7-a6
7. Qa4:c4 b7-b5
8. Qc4-c6 ...
Having hatched a plan to weaken the enemy dark squares, Szabo undertakes a delicate maneuver aimed at bringing about the exchange of the darksquare bishops, which will further strengthen his grip on the dark squares.
8. ... Ra8-b8
9. Bc1-f4 Nf6-d5
10. Bf4-g5 Bf8-e7
11. Bg5:e7 Qd8:e7
12. 0-0 Bc8-b7
13. Qc6-c2 c7-c5
14. d4:c5 Nd7:c5
15. Rf1-c1 Rb8-c8
16. Nb1-c3 Nd5-f6
..."
http://store.doverpublications.com/0486238008.html
Finally, a question about chess, that can be shared using rational thinking in light of experience (and vice-versa).
I wish there were more such questions. keep doing it.. please. confront theory with experience always.. compared with others internal versions...we will get some common understanding at some point.... by sharing our subjective in complementary manner, seeing the intersections and compact support to build from for each themes....
There are people here as we have seen that are also interested in such questions.. thanks to them.
The others distracting questions that dominate and seem not really about the game itself but more about cultural aspects of its practice tend to leave an empty chess motivation trail after i stare or partake to much in them....
I wish there were more such questions. keep doing it.. please. confront theory with experience always.. compared with others internal versions...we will get some common understanding at some point.... by sharing our subjective in complementary manner, seeing the intersections and compact support to build from for each themes....
There are people here as we have seen that are also interested in such questions.. thanks to them.
The others distracting questions that dominate and seem not really about the game itself but more about cultural aspects of its practice tend to leave an empty chess motivation trail after i stare or partake to much in them....
I have also found these two videos by @hpy & GM Shankland very instructive & helpful:
youtu.be/wde3C3-hI_E
youtu.be/j2Ki7Q2O4RA
youtu.be/wde3C3-hI_E
youtu.be/j2Ki7Q2O4RA
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