CHESS IS NOT A GAME
CHESS IS WAR

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brian.berlin@usa.net

Rule #1 - Always remember that YOU are the KING.
Ultimately, no other pieces matter except the KING!

UNDER CONSTRUCTION



 
  

A Brief History of Chess

Chess, one of the world's oldest war games, which was invented in northern India some time before A.D. 600.  The original pieces were based on the infantry, cavalry, elephants, and chariots of the ancient Indian army.   These troops were led onto the chessboard by the king and his chief minister, the vizier. 

From India, chess spread to central Asia, China, Persia (modern-day Iran), and Europe,
reaching Spain by the middle of the 11th century. In the West the design of the chess pieceschanged to reflect the society of medieval Europe.  The king remained, and the pawns were still the foot soldiers,  but the elephant was replaced by the bishop, the horse became the knight and the chariot was changed into the rook. Finally the vizier became the queen, and at the end of the 15th century a change in the rules of the game made the queen the most powerful piece on the chessboard.  This is the version of chess that's played worldwide today, and is officially recognized by the international ruling body of chess, FIDE (Federation Internationale des Echecs). 

Until the present century, chess had been regarded primarily as a game for the wealthy and leisured classes in society.   Today chess has a much broader appeal and is played by millions of people throughout the world.  It's the national sport in the Soviet Union, where it's more popular than soccer. Indeed, Soviet chess players have dominated world chess since the 1940s, although their superiority is fast being challenged by other countries.  Among those are the United States and Britain. 

Among all board games, chess seems to possess the perfect blend of strategy and tactics.
Compare it with, say, checkers (nearly all tactics), or with the Japanese game Go (nearly all stategy), and both these games are lacking in balance. Chess also has the advantage of its finely differentiated playing pieces.  They're not merely rounded lumps of wood or stone but individuals, each with its own power and attributes. It is easy to identify with one's chess pieces - losing a game of checkers never results in the same sense of deep personal loss that one has when a king is checkmated.  Chess is a game that involves the ego completely. 

Chess combines elements of both art and science.  Analyzing a chess game is primarily an
exercise in logic, yet arriving at a beautiful mating attack or a profound strategical position
can bring a genuine sense of creative satisfaction.  These is also the competitive aspects of the game.  Chess is not a solitary exercise, like solving a crossword puzzle, but a battle between two individuals -- a struggle of mind and will. 

Above all, chess provides a sense of continuity with the past - of belonging to a great
chess-playing family, extending through hundreds of years and embracing all nations. 



"How can I play chess against you if you keep on taking my pieces away?"

LINKS

Austin Chess Enterprises
http://www.austinchess.org
or
on Austin 360.com
Play Site

You can find me here 
under the user name
"Berlin"

FIDE
Federation Internationale des Echecs
Chess is Fun
United States Chess Federation
Online Tutorial
Chess Dictionary
Chess Wise
Bug House


Anders Ebenfelt's Bughouse Page
bughouse.net
David Ottosen's Bughouse Page

Books


Beginner
Chess4DummiesChess for Dummies , by James Eade
Light in tone, but you can't ask for much more from an introductory book on chess that is also full of fascinating insights for advanced beginners. Will improve your game and entertain.

Intermediate

MCO-13Modern Chess Openings , by Walter Korn, Nick De Firmian (Editor)
Better known as MCO, this 60 year old tome has been called "the chess player's bible" and contains in-depth analysis of all the major chess openings currently in use-- and several minor ones. This 13th edition is a fully revised and greatly expanded version of Korn's classic work by International Grandmaster Nick De Firmian. One important and welcome update over earlier editions is the incorporation of algebraic notation, making the book useful to a wider range of readers. Divided into five major segments covering symmetrical King's Pawn openings, semi-open King's Pawn defenses, Queen's Pawn openings, Indian Defense systems, and flank openings.



For beginners and intermediate players: Yasser Seirawan's Four Book Collection by Microsoft Press. Click each title to order and read straight-shooting reviews contributed by fellow chess players.

Play Winning Chess : An Introduction to the Moves, Strategies, and Philosophy of Chess from the Usa's #1 Ranked Chess Player
International grandmaster Yasser Seirawan has a knack for communicating not only the playing of the game, but also an enthusiasm for it. In this first of a four part series, Seirawan talks to the chess novice. He explains the game's development and basics of play, sharing stories of some of the wild and wonderful characters from chess history and Seirawan's own experiences. The language is simple and nontechnical enough for the greenest newcomer, who will hardly seem green at all after absorbing the lessons of this terrific introduction to chess. 

Winning Chess Tactics
This is the second in Seirawan's four volumes, taking the reader from the very basics of chess through appreciation of advanced play. He does a remarkable job of discussing tactics that usually appear only in books for advanced players and communicating them to anyone with a grasp of playing fundamentals. The first part of the book deals with basic tactics and how they can be used individually and in combination. In the second part, Seirawan introduces some of the great chess tacticians and their games, further illustrating tactics as they work out in real-life play.

Winning Chess Stategies : Proven Principles from One of the U.S.A.'s Top Chess Players
This is the third of Seirawan's four-volume series, which takes the reader from chess greenhorn to a player advanced enough to understand grandmaster play. Here, Seirawan shows how to set long-range goals for a game and systematically gain a superior position. His deft explanations give anyone with basic chess knowledge (covered in his previous books) the insights to leap levels in play. As usual, he tackles the subject with an infectious enthusiasm, communicating the sporting thrill as each piece of a meticulous plan comes together. Throughout the book, engrossing chess puzzles help teach strategic points. 

Winning Chess Brilliancies
Seirawan does more than present 12 of the most brilliant grandmaster games of the past 25 years. His lively move-by-move analysis delves into the minds of many of chess's greatest players, explaining the reasoning (or errors) behind each. Readers with a grasp of chess basics, tactics, and strategies (covered in the first three books of Seirawan's four-book series) will come away with an appreciation of the subtleties of grandmaster play and the inspiration to stretch their skills and understanding to higher levels. Have another chess player nearby when you read it--you'll want to play afterwards. 



Intermediate to Expert

Think Like a Grandmaster : Algebraic Edition , by Alexander Kotov
Kotov's work was the first I had ever seen which literally taught the reader how to analyze. Many chess books show you a few flashy combinations and exhort you to be ever-on-your-guard, but Kotov's book is on a different level altogether: he literally shows you how to select candidate moves, gives advice on how to organize your thinking, and demonstrates why different positions, even complex positions, may call for different _kinds_ of analysis. There are also quiz positions to test your analytical abilities.
There's a lot more to the book; Kotov discusses various center formations, gives advice on selecting an opening repertoire in terms of the types of center one prefers, discusses endgame technique, and even talks about handling the clock in tournament chess. It demands some hard work, but the improvement is worth it.
Reviewed by Tim McGrew.

Pawn Power in Chess , by Hans Kmoch
This is a treatise on pawns, and it is a wonderfully good book -- worth dipping into again and again. Though Kmoch does coin and use a few awkward neologisms ("leucopenia," for example, referring to white square weaknesses), they are not as pervasive as some reviewers would make it seem and did not impede my understanding of the book when I was in highschool. There are whole sections on different pawn structures: the King's Indian pawn structure, the Dutch Stonewall pawn structure, Dragon formations, and so forth. Kmoch not only directs the reader's attention to the key features of the positions, he also often presents a set of complete games with light notes to illustrate the themes being worked out in practice.
Reviewed by Tim McGrew.

Grandmaster Secrets Endings , by Andrew Soltis


Chess Themed Music and Cinema

Chess (The Musical)
A dramatic musical about love and cold war politics at a chess tournament. A cult favorite! The score has the drama that makes for good musical theater and includes popular lyrics. "One Night in Bangkok" was a hit in Europe, while Judy Kuhn particularly shines on the poignant "Nobody's Side." The album is full of superb numbers that basically fall into two types: instantly memorable and growing-on-you memorable. List price $15.97, Amazon price $12.99.

Searching for Bobby Fischer (The Movie)
Compelling, surefooted drama, based on a true story: A father discovers that his 7-year-old son has a genius for chess, and enters him in competition, losing sight of what this does to the boy's psyche--and his pure enjoyment of the game. Poignant, heart-rending at times (especially for any parent) and exceptionally well done. Screenplay by first-time director Zaillian, from the book by Fred Waitzkin, who's the real-life chess whiz's father. List price $14.95, Amazon price $12.99.

Searching for Bobby Fischer (The Book) The true story of Fred Waitzkin and his son Josh, from the moment six-year-old Josh first sits down at a chessboard until he competes for the national championship. Drawn into the insular, international network of chess, they must also navigate the difficult waters of their own relationship. All the while, Waitzkin wonders about and searches for the elusive Bobby Fischer, whose myth still dominates the chess world and profoundly affects Waitzkin's dreams for his son. 
List price $12.95, Amazon price $10.36.


Chess - Problems and Puzzles
101 Chess Problems for Beginners
Fred Reinfeld : Wilshire Book Co, 1983 : Paperback

200 Challenging Chess Puzzles
Martin Greif (ed) : Main Street Pr, 1995 : Paperback

200 Classic Chess Puzzles
Martin Greif (ed) : Sterling Pub, 1993 : Paperback

200 Demanding Chess Puzzles
Martin Greif (ed) : Sterling Pub, 1996; Paperback

200 Intriguing Chess Puzzles
Martin Greif (ed) : Sterling Pub, 1996; Paperback

Chess Mysteries of Sherlock Holmes : Fifty Tantalizing Problems of Chess Deduction
Raymond Smullyan : Times Books, 1994 : Paperback

Chess Problems: Tasks and Records
Jeremy Morse : Faber & Faber, 1995 : Paperback

Classic Chess Problems by Pioneer Composers
Kenneth Samuel Howard : Dover, 1979 : Paperback
155 fascinating masterpieces by outstanding problemists of the past, showing the genius of Loyd, the profundity of Klett, the wizardry of Shinkman, the skill of Havel and of Wurzburg, the ingenuity of Kohtz and Kockelborn, and the artistry of Heathcote.

Garry Kasparov's Chess Puzzle Book
Garry Kasparov : Cadogan Chess, 1995 : Hardcover

How to Solve Chess Problems
Kenneth Samuel Howard : Dover, 1961 : Paperback

The Puzzle King : Sam Loyd's Chess Problems and Selected Mathematical Puzzles
Sid Pickard (editor) : Pickard & Son, 1996 : Paperback

Solving in Style
John Nunn : Unwin Hyman, 1985 : Hardcover
 

If you can not find a book in my list then enter the author's name, title or subject words below and press the search button.  The word "chess" appears by default. 

Title: "Play Winning Chess"
Author: Yasser Seirawan
A very clear introduction to chess concepts such as Force, Time, Space, Pawn structure. Yasser is the U.S.A's #1 ranked Chess Player. This tutorial has quizzes at the end of each section. The solutions give you more than just answers. They introduce you to the concepts behind the moves. The book of choice for the beginning player.

Click on this line to order


Title: "1001 winning chess sacrifices and combinations"
Author: Fred Reinfeld
You will be introduced to many kinds of tactics and combinations. A must have book!

Try to guess the answer, within a few minutes, then turn to the answer section and introduce yourself to the tactical ideas.

Click on this line to order


Title: "The Game of Chess"
Author: Dr. Siegbert Tarrasch
This book goes over classical lessons in chess by one of the greatest chess teachers.

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Title: "Chess strategy"
Author: Eduard Lasker
The book that taught two generations how to play chess forcefully. Great when used with a notebook!

Click on this line to order


Title: "How to reassess your chess"
Author: Jeremy Silman
This book helps you to determine where the problems are in your game. It then helps you to repair these weaknesses. A great work from a great instructor.

Click on this line to order


Title: "The Ideas Behind the Chess Openings"
Author: Reuben Fine
This book goes into each and every opening and teaches you how to play it. 

Click on this line to order


Title: "My system"
Author: Aron Nymzowitsch
This book is all about the basics. It is one of the ten best books on chess fundamentals. A must have for every aspiring master.

Click on this line to order


Title: "Pandolfini's Endgame Course"
Author: Bruce Pandolphini
This book teaches you very clearly how to play in the endgame. Having a knowledge of endgames affects all of your game.

Click on this line to order


Title: "Pawn power in chess"
Author: Hans Kmoch
This book is a classic on pawn formations. Knowing pawn formations is a key to good piece play and reaching master. An excellent work!

Click on this line to order


Title: "The Art of the Middle Game"
Author: Paul Keres and Alexander Kotov
This book will introduce you to the various kinds of centers and how to go about playing your pieces accordingly. It also talks about attacking the king. A wonderful book!

Click on this line to order


Title: "The Art of Attack in Chess"
Author: V.Vukovic
Learn how to use your pawns and pieces during an attack on the king. This book also introduces the concept of focal points. With this book you will master the attack.

Click on this line to order


Title: "Think like a Grandmaster"
Author: Alexander Kotov
The proper thought process of a chess player is introduced in this classic. 

Click on this line to order



 
 
 

Buy a book and notebook. Paste chess diagrams onto each page of your notebook and add some notes for each game you play through. This improves your understanding and is great for teachers to track your progress. 
 

 

Chess Rules

Chess is a two-player game, where one player is assigned white pieces and the other black. Each player has 16 pieces to start the game: one king, one queen, two rooks, two bishops, two knights and eight pawns. 

The game is played on a chess board consisting of 64 squares in an 8x8 grid. The squares are alternately light (white) and dark colored. For notational purposes, each square is given a name. From the view of the white player, the rows are numbered: 1, 2, 3, 4, 5, 6, 7, 8, with the lowest row being No. 1, and the upper row No. 8. The columns are named, from left to right: a, b, c, d, e, f, g, h. A square's name consists of the combination of its column-letter and row-number; e.g., the square in the lower-left corner (for white) is a1. 

(black)

(white)

Each player moves in turn, white always moving first. A move consists of placing one piece on a different square, following the rules of movement for that piece. There is one exception whereby a player can move two pieces simultaneously (see "Castling", below.) 

A player can take an opponent's piece by moving one of his or her own pieces to the square that contains an opponent's piece. The opponent's piece is removed from the board and is out of play for the rest of the game. 

At the start of the game, the position of the pieces is as follows: 

Thus, at the second row, there are eight white pawns; at the seventh row, there are eight black pawns. At the first row, from left to right, we have: a rook, a knight, a bishop, queen, king, a bishop, a knight and a rook. The movement of the pieces is restricted as follows. All pieces must end their movement on either an empty square, or a square containing one of their opponent's pieces (in which case that piece is captured.) 

Movement of the pieces
Rook
The rook moves in a straight line, horizontally or vertically. The rook may not jump over other pieces; that is, all squares between the one where the rook starts and ends its move must be empty. (As with all pieces, if an opponent's piece sits on the square where the rook ends his move, that piece is taken.) 

Bishop
The bishop moves in a straight diagonal line. As with the rook, it may not jump over other pieces. 

Queen
The queen has the combined moves of the rook and the bishop; she may move in any straight line: horizontal, vertical or diagonal. 

Knight
The knight makes a move that consists of, first, one step in a horizontal or vertical direction, then one step diagonally. The knight is the only piece that jumps: it is allowable for another piece to occupy the first square over which the knight passes. For instance, white can start the game by moving the knight from b1 to c3. Furthermore, the piece that is jumped over is not affected by the knight. 

Pawn
The pawn's moves depend on whether it goes to an empty square or takes an opponent's piece. When a pawn does not take a piece, it moves one square straight forward. If a particular pawn has not been moved at all, it may make a double move straight forward. For instance, a white pawn on d2 can be moved to d4. 

When taking a piece, the pawn goes one square diagonally forward.

There is a special rule called taking en-passant. When a pawn makes a double step from the second to the fourth row, and an enemy pawn occupies an adjacent square on the fourth row, this enemy pawn may move to the third-row square that was passed over, and take the other pawn. This en-passant taking must be done immediately; if the player who could take en-passant does not do so during the first move after the double step, the first pawn cannot be taken by a future en-passant move. 


A double pawn step, and a following en-passant capture.

Pawns that reach the last row of the board are promoted. When a player moves a pawn to the last row of the board, the pawn is replaced with a queen, rook, knight or bishop of the same color. Almost always, players promote a pawn to a queen. The pawn need not be promoted to a piece that has been taken. Thus, it is possible, for instance, for a player to have two queens at once. 
 
 

Before and after a promotion.

King
The king moves one square in any direction, horizontally, vertically or diagonally. There is a special type of move, made by a king and rook simultaneously, called castling: see below. 

The king is the most important piece of the game, and moves must be made in such a way that the king is never in check: see below. 

Castling
If the necessary conditions are met, a king and rook can move simultaneously in a castling move. 

The conditions are as follows: 

  • The king that makes the castling move has not yet moved in the game.
  • The rook that makes the castling move has not yet moved in the game.
  • The king is not in check (see "Check", below.)
  • The king does not move over a square that could be attacked by an enemy piece; i.e., when castling, there may be no enemy piece that can move (diagonally, in the case of pawns) to a square that will be passed over by the king. In short, you cannot castle through check.
  • The king does not move to a square that could be attacked by an enemy piece; i.e., you may not end the castling with the king in check.
  • All squares between the rook and king before the castling move must be empty.
When castling, the king moves two squares toward the rook, and the rook moves over the king to the next square; i.e., white's king on e1 and rook on a1 move to: king c1, rook d1 (long castling); white's king on e1 and rook on h1 move to: king g1, rook f1 (short castling). The move is similar for black. 
 
Position before and after castling: white short and black long.


Neither white nor black may castle: White is in check, and the black king may not move over d8.

Check, mate and stalemate
(unless the black player takes evasive action) Check
When a player's king may be taken by an opponent's piece, the king is said to be in check. For instance, the white player moves a rook to a position from which the rook could take the black king in the next move, assuming black did nothing to alter the situation. We say that the white rook gives check.

The server will not allow you to make a move that would place your king in check. 

Mate
When a player is in check and cannot make a move that would remove the king from check, they are mated. The player who is "mated" has lost the game; the other player wins. 

There are three possible ways to remove a check: 

  1. Move the king to a square where he is not in check.
  2. Take the piece that made the check.
  3. With a check made by a rook, bishop or queen: Move a piece between the checking piece and the king.

Stalemate
When a player cannot make any legal move but is not in check, the player is said to be stalemated. The game is a draw. 


When black must move, the game is a stalemate

Other rules

Repetition of moves
If the same position with the same player to move is repeated three times in the game, the player to move can claim a draw. (When the right to make a certain castling move is lost by one of the players between positions, then the positions are considered to be different. For the fine points of this rule, see the official rules of chess.)

One case where the repetition of move occurs is when a player continues to give check forever.

50 moves rules
If there are have been 50 consecutive moves of white and of black without:

  • any piece taken
  • any pawn move
then a player can claim a draw. For the fine points of this rule, see the official rules of chess.

Resign and draw proposals
A player can resign the game, which means they have lost and the opponent has won. 

After making a move, a player can propose a draw. The opponent can accept the proposal, in which case the game ends in a draw; or refuse the proposal, in which case the game continues. 

The F.I.D.E. Laws of Chess

Preface
The Laws of Chess cannot cover all possible situations that may arise during a game, nor can they regulate all administrative questions. Where cases are not precisely regulated by an Article of the Laws, it should be possible to reach a correct decision by studying analogous situations which are discussed in the Laws.

The Laws assume arbiters have the necessary competence, sound judgement and absolute objectivity. Too detailed a rule might deprive the arbiter of his freedom of judgement and thus prevent him from finding the solution to a problem dictated by fairness, logic and special factors.

F.I.D.E. appeals to all chess players and federations to accept this view. Any chess federation that already operates, or wants to introduce, more detailed rules is free to do so, provided:

(a)
they do not conflict in any way with the official F.I.D.E. Laws of Chess;
(b)
they are limited to the territory of the federation in question; and
(c)
they are not valid for any F.I.D.E. match, championship, or qualifying event, or to a F.I.D.E. title or rating tournament.
In the Articles of these Laws, "he", "him" and "his" can refer to "she", "her" and "hers". 

Article 1: The Chessboard 
The game of chess is played between two opponents by moving pieces on a square board called a "chessboard".

1.1 The chessboard is composed of 64 equal squares, alternately light (the "white" squares) and dark (the "black" squares.)
1.2 The chessboard is placed between the players in such a way that the near corner to the right of each player is white.
1.3 The eight vertical rows of squares are called "files".
1.4 The eight horizontal rows of squares are called "ranks".
1.5 The lines of squares of the same colour, touching corner to corner, are called "diagonals". 

Article 2: The Pieces 
2.1 At the beginning of the game, one player has 16 light-coloured pieces (the "white" pieces), the other has 16 dark-coloured pieces (the "black" pieces.
2.2 These pieces are as follows:
A white king: K   A black king: k
A white queen: Q   A black queen: q
Two white rooks: R   Two black rooks: r
Two white knights: N   Two black knights: n
Two white bishops: B   Two black bishops: b
Eight white pawns: P   Eight black pawns: p

2.3 The initial position of the pieces on the chessboard is as follows: 
 

r n b q k b n r
p p p p p p p p
               
               
               
               
P P P P P P P P
R N B Q K B N R

Article 3: The Right To Move 
3.1 The player with the white pieces commences the game. The players alternate in making one move at a time until the game is completed. 3.2 A player is said to "have the move" when his opponent's move has been completed. 

Article 4: The General Definition Of The Move 
4.1 With the exception of castling (Article 5.1(b)), a move is the transfer by a player of one of his pieces from one square to another square, which is either vacant or occupied by an opponent's piece. 
[A capture is, therefore, merely a certain type of move.] 

4.2 No piece, except the rook when castling (Article 5.1(b)) and the knight (Article 5.5), may cross a square occupied by another piece.

4.3 A piece played to a square occupied by an opponent's piece captures it as part of the same move. The captured piece must be removed immediately from the chessboard by the player making the capture (see Article 5.6(c) for capturing "en passant".) 

Article 5: The Moves Of The Pieces 
5.1 The King:

(a)
Except when castling, the king moves to any adjoining square that is not attacked by an opponent's piece.
(b)
Castling is a move of the king and either rook, counting as a single move of the king and executed as follows: the king is transferred from its original square two squares toward either rook on the same rank; then that rook is transferred over the king to the square the king has just crossed.
(c)
If a player touches a rook and then his king, he may not castle with that rook and the situation will by governed by Articles 7.2 and 7.3 [Touched Piece rules].
(d)
If a player, intending to castle, touches the king first, or king and rook at the same time, and it then appears that castling is illegal, the player may choose either to move his king or to castle on the other side, provided that castling on that side is legal. If the king has no legal move, the player is free to make any legal move.
(e)
Castling is [permanently] illegal:
(i)
if the king has already been moved; or
(ii)
with a rook that has already been moved.
(f)
Castling is prevented for the time being:
(i)
if the king's original square, or the square which the king must pass over, or that which it is to occupy, is attacked by an opponent's piece; or
(ii)
if there is any piece between the king and the rook with which castling is to be effected [i.e. castling may still be legal even if the rook is attacked or, when castling queenside, passes over an attacked square] .
5.2 The Queen.
The queen moves to any square (except as limited by Article 4.2) [No leapfrogging] on the file, rank, or diagonals on which it stands.
5.3 The Rook.
The rook moves to any square (except as limited by Article 4.2) on the file or rank on which it stands.

5.4 The Bishop.  The bishop moves to any square (except as limited by Article 4.2) on the diagonals on which it stands.

5.5 The Knight.
The knight's move is composed of two different steps; first, it makes one step of one single square along its rank or file, and then, still moving away from the square of departure, one step of one single square on a diagonal. It does not matter if the square of the first step is occupied. 

5.6 The Pawn.

(a)
The pawn may move only forward [except as limited by Article 4.2].
(b)
Except when making a capture, it advances from its original square either one or two vacant squares along the file on which it is placed, and on subsequent moves it advances one vacant square along the file. When capturing, it advances one square along either of the diagonals on which it stands.
(c)
A pawn, attacking a square crossed by an opponent's pawn which has [just] been advanced two squares in one move from its original square, may capture this opponent's pawn as though the latter had been moved only one square. This capture may only be made in [immediate] reply to such an advance, and is called an "en passant" capture.
(d)
On reaching the last rank, a pawn must immediately be exchanged, as part of the same move, for [either] a queen, a rook, a bishop, or a knight, of the same colour as the pawn, at the player's choice and without taking into account the other pieces still remaining on the chessboard. This exchange of a pawn for another piece is called "promotion", and the effect of the promoted piece is immediate [and permanent!].
(e)
In a competition, if a new piece required for the promotion is not immediately available, the player may stop his clock to ask for the assistance of the arbiter. The player must complete his move correctly, in the manner specified in Article 5.6(d).
Article 6: The Completion Of The Move 
A move is completed:
6.1 in the case of the transfer of a piece to a vacant square, when the player's hand has released the piece; 

6.2 in the case of a capture, when the captured piece has been removed from the chessboard and the player, having placed his own piece on its new square, has released this [capturing] piece from his hand; 

6.3 in the case of castling, when the player's hand has released the rook on the square [previously] crossed by the king. When the player has released the king from his hand, the move is not yet completed, but the player no longer has the right to make any move other than castling on that side, if this is legal; 

6.4 in the case of the promotion of a pawn, when the pawn has been removed from the chessboard and the player's hand has released the new piece after placing it on the promotion square. If the player has released from his hand the pawn that has reached the promotion square, the move is not yet completed, but the player no longer has the right to play the pawn to another square. 

6.5 When determining whether the prescribed number of moves has been made in the allotted time, the last move is not considered complete until after the player has stopped his clock. This applies to all situations except those governed by Articles 10.1, 10.2, 10.3, 10.4 and 10.6. [i.e. when the move has been completed in the sense of Articles 6.1-6.4, and the game ends immediately after the move in question, which may, for example, put the player's opponent into checkmate. This Law was introduced to prevent the situation where a player returns to the board to claim a win on time, possibly an hour after being checkmated!] . 

Article 7: The Touched Piece 
7.1 Provided that he first expresses his intention (e.g. by saying "j'adoube"), the player having the move may adjust one or more pieces on their squares. 
[If a player's opponent is absent from the chessboard, it is best to inform one of his team-mates, or some other witness.]

7.2 Except for the above case, if the player having the move deliberately touches on the board:

(a)
one or more pieces of the same colour, he must move or capture the first piece he touched that can be moved or captured; or
(b)
one of his own pieces and one of his opponent's pieces, he must capture his opponent's piece with his own piece; or, if this is illegal, move or capture the first piece he touched that can be moved or captured. If it is impossible to establish which piece was touched first, the player's piece shall be considered the touched piece.
7.3 If none of the touched pieces has a legal move (or if none of the opponent's pieces which were touched can be captured legally), the player is free to make any legal move.

7.4 If a player wishes to claim that his opponent has violated Article 7.2, he must do so before he himself touches a piece. 
[Note that the clause "deliberately touches" protects a player from having to move a piece accidentally touched by his elbow/wrist etc] 

Article 8: Illegal Positions 
8.1
If, during a game, it is found that an illegal move was made, the position shall be reinstated to what it was before the illegal move was made. The game shall then continue by applying the rules of Article 7 to the move replacing the illegal move. If the position cannot be reinstated, the game shall be annulled and a new game played. This applies to all sessions of play, and to a game awaiting a decision by adjudication. 
[Note that this discovery of an illegal move must be made while the game is still in progress, before resignation or the agreement of a draw. The only possible exception can be if the illegal move itself would theoretically end the game: anyone trying the trick 1. e2-e4 e7-e5; 2. Bf1-c4 Ng8-f6; 3. Qd1xf7 "mate" may be penalised under Article 10.17! Note that the act of playing an illegal move, at ANY stage of the game, does not IN ITSELF forfeit the game.]

8.2 If, during a game, one or more pieces have been accidentally displaced and incorrectly replaced, the position before the displacement occurred shall be reinstated, and the game shall continue. If the position cannot be reinstated, the game shall be annulled and a new game played.

8.3 If a player moves and in the course of this inadvertently knocks over a piece, or several pieces, he must re-establish the position in his own time.

8.4 If, after an adjournment, the position is incorrectly set up, the position as it was on adjournment must be set up again and the game continued.

8.5 If, during a game, it is found that the initial position of the pieces was incorrect, the game shall be annulled and a new game played.

8.6 If a game has begun with colours incorrectly reversed, then it shall continue if more than one quarter of the time allocated to both players to the first time control has elapsed. Earlier, the arbiter can arrange for a new game to start with the correct colours, if the event's timetable is not excessively disrupted.

8.7 If, during a game, it is found that the board has been placed contrary to Article 1.2, the position reached should be transferred to a correctly-placed board, and the game continued. 
[In the situations covered by Articles 8.5-8.7, a spectator is justified in pointing out to the arbiter the error he has noticed. In Article 8.7, the implicit assumption is that the relative positions of the pieces relative to one another were correct] . 

Article 9: Check 
9.1 The king is in "check" when the square it occupies is attacked by one or more of the opponent's pieces; in this case, the latter is/are said to be "checking" the king. A player may not make a move which leaves his king on a square attacked by any of his opponent's pieces.

9.2 Check must be parried by the move immediately following. If any check cannot be parried, the king is said to be "checkmated" ("mated".) 

9.3 Declaring a check is not obligatory.
[Merely polite! Playing an illegal move does not imply the loss of the game: see Article 8.1.] 

Article 10: The Completed Game 
10.1 The game is won by the player who has checkmated his opponent's king. This immediately ends the game.

10.2 The game is won by the player whose opponent declares he resigns. This immediately ends the game.

10.3 The game is drawn when the king of the player who has the move is not in check, and this player cannot make any legal move. The player's king is then said to be "stalemated". This immediately ends the game. 
[If the stalemating move was actually legal!] .

10.4 The game is drawn when one of the following endings arises:

(a)
king against king;
(b)
king against king with only bishop or knight;
(c)
king and bishop against king and bishop, with both bishops on diagonals of the same colour.
This immediately ends the game.

10.5 A player having a bare king cannot win the game. A draw shall be declared if the opponent of a player with a bare king oversteps the time limit (Articles 10.13 and 10.14) or seals an illegal move (Articles 10.16).

10.6 The game is drawn upon agreement between the two players. This immediately ends the game.

10.7 A proposal of a draw under the provisions of Article 10.6 may be made by a player only at the moment when he has just moved a piece. On then proposing a draw, he starts the clock of his opponent. The latter may accept the proposal, which is always to be taken as unconditional, or he may reject it either orally or by completing a move. A draw offer is valid until the opponent has accepted or rejected it. 
[The gamesmanship question "Are you playing for a win?" can be considered as an offer of a draw] .

10.8 If a player proposes a draw while his opponent's clock is running and his opponent is contemplating his move, the opponent may still agree to the draw or reject the offer. A player who offers a draw in this manner may be penalised by the arbiter.

10.9 If a player proposes a draw while his own clock is running or after his move has been sealed, the opponent may postpone his decision until after he has seen the first player's move.

10.10 The game is drawn, upon a claim by the player having the move, when the same position, for the third time:

(a)
is about to appear, if he first writes the move on his scoresheet and declares to the arbiter his intention of making this move; or
(b)
has just appeared, the same player having the move each time.
The position is considered the same if pieces of the same kind and colour occupy the same squares, and if all the possible moves of all the pieces are the same, including the rights to castle [at some future time] or to capture a pawn "en passant".

10.11 If a player executes a move without having claimed a draw for one of the reasons stated in Article 10.10, he loses the right to claim a draw. This right is restored to him, however, if the same position [later] appears again, the same player having the move.

10.12 The game is drawn when a player having the move claims a draw and demonstrates that at least [the last?] 50 consecutive moves have been made by each side without the capture of any piece and without the movement of any pawn. This number of 50 moves can be increased for certain positions, provided that this increase in number and these positions have been clearly announced by the organisers before the event starts. 
[The claim then proceeds according to 10.13. The most extreme case yet known of a position which might take more than 50 moves to win is king, rook and bishop against king and two knights, which can run for 223 moves between captures!]

10.13 If a player claims a draw under the provisions of Articles 10.10 and/or 10.12, the arbiter must first stop the clocks while the claim is being investigated. In the absence of the arbiter, a player may stop both clocks to seek the arbiter's assistance. 

(a)
If the claim is found to be correct, the game is drawn.
(b)
If the claim is found to be incorrect, the arbiter shall then add five minutes to the claimant's used time. If this means that the claimant has [now] overstepped the time limit, his game will be declared lost. Otherwise, the game will be continued, and a player who has indicated a move according to Article 10.10(a) is obliged to execute this move on the chessboard.
(c)
A player who has made a claim under these Articles cannot withdraw the claim.
10.14 The game is lost by a player who has not completed the prescribed number of moves in the allotted time, unless his opponent has only the king remaining, in which case the game is drawn. (See Articles 6.5 and 10.5.) 
[Situations when Articles 10.1-10.4 or 10.6 apply are the only other exceptions.]

10.15 The game is lost by a player who arrives at the chessboard more than one hour late, for the beginning of the game or for the resumption of an adjourned game. The time of delay is counted from the [scheduled] start of the playing session. However, in the case of an adjourned game, if the player who made the sealed move is the late player, the game is decided otherwise if: 

(a)
the absent player has won the game by virtue of the fact that the sealed move is checkmate; or
(b)
the absent player has produced a drawn game by virtue of the fact that the sealed move is stalemate, or if one of the positions in Article 10.4 has arisen as a consequence of the sealed move; or
(c)
the player present at the chessboard has lost the game according to Article 10.14 by exceeding his time limit.
10.16 At the resumption, the game is lost by a player whose recording of his sealed move: 
(a)
is ambiguous; or
(b)
 would result in a false move the true significance of which is impossible to establish; or
(c)
would result in an illegal move.
10.17 The game is lost by a player who, during the game, refuses to comply with the Laws. If both players refuse to comply with the Laws, or if both players arrive at the chessboard more than one hour late, the game shall be declared lost by both players. 

Article 11: The Recording Of Games 
11.1 In the course of play, each player is required to record the game (his own moves and those of his opponent), move after move, as clearly and legibly as possible in the Algebraic Notation, on the scoresheet prescribed for the competition. It is irrelevant whether the player first makes his move and then records it, or vice versa. 
[The use of Descriptive Notation or foreign versions of Algebraic Notation is tolerated in internal tournaments, e.g. weekend congresses.]

11.2 If a player has less than five minutes on his clock until the time control, he is not obliged to meet the requirements of Article 11.1. As soon as the special device (e.g. the flag) on the clock indicates the end of his allotted time, the player must immediately complete his record of the game by filling in the moves omitted from his scoresheet. 
[A player may be justified in restarting his opponent's clock, without having to make a move, if his opponent has more than 5 minutes left and is not fulfilling the requirements of Article 11.1. A player cannot stop his clock unless he has recorded at least his opponent's last move and all previous moves of the game.]

11.3 If both players cannot keep score, the arbiter, or his deputy, must endeavour to be present and keep score. The arbiter must not intervene unless one flag falls, and until then he should not indicate in any manner to the players how many moves have been made.

11.4 If Article 11.2 does not apply, and a player refuses to record the game according to Article 11.1, then Article 10.17 should be applied. [Failure to comply with the Laws of Chess].

11.5 If a player does not refuse to comply with the arbiter's request for a completed scoresheet, but declares that he cannot complete his scoresheet without consulting his opponent's, the request for this scoresheet must be made to the arbiter, who will determine whether the scoresheet can be completed before the time-control without inconveniencing the other player. The latter cannot refuse his scoresheet, because the scoresheet belongs to the organisers and the reconstruction will be made in his opponent's time. In all other cases, the scoresheets can be completed only after the time-control.

11.6 If, after the time-control, one player alone has to complete his scoresheet, he will do so before making another move, and with his clock running if his opponent has moved.

11.7 If, after the time-control, both players need to complete their scoresheets, both clocks will be stopped until the two scoresheets are completed, if necessary with the help of the arbiter's scoresheet and/or a chessboard under the control of the arbiter, who should have recorded the actual game position beforehand.
[In case this position gets disturbed!]

11.8 If, in Article 11.6, the arbiter sees that the scoresheets alone cannot help in the reconstruction of the game, he will act as in Article 11.7.

11.9 If it proves impossible to reconstruct the moves as prescribed under Article 11.7, the game shall continue. In this case, the next move played will be considered to be the first one of the following time-control. 

Article 12: The Chess Clock
12.1 Each player must make a certain number of moves in an allotted period of time, these two factors being specified in advance. The time saved by a player during one period is added to his time available for the next period.

12.2 Control of each player's time is effected by means of a clock equipped with a flag (or other special device) for this purpose. The flag is considered to have fallen when the arbiter observes the fact, or when the arbiter determines that the allotted time has been exceeded, even though the flag, because of a defect, has not fallen when the end of the minute hand has passed the end of the flag. In cases where no arbiter is present, the flag is considered to have fallen when a claim to that effect has been made by a player.

12.3 At the time determined for the start of the game, the clock of the player who has the white pieces is started. During the game, each of the players, having completed his move, stops his own clock and starts his opponent's clock.

12.4 Every indication given by a clock is considered to be conclusive in the absence of evident defects. A player who wishes to claim any such defect must do so as soon as he himself has become aware of it, but not later than immediately after his flag has fallen at the time-control. A clock with an obvious defect should be replaced, and the time used by each player up to the time the game was interrupted should be indicated on the new clock as accurately as possible. The arbiter shall use his best judgment in determining what times shall be shown on the new clock. If the arbiter decides to add time used to the clock of one or both of the players, he shall under no circumstances (except as provided for in Article 10.13(b)) leave a player with: 

(a)
less than five minutes to the time-control; or
(b)
less than one minute for every move to the time-control.


12.5 If the game needs to be interrupted for some reason which requires action by the arbiter, the clocks shall be stopped by the arbiter. This should be done, for example, in the case of an illegal position being corrected, in the case of a defective clock being changed, or if the piece which a player has declared he wishes to exchange for a promoted pawn is not immediately available, or to claim a draw by repetitions of position or under the 50 moves rule. If the arbiter is not present, a player may stop both clocks in order to seek the arbiter's assistance.

12.6 In the case of Articles 8.1 and 8.2 [Illegal Positions], when it is not possible to determine the exact time used by each player up to the moment when the irregularity occurred, each player shall be allotted up to that moment a time proportional to that indicated by the clock when the irregularity was ascertained. For example, after Black's 30th move it is found that an irregularity took place at the 20th move. For these 30 moves, the clock shows 90 minutes for White and 60 minutes for Black, so it is assumed that the times used by the two players for the first 20 moves were as follows: 

for White: 90 x 20/30 = 60 minutes
for Black: 60 x 20/30 = 40 minutes 

This rule must not be used to leave a player with less than five minutes to the time control, or less than one minute for every move to the time control. (The most common occasion when this problem arises is immediately after an adjournment, when the clock times can be most easily adjusted using the times on the sealed move envelope.)

12.7 A resignation or an agreement to draw (Articles 10.2 and 10.4) remains valid even if it is found later that a flag had fallen.

12.8 If both flags have fallen at virtually the same time [or if both have fallen before a claim is made by either player] and the arbiter is unable to establish clearly which flag fell first, the game shall continue. In this case, if the scoresheets cannot be brought up to date showing that the time control has been passed, the next move played will be considered to be the first one of the following time-control.

12.9 The arbiter [and everyone else, for that matter] shall refrain from calling a player's attention to the fact that his opponent has made a move or that the player has forgotten to stop his clock after he has made a move, or informing the player how many moves he has made, etc. 

Article 13: The Adjournment Of The Game 
13.1

(a)
If a game is not finished at the end of the time prescribed for play, the player having the move must write his move in unambiguous notation on his scoresheet, put his scoresheet and that of his opponent in an envelope, seal the envelope, and only then stop his clock without starting his opponent's clock. Until he has stopped the clocks, the player retains the right to change his sealed move. If, after being told by the arbiter to seal his move, the player makes a move on the chessboard, he must write that same move on his scoresheet as his sealed move.
(b)
A player having the move who adjourns the game before the end of the playing session will have added to the used time on his clock the whole of the remaining time to the end of the session.
13.2 Upon the envelope shall be indicated:
(a)
the names of the players;
(b)
the position immediately before the sealed move;
(c)
the time used by each player;
(d)
the name of the player who has sealed the move; and
(e)
the number of the sealed move.
13.3The arbiter is responsible for the safekeeping of the envelope and should check the accuracy of the information on it. 

Article 14: The Resumption of the Adjourned Game 
14.1 When the game is resumed, the position immediately before the sealed move shall be set up on the chessboard, and the time used by each player when the game was adjourned shall be indicated on the clocks.

14.2 The envelope shall be opened only when the player who must reply to the sealed move is present. This player's clock shall be started after the sealed move has been made on the chessboard. 

(a)
If two players have agreed to a draw and announce their decision to the arbiter; or
(b)
if one of the players in an adjourned game notifies the arbiter that he resigns and it is found, when the envelope has been opened, that the sealed move is invalid according to Article 10.16, then in (a) the draw stands and in (b) the resignation is still valid.
14.3 If the player having to respond to the sealed move is absent, his clock shall be started but the envelope containing the sealed move shall be opened only when he arrives. The player's clock shall then be stopped and restarted after the sealed move has been played on the chessboard.

14.4 If the player who has sealed the move is absent, the player having the move is not obliged to reply to the sealed move on the chessboard. He has the right to record his move in reply on his scoresheet, to seal the scoresheet in an envelope, to stop his clock and start his opponent's clock. The envelope should then be put into safekeeping and opened on the opponent's arrival.

14.5 If the envelope containing the move recorded in accordance with Article 13 has disappeared: 

(a)
the game shall be resumed from the position at the time of adjournment and with the clock times recorded at the time of adjournment;
(b)
if it is impossible to re-establish the position, the game is annulled and a new game must be played;
(c)
if the time used at the time of the adjournment cannot be re-established, this question is decided by the arbiter. The player who sealed the move makes it on the board.
14.6 If, upon resumption of the game, the time used has been incorrectly indicated on either clock, and if either player points this out before making his first move, the error must be corrected. If the error is not so established, the game continues without correction, unless the arbiter feels that the consequences will be too severe.

14.7 The duration of each resumption session shall be controlled by the wall clock, with the starting time and the finishing time announced in advance. 

Article 15: The Conduct Of The Players 
15.1 Prohibitions:

(a)
During play, the players are forbidden to make use of hand-written, printed or otherwise recorded matter, or to analyse the game on another chessboard. They are also forbidden to have recourse to the advice of a third party, whether solicited or not. 

[The only possible exception is that a player in a team competition may be allowed to ask his captain "Should I accept his offer of a draw?" or "Does the team need me to play for a win?". The captain or acting-captain must limit his reply to an immediate "Yes", "No", or "It's up to you", without supplying his answer after a detailed analysis of the position, and without making his answer emphatic in any way. This captain, like all his players, is not allowed to receive opinions, from any source, on the states of play of any games still in progress] .
(b)
The use of notes made during the game as an aid to memory is also forbidden, aside from the actual recording of the moves and the times on the clocks.
(c)
No analysis is permitted in the playing rooms during play or during resumption sessions.
(d)
It is forbidden to distract or annoy the opponent in any manner whatsoever. This includes the persistent offering of a draw.
15.2 Infractions of the rules indicated in Article 15.1 may incur penalties even to the extent of the loss of the game (see Article 16.5). 

Article 16: The Arbiter 
An arbiter should be designated to control the competition. His duties are:

16.1 to see that the Laws are strictly observed;

16.2 to supervise the progress of the competition, to establish that the prescribed time-limit has not been exceeded by the players, to arrange the order of resumption of play of adjourned games, to see that the arrangements contained in Article 13 are observed (i.e. to see that the information on the envelope is correct), to keep the sealed-move envelope until the resumption of the adjourned game, etc;

16.3 to enforce the decisions he may make in disputes that have arisen during the course of the competition;

16.4 to act in the best interests of the competition to ensure that a good playing environment is maintained and that the players are not disturbed by each other or by the audience;

16.5 to impose penalties on the players for any fault or infraction of the Laws. These penalties may include a warning, a time penalty (by adding to the player's used time or to his opponent's unused time) or even the loss of the game. 

Article 17: Scoring 
For a won game, the winner gets 1 (one) point and the loser 0 (zero). For a draw, each player gets 1/2 (half) a point.

Article 18: The Interpretation of the Laws 
In case of doubts as to the application or interpretation of the Laws, F.I.D.E. will examine the evidence and render official decisions. Rulings published are binding on all affiliated federations. All proposals and questions about interpretations should be submitted by member federations, with complete data.

Article 19: Validity 
This English text is slightly modified from the authentic version of the Laws of chess, as adopted by the 1984 F.I.D.E. Congress, and subsequently amended by the 1988 and 1992 F.I.D.E. Congresses. These Laws took effect from 1 January 1993.

THE 64 COMMANDMENTS OF CHESS

A Summary of Hints, Pointers and Precepts suggested by Bruce Pandolfini:

  1. Be aggressive, but play soundly.  Don't take unnecessary chances.
  2. Make sure every move has a purpose.
  3. If you know your opponent's style, take advantage of it.  But, in the final analysis, play the board, not the player.
  4. Don't ignore your opponent's moves.
  5. Don't give needless checks.  Check only when it makes sense.
  6. Answer all threats.  Try to do so by improving your position and/or posing a counter-threat.
  7. Play for the initiative.  If you already have it, attempt to maintain it. If you don't have it, seize it.
  8. When exchanging, try to get at least as much as you give up.
  9. Take with the man of least value, unless there is a definite reason for doing otherwise.
  10. Cut your losses. If you must lose material, lose as little as possible.
  11. If you blunder, don't give up fighting. After getting the advantage, your opponent may relax and let you escape.
  12. Never play a risky move, hoping your opponent will overlook your threat, unless you have a losing position. In that case, you have nothing to lose.
  13. Rely on your own powers. If you can't see the point of your opponent's move, assume there isn't any.
  14. Don't sacrifice without good reason.
  15. When you can't determine whether to accept or decline a sacrifice, accept it.
  16. Attack in number. Don't rely on just one or two pieces.
  17. Look for double attacks.
  18. Play for the center: guard it, occupy it, influence it.
  19. Fight for the center with pawns.
  20. Don't make careless pawn moves. In the opening, move as few pawns as necessary to complete your development.
  21. If feasible, move both center pawns two squares each.
  22. In the opening, move only center pawns. Unless the opening system or situation requires otherwise.
  23. Try to develop your Bishops before blocking them in by moving a center pawn just one square.
  24. Develop your pieces quickly, preferably toward the center (especially Knights, which often are "grim on the rim").
  25. Develop purposefully, and not just for development's sake.
  26. Don't waste time or moves. Try to develop a new piece on each turn. Don't move a piece twice in the opening without good reason.
  27. Try to develop with threats, but don't threaten pointlessly.
  28. Develop minor pieces early. King-side pieces should usually be developed sooner than Queen-side ones, and Knights before Bishops.
  29. Develop during exchanges.
  30. To exploit an advantage in development, attack.
  31. In the opening, don't remove your Queen from play to "win" a pawn.
  32. Don't bring out the Queen too early, unless the natural course of play requires it.
  33. Try to give as much scope to your pieces as possible.
  34. Seize open lines.
  35. Develop Rooks to open files, or to files likely to open.
  36. Castle early.
  37. Try to prevent your opponent's King from castling. Keep it trapped in the center, especially in open games.
  38. Try to pin your opponent's pieces. Avoid pins against your own pieces.
  39. Don't capture pinned pieces until you can benefit from doing so. If possible, try to attack them again, especially with pawns.
  40. After castling, don't move the pawns in front of your King without specific reason.
  41. To attack the King, pick a target square around it.
  42. When applicable, pick target squares on the color of your unopposed Bishop. (Bishops control squares of only one color. If you have a Bishop that controls dark squares and your opponent has exchanged his corresponding Bishop, your dark-squared Bishop is "unopposed" on those squares.)
  43. Look for tactics especially on squares of the color controlled by your unopposed bishop.
  44. Try to avoid early exchanges of Bishops for Knights.
  45. Double your attacking pieces by building batteries (two or more pieces of like power attacking along the same line). Put queen and Rook(s) on the same file or rank, and Queen and Bishop on the same diagonal.
  46. Build batteries with the less valuable men up front, unless tactics require otherwise.
  47. Maximize the efficiency of your moves. Play flexibly.
  48. To strengthen control of a file, double your major pieces (Rooks and/or Queen) on it.
  49. Determine whether you have an open or closed game, and play accordingly.
  50. Usually play to retain you Bishops in open games, and sometimes Knights in closed games.
  51. To improve the scope of your Bishop, place your pawns on squares opposite in color to it.
  52. Keep your weaknesses on the color opposite to that of your opponent's strongest Bishop.
  53. Trade when ahead in material or when under attack, unless you have a sound reason for doing otherwise. Avoid trades when behind in material or when attacking.
  54. Choose a plan and stay with it. Change it only if you should or must.
  55. To gain space, you usually have to sacrifice time.
  56. If cramped, free your game by exchanging material.
  57. Trade bad minor pieces for good ones.
  58. If the position is unsettled, disguise your plans: make noncommittal moves.
  59. To gain space or open lines, advance pawns.
  60. If the center is blocked, don't automatically castle.
  61. If behind in development, keep the game closed.
  62. Try to accumulate small advantages.
  63. Try to dominate the seventh rank, especially with Rooks.
  64. Use the analytic method. When you don't know what to do, first evaluated the position (as best you can), then ask pertinent questions about your analysis.
Suggestions for Self-Study In Chess
(Note: These suggestions were compiled from a variety of different web sites!)

It is difficult to master the game of chess.  Here are some proven methods for working toward this goal. 

General Advice
Recommended Books

General Advice

  1. Improve your tactical ability by solving thematic tactical exercises daily. Because tactics play such an important role in chess, strategic and positional knowledge of chess cannot be successfully applied without a strong command of tactics.
  2. Deeply learn the positional elements of chess and their relationships with tactics.
  3. Thoroughly learn basic practical chess endings. Learn how to estimate and play these endings accurately. Learn how to win won positions, draw drawn postions (including fortress positions), and resist tenaciously in lost positions.
  4. Study complete games of the masters.
  5. Play serious games against strong competition---at least two such games a week. Analyze your games, thoroughly and objectively.
  6. Select a set of related pawn structures, and select three or more instructive games played at the highest level that illustrate the strategic ideas of these structures. Thoroughly understand and memorize these games.
  7. Thoroughly learn how to play typical endings that arise from your selected pawn structures.
  8. Play training games from carefully chosen practice positions (rather than from the initial position). Play each position several times from each side. For example, practice postions can be chosen to illustrate strategic ideas connected with important pawn structures.
  9. Develop your sports character. Understand the psychological elements of chess competition. Be in control of your emotions.
  10. Train physically with aerobic activities such as swimming, jogging, or cycling.
  11. Learn the basics of selected openings. Be careful, however, not to spend much of your time on the opening; many players (especially Americans) spend too much time and effort on the openings. Choose your openings to head for your favorite pawn structures and strategic plans.

Recommended Books

Openings
  1. Rubin Fine, Ideas Behind the Chess Openings
  2. Dvoretsky, Secrets of Opening Preparation 

  3.  
Middle Game
  1. Soltis, Pawn Structure Chess
  2. Euwe and Krammer, The Middle Game: Books I and II
  3. Romanovsky, Middlegame Planning
Endings
  1. Keres, Practical Chess Endings
  2. Capablanca's Best Endings
 

Tactics 

  1. Encyclopedia of Chess Combinations
  2. The Penguin Book of Chess Positions
  3. Blokh, The Art of Combination

  4. Dvoretsky, Secrets of Chess Tactics

Positional Elements 

  1. Nimzowitch, My System
  2. Lasker's Manual of Chess 

  3.  
 

Complete Games 

  1. Capablanca's 100 Best Games
  2. Bronstein, The Zurich Tournament 1953
  3. Karpov, [My best games (?)]

Psychology 

  1. Holding, Dennis H., The Psychology of Chess Skill, Lea Publishers (1985).
  2. Fine, Rubin, The Psychology of the Chess Player
     
    Miscellaneous
    • Petrossian, Petrossian's Legacy
    • Kotov, Think like a grandmaster
    • Dvoretsky, Mark [Training for the Tournament Player]
    • Sohl, Jerry, Underhanded Chess: A Hilarious Handbook of Devious Diversions and Strategems for Winning at Chess, Hawthorn (New York, 1973)

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Bughouse Rules

Definition

Bughouse is a game usually played on two adjoining chessboards by two teams, each comprised of two people. The pieces are also setup so that each team member is in possession of an opposite colored chess army. The game is typically played at a very fast time control (such as 5 min, or 3 min games)   The game is not touch move but rather "clock move", that is, the move is not considered to be made until the player hits his/her clock. 
Object of the game 
Similar to chess to goal is to checkmate your opponent(s).  Checkmate on either one of the boards results in the end of the game.  A time forfeit on either on of the boards also ends the game - with the team of the player who forfeit on time losing the game. If both flags are down the game is a draw. If an illegal move is made then the offending side loses if caught. If the offending side is not caught then the game continues. One also does not have to declare check.   If a player leaves his/her king in check then the opponent may capture it and claim a win for his/her team. 
How the game is played
When one piece is captured from the adjoining board, the captured piece is passed to his/her partner. (Note: as a result, all captured pieces are of the similar color to his/her partner). The partner receiving the captured piece, has the option of placing the piece as his/her move. 

Any piece can be placed on any unoccupied square on the board, with the exception that pawns may not be placed on the first nad last rank. 

Pieces may be dropped to check one's oppoent or dropped to deliver checkmate.

An important note is that when you capture a promoted pawn it reverts back to a pawn in function.

Over-the-Board Bughouse Ettiquette
During a bughouse game it is important to show the pieces one has in hand  when one's opponents asks during his/her turn.  It is considered unethical to hide chess pieces from your opponent.

Talking is legal between partners, but one's partner may not physically reach over the board and complete a move for his/her partner. 

Pieces aren't captured until the clock has been hit completing the move, thus one cannot give away that piece until the clock has been hit. 


Some Chess Terms
  • Center- the squares located in and near the middle of the chess board.  "She had a strong center." 
  • Combination- a series of moves resulting in an improvement in one's chess position.  "That was a nice combination." 
  • Development- moving your pieces off their original squares so that they can take part in the battle "He lost the game because he didn't develop his pieces." 
  • Draw- a tie, occurs when neither of the two players have enough soldiers left to win or they both agree to it.  See stalemate.  "We agreed to a draw." 
  • Drawish- when a position is uncomplicated or boring, or offers no hope for victory it is said to be drawish. 
  • Endgame- the final stage of the game; occurs when most of the pieces have been traded off 
  • Good and Bad Bishops- a good bishop can move with ease across the chess board, while a bad bishop is locked behind a wall of pawns "I lost because of my bad bishop." 
  • Intuition- playing moves based on what you "feel" is the right move, rather than calculating complex variations "Her intuition proved to be flawless." 
  • Inaccuracy- a move that is not perfect  "I won, but I could have played more accurately and won much sooner." 
  • master- someone who has grasped the fundamental concepts of chess and plays gracefully and with inspiration.  "I was honored to be defeated by the master." 
  • Material- all of the soldiers in your army are considered material "She sacrificed some material to weaken the position of my king." 
  • Middle game-  the second phase of a chess game; occurs when all of the pieces have been developed and it comes time to form a battle plan "I got through the opening all right, but I couldn't figure out what to do in the middle game." 
  • Mobility- pieces can move easily around the chess board and are not locked in behind pawns and other pieces "Her pieces had good mobility." 
  • Novelty-a move in the opening that has never been played before "I was not prepared for her opening novelty." 
  • Opening- the beginning moves of a chess game which try and get the soldiers into strategic positions "He played the opening like a madman." 
  • Position- the location of your pieces on the chess board.  "He had a nice position." An open position is one in which there is a lot of open space on the board.  A closed position is usually filled with pieces. 
  • Positional play-  improving the position of your pieces rather than seeking complex variations "Steinitz was known for his positional play." 
  • Positional advantage- your pieces are better placed than your opponents "After many hours of quiet maneuvering, at last I had a positional advantage." 
  • Prophylaxis- playing moves only with the idea of ruining your opponents plans "Any time I tried to think of something to play, I was rebuked by her amazing prophylaxis. 
  • Sacrifice- giving up one of your soldiers, usually for an attack "That was a beautiful queen sacrifice you played!" 
  • Square- one of the 64 spots on the chess board.  A strong or a weak square is usually a key post on the chess battlefield.  If it is strong it means your pieces have control over it and can be used as a jumping off point to break into the enemy's position.   If the square is weak, it is a vulnerable point in your own position.  "She suddenly took control of the key center square." 
  • Stalemate- if your king is not under attack, and the only possible moves would be to move your king into attack, the game ends a draw.  "He was completely destroying me, but then he stalemated me." 
  • Style- the personality a player gives to her games  "She was known for her fighting style." 
  • Suspicious- a move that does not accomplish what it was intended to accomplish is said to be suspicious "I don't know, the move seemed suspicious." 
  • Tactics- Complex variations, often involving sacrificing some of your army, to acquire a noticeable advantage.  "I won the game through tactical means." 
  • Technique- playing very good moves when they are necessary; technique is very important to winning positions that are only slightly better than your opponent's.  "She played that endgame with superior technique." 
  • Understanding- knowing the strengths and weaknesses of your position and what moves are important to consider.  "He has a very good understanding of "closed" positions" 
  • Unsound- used to describe a combination that doesn't work "She punished me for my unsound combination." 
  • Weakness- a vulnerable point in your position "The weakness of her undefended pawn proved lethal."