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THE PROBLEfilIIST

SUPPLEfTIENT
ISSUE 9

NOVEMEMBER 1993
EDITOR:
SOLUTIONS EDITOR:
SELECTIONS EDITOR:

B D Stephenson, 9 Roydfield Drive, Waterthorpe, SHEFFTELD, Si 9 6ND

M McDowell, 136 St. Luke's Road, SOUTHEND-ON-SEA,Essex, SS2 4AG
J R Coward, 25 Elmwood Avenue, HARROW, Middlesex, HA3 8AJ

All originals printed here take part in the normal

Problemist tournaments, so that publicalion in this
supplement is equivalent to publication in the main
magazrne.

For this supplement, I am looking for straightfoMard

originals of all types. ldeally; they should be pointed, well
constructed, and have entertainment value. lf you think
that you have anything suitable, please submit it to me at
the address above. I would appreciate it if composers

would submit problems clearly drawn or stamped on

diagrams, please. I would also be happy if composers
could somehow hide the solution, so that I may have a

he can, and must, lose all but his bishop; indeed, he

must visualise the possibility of the final position or
something like it. And the whole line of play hangs by a
thread, since even the absence of the bPe3 would

invalidate it. The introductory play is typical, and clearly

justified.

JRC
D F PETROV
Vecherny Novosibirsk, 197

chance of solving their originals. Many thanks!

The supplement has its own unified solving ladder

and all are eligible to enter it. Prizes are in line with the
main magazine.
John Coward advises on endgame study solving, and,
afterthe originals, Mark Ridley presenls a short article on
Neutral Pieces.
A short quote following on from the recent Times
World Chess Championship. Said a s-year-old after
watching one of the games on television - "O daddy, .l
did enjoy watching those two men playing draughts with
those little statues."

BDS

,r.ry,
1.e7 BxeT 2.8d3
Qxd4 3.Rh1+ Qh4+

4.Rxh4+ gxh4+ 5.Kf4

Bg5+ 6.Kf3

hxgG

.Be2 & 8.Kg3,Kf4 #

SOLUTIONS {JULY. 1993)

SELECTIONS
The competitive solver's repertoire should

include
endgame studies, which are often set in competition. ll is
difficult to find much general advice to give. In studies,

th better chess player tends to score over

the

problemist pure and simple, largely because they are

nearer to the actual game. Nevertheless, they always
conlain some cleartactical or strategic point - often, as in
orlhodox problems, a surprising one - and mostly within 5
or 6 moves, because they normally end in about 9. lf you
don't find such a point, you are either on the wrong track
or else have overlooked the critical black defence. The
problem rarely commences with the surprise or 'crunch'
move, and with good reason, though the moves leading
up to it may be little more than 'introductory' play. Here is
an excellent example.
Faced with the position after Black's 5th move, which
is the whole point ofthe study, the solverwould soon see
the correct line (see solution below). But working from
the initial position he has sooner or later to calculate that

PSl09 (Paslack) 1...S-/Sc6! 2.8(x)c4t-;1.8a4? 0 1...S-/

Sc4! 2.Bb3/-; 1.Rc3! 0 1 ...S-/Sc6 2.R(x)d3/Bc4 # 'W has
nothing set for the correction move 1...Sc6! After the try,

this conection disappears, but is replaced by a new

conection 1...Sc4!' (R Smook) 'ln the post-key play,
paradoxically, 2.8c4 meets one move which refutes it in
the set play.' (J Mayhew) 'An example of Secondary
Dombrovskis, according to the composer.' (MM)

PS110 (Kuligin) 1.Rc5? (2.8c7 (A) #) 1...Se6/Sc6/Sa6l

2.8e7 (B)/Rds (C)/-; 1.Re5! (2.8e7 (B) #) 1...Se6/Sc6

2.Rds (C)/Bc7 (A)# 'A feast for the letter brigade here! lt
would appear that this shows a cyclic pattern idea called
the Dombro-Lacnytheme, as shown by the letters in the
solution, although I would agree with Alex Ettinger that if
the 'C's are removed you are left with the framework of
lhe pseudo Le Grand theme! James Quah argues that it
is only a Dombrovskis without thematic refulations, and
that 2.Rd5 is not the same rook move in both lines
because a different rook move is used each time. As the

composer indicates nothing of this on his diagram,

suspect that he simply intended to show a Zagoruyko

with changes after 1...Sc6/Se6 following

1.d5?/Rc5?/
Re5!' (MM) 'Good construclion; no superflous pieces.' (S
Rothwell)

PS111 (Lang) 1...Sf- 2.Se3 #; 1.Re2! 0 1 ..c4lsf-/

Sd4/Sg-/e6,e5 2.Ra5/Rd2/c4lR(x)es/SfO #'Excellent
mutate with black correction.' (K Dewhurst) 'A strong
debut, equipped with a full complement of set mates' a
changed mate after 1...Sf- and an added mate afterthe
e pawn moves.' (J Mayhew) 'Neat Meredith mutate' (JR
Coward) 'splendid key.' (L Vitale) 'Despite the set dual
after 1...Sd4, a very promising start.' (MM)

PS112 (Sokolow) 1.Kc8!

0 1...8-/Rxd2/95/Rc3+/
Rd4,Rb3,Ra3/Rxd5/Re3 2.Qc7/Qxd2/Rf5ldxc3ld3ld4l
dxe3 # 'Unexpected key.' (LV) 'Familiar Albino.' (SR)
'solvers were bemused as to the intended try, as many
atlempts fail 10 one check. The composer gives 1.Qe1?
refuted by 1...Rc3+! (MM)

PS113 (Nikitin)1...Sd-/c4ld3/dxc3+ 2.Rxc5/bxc4/Se3/

Sxc3 #; 1.Re3! 0 1...Sd-/Sf- /c4ld3/dxe3+ 2.R(x)e5/

B(x)e6/Sb4/Sc3/Sxe3 # 'lncomplete block with 3
changes.' (SR) 'Lots of changed and transferred mates.'
(JQ) 'Nice waiter with changes in the good old style.'
(AE)

Ps114 (Yanuarta) 1.8e8? 1...8e5!: 1.S93? 1..Res!;

1.e5? '1...Rf41; '1 .d3! '1 ...B-/Be5/R-/Re5/S- 2.Sxd4/Bd5/

Bds/Sxd4/Qxd7 # 'Outlying Pd2 can only be the key
piece.' (JRC) 'Solvers seemed to have missed the point
of this one. Two tries are defeated by Grimshaw
refutations on e5, while a Nowotny try on the same

square (which caught

a few solvers!) fails to

Afler the key there are

1...Rf4!
reciprocally changed mates

following the random and correction moves of B and R,

although I have my doubts as to whether lrue correction
play is shown, as i1 seems to me that the "correclion"
moves simply avoid making the random error! (MM)

(Miniatures) Problema s, 1 990/1 2k4S/6R1 l2S5 | 1 6l3pp3l

7Kl8 #3 1.Re7? (2.Sfl) d2!; 1.596? (2.Ra7) e2!; 1.Ra7!
1...d21 e2 2.S96/Sf7' (MM)

PS'119 (Lynn) 1.Re7! (2.Rxes #): 1...Rbs 2.Sxe2

(3.Sc3,S93 #) Rb3 3.Rxe5 #; 1...Rxe7 2.Sxe2 &
3.Sc3,Sg3 #; 1...8xe7 2.Sd3 (3.Sfz #) Bh4,Bc5 3.S(x)cs
#; 1...8c7 2.Sd3 (3.Sc5,Sf2 #) Bb6 3.Rxe5 # 'The
Roman theme is a type of decoy, defined as follows: lf
White attempts a specific threat (or threats), a black
piece has an adequate defence. Black, on his first nrove,
is induced to move the piece in question to a square
from which it can no longer rnake the original defence,
but instead has a new defence available. one which.
however, creates a new exploitable weakness. Here
1...8xe7 shows Roman strategy, substituting the inferior

2...8c5 (in range of the knight) for the set defence

1...8b6 in reply to 2.Sd3. Of the other defences 1...Rb5

and 1...8c7 lead to the black piece becoming

overloaded, while 1...Rxe7 slmply removes the set defence to

2.Sxe2.' (MM) 'Unexpecled key, but a pity about the

short theat.' (AWB)'Striking and forceful play.' (JM)
PS120 (Wartemberg) 1.8e5! (2.Sf4+ Kxe5/Kc4 3.d4ld3
#); 1..Kc4 2.Sf4 & 3.d3 #; 1..Kxe5 2.Sf4 & 3.d4 #; 1..Ke6
2.Sf4+ Kxes/Kfl/Kd7 3.d4lg6lc6 # '1...Ka6 unprovided

and the rook is underworked, but good sacrificial key and

play.' (JRC) 'Fine key marred by repetitious second
move.' (JG) 'Difficult and pretty.' (JM) 'lnteresting multipurpose key.' (RS) 'Nice work.' (L\0

PS121 (Nascimento) 1.Ra1! (2.Qb1

#);

1..e1=any

2.Rxe1 (3.Re2,Ra1 & 4.Qb1 #) 2...14 3.Re2 Kfs 4.e4 #,

2...8a3 3.Ra1 (4.Obl

#) Bc1

4.Ra4 #'Extremely

enjoyable to solve and analyse. The gR must arrive on

e'l with a double threat.' (RS) 'A Bristol line-clearance
key followed by an anti-Bristol continuation, with the R
then returning to a1, although after 2...8a3, 3.Ral rs an
impure clearance, as Ra4 # musl be prepared for
3...8c1 .' (l\ilM)

PS115 (Fabjo) 1.Q94! (2.QeO #) 1...Kc4lKxesisfs

2.Qxe4/Qg5lQg8#'Delightful key - the double-pin mates
have chameleon effect.' (KD) 'Sohiers appreciated the
flight-giving key and mainplays, but noted the underused
Wforce.'(MM)

PS122 (Postance) 1.Rf7+ KXIT 2.d8=B Kf8 3.Kgo Kg8

4.8e7 Kh8 5.Sf5 Kg8 6.Sh6+ Kh8 7.8f6 #. After 1...Kd6
2.d8=Q+ mates quickly. 'Difficult solving with initial

PS'116 (Saunders)'1.R96! 0 1...exd5/Bxd5/h5/Sb4,Sc1/

B-/Sxg6,Sf7 2.Qe3/Qg3/Rg5/Bxc3/S(x)c4lS(x)f7 #' A

tion.'(S Foulkes)

fine mulate, with changes afler 1...exd5 and 1...Bxd5

(set 2.Qf5 and 2.Qf4 respectively). Some tries to note '1
.Rg7? Bxd5!; 1.K92? Bxd5l and 1.n? 596!'(MM)'Very
attractive changes.' (RS) 'A difficull problem with an
unlikely key.' (JQ) 'Perfect type for solving against the
clock!'(JRC)

Ps117 (Tkachenko) 1.Qb2l (2.Rxg4 #) 1...Rf4+/Rf5+/

Rxf6+/R else+/Kxf6/Qf4 2.Rd5/Re4/Sf3/Se4/Rf4/Rd5 #
'Old-fashioned multiple cross-checker wilh a thematic
key which permits the checks and varied strategy self-blocks after 1...Rf4+,1...Rf5+ and Rxf6+ and selfinterference mate 2.Re3. The unprovided flight 1...Kxf6 is
a pity.' (MM) 'Four cross-checks - not an easy achieve-

ment.'(SR)'Beautifully accurate control of the W

balleries.' (RS) 'Splendid key and much variety.' (AW
Bowen)

PS118 (Russ) 1.Kh9? 1...a21', 1.Kh7? 1...b21,

PS123 (GemmelD 1.1.h4 a2+ 2.Ka1 b2+ (D 3.Kxa2 Kc2

4.Sd4+ Kc1 5.Sb3+ Kc2 6.Sd2 1-0; (t) 2...Kd2 3.Sd4 Ke3
4.Sxb3 Kf4 5.Sd2 Kg4 6.Sf3 '1-0 'Careful S moves defeat
the king.' (JG) 'Black counterplay somewhat feeble.'(RS)
PS124 (Sparrow) 1.Ra8 Rxe4 2.Rc8 Re7 #; 1.Qc3 Bxe4
2.Qc6 Bf5 # 'Nice blend of unpinning plus self-block with
W line opening.' (RS) 'Neatly contrived.'(JG) 'Straightforward but we,l-matched.' (KD)
PS125 (Benedek) (a) 1.8c4 Re6+ 2.Kd5 e4 #; (b) 1.8c4
Re6+ 2.Kd5 e4 # 'Astonishing! | got the joke only when it
came to wriling out the solution.' (JM) 'Very witty.' (JG)
'Remarkable. My favourite of the issue.' (SF) 'Magicl'

(KD) 'Another example of this amusing idea (by Mr.

Benedek) is the following from lhe Problemist, May,
1977 814p1b1hppsl1p6lB2k2tBt2p5l312b'1/1Ko H#2 b)
90o clockwise. 1.Kcs Bb3 2.Bd4 8xe7 # in both.'

1.971

(2.Kn7 & 2.Kh8) 1...a2 2.Kh7 & 3.98=Q #; 1...b2 2.Kh8 &
3.g8=Q #'The wK waits to see how the wind blows. (JM)
'Pleasing logic.' (J Gill)'Banny lheme in miniature. Bengt

Ingre sends for comparison

sacrifice and underpromotion. However, the rest is weak,

mere cattle-herdingl (Bl) 'A peculiar miniature wlth a
pleasant study-like main line. (JM) 'Tricky underpromo-

Hultberg, Sp. Comm.

PSl25 (Prikril) 1...0-O 2.92 Rbl #; 1.92 Rh4 2.93 Qbl #

'Pleasant reciprocal swap of mating/pinning functions.'
(RS) 'lnteresting role reversal.' (KD) 'Slight but subtle.'
(JG)

PSl27 (Garai) 1.Rd6 SxgS 2.Kd5 Kd3 3.BeG Se7

#;

1.Bd6 Sxb6 2.Ke5 Ke3 3.ReO Sd7 # 'crimshaw on d6

and half a Grimshaw on e6. Harmonious solutions, no
pawns and well-spaced setting.' (JQ) 'Executed with
flair"' (JM) 'Problem of delicate aeslhetic charm.' (RS)
PS128 (Henkel) 1.f5 exf5 2.Ke4 dxeS=Q 3.Kxf5 Qg6 #;
1.c5 Sxcs 2.Kd4 d6=Q+ 3.Kxc5 Qb6 #'Nice echoes with
quite sophisticated technique.' (AE) 'The need to eliminate the c and f pawns - and how to do it - took some
time to spot.' (JRC) 'Very difficult solving.' (KF sim. RS)
'W pawns on the board edges provide strange clue for
the solver.'(JQ)

PS129 (Koludrovic) 1.Rc3 Ba6 2.Rdc4 d4 3.Rc3 dxes

4.Rdd4 Bb7 # 'Attractive bR sguaredance.' (JG) 'Beautiful and amusing.' (RS) 'Neat platzwechsel.' (AE) 'Spent
hours on this one.' (JQ sim. JRC)
PS130 (Koistinen) 1.Sd6+ Kb6 2.Sf5 Sf2 3.Ke5 Kc7

4.8d5 Kd7 5.Se4 Sg4 # 'Beautifully forced move

sequence leads to stylish mid-board ideal mate. (JM)
'Pieces cleverly re-arranged.' (JG) 'Competent, but not
high in entertainment value.'(RS)

PSl31 (Grin) 1.Be7? 1...Sb3!; 1.Qe1? 1...Sc4!; 1.Oh1!0

1...Sb3,Sc6 2.Sd4+ Sxd4; 1...Sc4 2.Se3+ Sxe3 'Rather
cosy pure waiter. I expected more from this setting.' (RS)
'Good key the only pass move.' (KD) 'Not much here.'
(JQ) 'Tend to agree - no solvers give the tries stipulated
by the composer.' (MM)
PS132 (Edwards) 1.Ra6! 0 1...e5 2.Sc4 e4 3.Se3 exd3
4.Sd1 d2 #; 1...c5 2.Sb5 c4 3.Sc3 cxd3 4.Sd1 d2 #'Two

routes to the same own goal.' (JM) 'Quiet logic.' (JG)

'Nice setting of familiar idea.' (KD) 'Perpetual motion afler the key it is s#4 by 1.Rb6!' (RS)

PS133 (Kuhlmann) 5.f1=R 7.Rb6 12.f1=R 13.Rf7

14.Rfb7 Ra4 # 'An exercise in geometry.' (JG) 'tdeal
positioning of the wK keeps necessary force to
minimum.'(JQ) 'Quickly solved, as many point oul, but

a
a

little beauty nonetheless.' (MM)

PS134 (Bernleitner) a) 1.a8=B 2.Bxe4 3.Ff3#; b) 1.b8=S
2.Sd7 3.Sf6#; c) 1.c8=R 2.Rcxc5 3.Rcg5#; d) 1.d8=Q
2.Qxd3 3.Qe2# 'Well conslructed and original AUW.'
(AE) 'Simple but delightful example of AUW.' (M Ridley)
'AUW in a new disguise.' (JG) 'Hard-working cookstopping pawns force the AUW.'(JQ)

PSl35 (Turnbull) 1.Re4 (2-Rxd4 #) 1...8xe4/Rxe4/Qxe4/

Qa1/Kxe4 2.Kg4lKg6lKf6lKf4/Qf5 # 'creat key and futl
use of the condition; some of the "buried treasure"
already' (KD) 'Well illustrates the genre.' (JG) 'Fairy
chess the way I like it. Definitely not "beans on toast"'
(See commenls to PS82) (RS). 'More checkless chess
please.'(AWB)
1992 ladder. Ottavio Ravaschietto should be credited
with 81 points for July, giving him a total of 319 and =sth
place overall.
Anticipations. Vladimir Kozhakin sends the following
PS19 (Mayhew) by
1

V Sushkov,

973 (identical position)

Shakhmaty

SSSR,

p22(2) (Lincoln) by V Kozhakin, 2nd Prize, Vestnik, 1990

I 81 1P6l 1 6 #2 1 .Qd4

8/QKb5l8/Bk213

p22(4) (Lincofn) by T Amirov, Feladvanykedvelhk Lapja,

1979 (identical position)

p23(10) (Lincoln) by V Kosarev, Znamya,1987 (identical

position)

PS51 (Mayhew) by
(identical position)

H Fahri, Die Schwalbe,

'1939

John Mayhew sends the following anticipation of his own

PS41 by G Heathcote, lllustrated London News,1891 K7l8l1B6l3P4l5y2./8/Q4S1P/E #3 1.Qa7! with, after the
key, a complete lefi to right reflection. This was quoted in
The Guardian in early October.

MM

ORIGINALS
Before introducing the originals, I musl report a
mistake by me in the stipulation of PSl50 (Husserl) in
the September issue. Part (f) was clearly marked by the
composer as H#114 but for some reason I typed it up
wrong. My apologies to both the composer and solvers.
The #2 under PS'!54 to PS'|59 means 'Wto play and
mate in two moves against any defence.' PS160 to
PSl62 are also directmates, but longer. In three of the
two-movers set play is indicated. This means that there
are moves by black in the diagram position that lead to
immediate mate and form part of the theme.
lt is good to see that The Supplement is encouraging
not just new composers but is also persuading estab-

lished composers to try different genres. PS163 is

Ronald Turnbull's firsl endgame study. White is lo play

and draw. Give all the moves of the solution while the
white drawing move is unique - ie the only one that
oraws.

In the helpmates PS'164 to PS166, B plays first and

co-operates with W to enable W to mate B in the number
of moves specified. PS165 is a duplex, where in addition
to the ordinary helpmate solution, there is one where W
starts and B mates W.
We only have one selfmate this month, and here In
PS167 W plays and forces B to mate W in 4 moves.
The last 4 originals are all examples of fairy chess.
John Mayhew continues his Circean career with PS168,
a helomate. Circe is defined as follows. When caotured.
a piece (not a K) is immediatelyreplaced on its square of
origin (game array square) if lhat square is empty; in the
case of R. B or S on the souare of the same colour as
that on which it was captured. Thus a wR caplured on h8
(a B square) would be replaced on a1, provided that a1
was empty; if a1 was occupied, the R would be removed
from lhe board as in a normal capture. Pawns go to the
initial square of the file they are captured on. A replaced
R is deemed not to have moved for castling purposes.
PS169 is a serieshelpmate in 12 moves in which B
plays 12 consecutive moves (without W playing at all) to
reach a position where W can mate in one.
PS170 has Siamese Dawns at d4 and e3 and these
are tied together such that one cannot move without the

other moving with

it in parallel.

Thus

if

d4-d5 were

possible, it could only be played if e3-F4 could be played

at the same time.
We finish 1993 with PS171 from James Quah. The
pieces which are half white and half black are neutral
pieces. To get a full explanation of them, please read
Mark Ridley's introductory article after the originals.
Please send your solutions and comments to Michael
McDowell within two monlhs of receiving this issue.

BDS

68

PS154 VKOZHAKIN&OSAKS

PS155 VALEXANDROV

fRussia)

PS156 JCVLANG
(Colchester)

{Russ/a)

'"ffi.,,.,^K.,rffi,
,,,ffi
,rrffil

','ffi
#2 (set play)

#2

PS157

PS158 D M SAUNDERS

R A LINCOLN

PS159 J BUGLOS

(Australia)

(usA)

WK,,r,ffi

"rrffiffi

(Hungary)

/Wa
%zwVe,,*"x,t%

.,rri%r.,,ffi/DK,

%T,D;KN%,h
,rr/ffi
,,,ffi:

''/z A',/,8
"fu,
lffiA/#.&"/.N,

'% L"/#,r

s'%

"ffir,TY{"fu,i
A
#2 (set play)

#2 (set play)

PS150 V KUZMICHEV
/Russla)

%t

( N e w c a st I e- u n d e r-

,#;

W:q,
"'fto''%o"'ffi,

PS162 R C NASCIMENTO

PS,I61 H LIEBECK

(Pottugal)

Ly m e )

t,

TrdFffi,,,ffi,
''ffir;

m, %

ffirffi"'ffi,*

'%/r.l%8

,ffi:Fm'U;

"/fu,

'fuffi

't'mL
iru "ffi,
#3

%A1ffi,

#4 (b) wKc4->d4

PS163 R TURNBULL

PSI65

C P SYDENHAM

(Thornhill)

(Loncton)

H#2 (b) wKa5->h1

PS166 T KOISTINEN
(Finland)

PS167

R HEISKANEN A

J PITKANEN

rrffi

(Finland)

H#2 Duplex

PSI58 J MAYHEW
(Plymouth)

ffi
H#3 CTRCE

2 solutions

PSI69 J KUHLMANN
(Germany)

PS170 YCHEYLAN
(France)

PS17I J QUAH
(London)

Nr,.ffi

Te,t",ffi
SH#l2

#2 Siamese Men d4,e3

#2 Neutral men b5,94,93

70

NEUTRAL PIECES
by
Mark Ridley
Neutral Men is a fairy form that was invented in 1912
by T R Dawson. Neutrals are defined as pieces
belonging simultaneously to both Black and White. The
conseouences ofthis are (a) Neulral pieces may be moved by the side lhat is to
move.
(b) Neutral pawns are moved up the board by While and
down the board by BlacK.
(c) When a neutral pawn reaches the first rank or eighth
rank, it promoles. The promotion is to a neutral piece
and the unil it oromotes to is at the discretion of the side
that moves it.
(d) No side may leave its own king en prise to a neutral
piece as this amounts

to

(A)
1

sl Pilze, feenschach, 197

,r4z

/&ta,'#' "'ftlL
te ":x. 'ffi,

K;'#*%'&
1...NShf2
1...Qx91
l...Qb3
1...Rb3
1. . . Sc6

2.NRxc5
2.NSxe5
2.NSxe3

2.Nsxd?
2. Rxd7

1.Sb2

does this threat open

a battery (mate being
given by wBgT), but

#
#
#

the NR, by capturing

on e3 self-pins itself,

2.Rd4
2. Re?

self-interference of

2.Bd3#

wRhs. Black conects

by playing 1...NQf6.
Although it contains
both of the previous

2. Bxd3 #

2.gxf3

(c)

RrrnRscH
1988

1st Prize, The Problemist,

"%,8% '"ffi,
T1

a neutral pawn can as

it moves in different

directions depending
on which side is moving it. Indeed, a neu-

NKg6+ 3.NKh? NBd4 4.NPg5

CD *

irrr i...NOrre 2.NKf6+

NPOXr) ep

NKeT 3.NPg5 NBh4 4.NPf5

tral pawn is the only otherwise orthodox neutral piece

Schach-Echo,

from this square. The

primary defence is a
random move of the
NQ. This creates the

L%%

*'.,rffirnrK

(a) 1...NsegB 2.NPf5

NPIXO)

2.Sxf2 #. Black defends by moving the

neutral Queen away

v&g%

self-check. However,

H#3% (b) NSeT -> f8

1.Sh3, threaten

roMrNrc

lstPrize Mat,1981

thodox two-mover.
Now let us look at
a helpmate with neutral pieces. (C) is an
example of a Neutral
King. A neutral piece
cannot check a neutral
king, as that would be

three more white bat-

of

{B) shows quaternary black correction by a neutral

queen. The key

7.N, "ffi %
'ffib";ffi s

ruW

;'Jtj:#1"""&i?'J,"#

self-pinning occurs
four times in the main
thematic variations on

turn it to e5! This type

guarding e5, which allows Whiteto mate by

playing 2.395 # even
though this move is a

2 . NQxc6 #

that can mate a neulral king. This problem demonstrates

a mosl original reciprocal en passant capture theme and
was described by judge Yves Cheylan as "One of the
greatesl Neulral masterworks since the in{D) P PETKOV & K GANDEW vention of the genre in

and Black cannot re-

tery lines.

(B)

ever, 1...NQ93 creates

the secondary error of

#
#

weaknesses, it corrects by providing direct guards on c3

and 95. However, it contains the tertiary error of arriving
in range of c6, and White plays 2-NQxc6 #. Black's
quaternary defence, 1...NQxc5 corrects against all the
previous errors by guarding c3 and 95 and by opening
the line a5 -> d5 (after 2.NQxc6?). However, it makes
the additional error of removing the guard of d4 by the
NPc5. Thus 2.Rd4 mates. lt is believed that quaternary
black correction by a

piece if the opponent

can't somehow move
the mating away from

threatens male by
2.NRxe3. Not only

Rc4 2. dxe3 #
1...NBh2 2.NBxe5 #
1. .

2.sq5

I...Sxg2
1, . . Sd3
1...sf3

other neutral.
(f) Mate is only possible with a neutral

The key,

(2.NRxe3 #)

.5c3

neutral
piece. Indeed, a neutral may capture an-

its attacking position.

(A) is a fine exarnple with which to start.

#2

1. Sb2

capture a

%'e'% rtu co

%,#ry,,.Nk;

leaving your own

king in check.
(e) White or Black may

P A PETKOV

\2.Sxf2 #)

L.Sh3!
r...NQ...NQg3
...NQf6
...NQxc5
...RfB

weakness of unpinning wse2 and allows

White to mate

ffi

H#3

playing 1...NQ93. This

(a)
(b)
(c)

guards c3 and thus

prevents the previous

mating move.

How-

1912"

So far, all the neu-

by

#. Black corrects this error by

2.Sc3

jg74

tral pieces we
looked at have

have
been

otherwise orthodox.
However, it is perfectly
fairy
reasonable
che.ss pieces to take
on neutral stalus if so
desired by the composer and (D) features
a Neutral Grasshopper
and echo mates.

for

(b) ncal -> d4

(c) nsb5 -> b2

1.NRa2 NGa3 2.Ka6 NSc3 3,NRb5 NGd3

1.NGa7 NScT 2.Ka5 NRb5+ 3.Ka4 NGd?
1.NRa3 NGa4 2.Ka7 NSc4 3.NRb6NGd4

#
#
#

SERIESHELPMATES (SH#)

(C) C J FEATHER
BCM,1976

by
Barry Barnes

ru

Black plays a series of moves helpful to White so that

a position is reached where White can mate in

one.

Black may neither check White (except on the last move

of the series) nor move into check at any stage. The

order of Black's moves must be invariable, otherwise the

problem is unsound.

Problem

(A) is a
in 10

Serieshelpmate

(A) W R HARTSTON

(SH#10) in which the

move order is l.Black

BCM,1975

2.Black 3.Black

ru

......10.8|ack, White

mates. The unique se-

ries of ten
moves

mating net is 1.91=B

2.h1=R 3.Rh8 4.8h2

5.8b8 6.8a7
8.Kc7 9.Ra8

,Wfu

wK, and the precise

order of moves be-

,/ffi

A distinctive type of
serieshelpmate is (B)
in which White is able

to mate in one in

the

diagrammed position

(by Be1 #), but it

to

move,

is
and

the mate is lost. An-

othe!' mate becomes

possible only after the

stipulated sequence of
'Serieshelpmate in 6':
1.b5 2.b4 3.Ka4 4.Ka3

5.b3 6.b2 Be7

Michael McDowell

10.Kb8

Bf4 #. The reasons for

the underpromotions
to avoid checks on the

Black

by

7.Kb8

first serieshelpmate problem.

4th Comm., BCF Ty. 103, 1963

ECHOES PLUS

black

to help build

comes clear. This was

FIDE lM Bill Hartslon's

(B) PA PETKOV

W moves once, lhen SH#6

(set play SH#6)

#.

An

asterisk, as in SH#*, is

sometimes used instead ofthe words 'set

play'to indicate such
SH#6 (set play)
a disrupted mate.
A relatively unworked and certainly difficult serieshelpmate type is problem (C) in which 'set play SH#6' tells
the solver there is a serieshelpmate in 6 sequence to be
found in the diagrammed position - 1.8f3 2.eRe2 3.Ke3
4.Rd3 5.8e1 6.8f2 and White mates by KfS #. However,
lhe overriding solving stipulation is 'White moves once,
then serieshelpmate in 6'. All White moves destrov the
set play sequence: only Kf4! (to satisfy the 'White moves
once' stipulation) makes possible another serieshelpmate
in 6 ending in a different white mate - 1.8c2 2.Rdl 3.8e1
4.Kd2 5.Rc3 6.d3 Kf3 #.
ASM Dickins' and JM Rice's The Serieshetpmate (e
Press, 1975) is required reading.

Longer helpmates featuring echoed mates are very

common, probably because they are relatively easy to
compose (especially with the help of a computer).
Although they usually attract positive comments concerning the attractiveness ofthe mates, personally I find such
problems very ledious

to solve. I would like to

see

composers attempt to make their works more interesting

by including e)dra features, and offer here some
examples of my own. (l) incorporates switchbacks, while
(2) features critical play. (3) has a black platzwechset in

one solution and a white olatzwechsel in the other.

Finally (4) was a not wholly successful attempt to show a

black tempo move in one solution and a white tempo
move in the other. Can anyone produce a better
example?
(1) M MCDOWELL

lst

Prize, ldeal-Mate Review. Nov. 1984

'ffiw;ry"
"%U,,il.
H#3 2 sols

i.Sd4 Ba2+ 2.Ke4 Kd6 3.Sf3

1 " Rc4 Bh2 2 . Kd4 Ke6 3. Sc3

Bb1 #
Bg1 #

tThe remainder of Michael's proniems can

on the next page. - Ed.l

be

found

the solulion, are told what the stipulation is, and are

(2) M MCDOWELL

required to re-construct the diagram position.

They can be a useful way to hone your constructional
skills, and you could find a better setling of the original
composition !
By way of a Christmas competition hele are two
synthetics. There will be two prizes, one for the best

3rd HM.. 7he Problemist,1987

'rufu

overall settings, and one for the best settings by a

beginner who hasn't won the other prize. The names of
the prizewinners and their constuctions will be published
in a subseouent article.

ffi"ril*u
H#4 2 sols

1. Rd4 Bh7 2.Qf3+ Kg6 3. Kd3

I.Qf2 Bh6 2 . Kd4 Kq5 3. Ke3

Bf4 4, Ke4 Kg5 #

Bf3 4.d4 KgA #

Both (A) and (B) are directmale two-movers where

white is to play and force mate in two, and both have
only one solution. The mates given are the only ones
that are oossible. ie there are no duals. The solutions
given are not complete, but merely give the thematic
variations; that way solvers will be more likely to
approach the constructions with the same aim as the
original composers.

(3) M MCDOWELL
ldeal-Mate Review, 1986

,,,%,

(A) Mate in 2

1.Qe6! (2.Qq4

%
,,,m'

ffi

,,,m

H#3 2 sols

1. sb3 Kg3
1. Se2 sh4

3. Qd1

1.

1.

sd2
Sb2
Se5

2.5d4
2. Rf6

(B) Mate in

#)
#
#
#

Set play
1. . . Sce6 2.5q4
1. .50eo z. )co

2.QcI Kf2 3. sd2 se3

2.Kel Rq2

1.

2. se1

sf3

#
#

1. Rf4

(2.d4

#)

(4) M MCDOWELL

.L...sce6 2.Rf5

ldeal-Mate Review, 1985

1. . . Sge6 2. Bd6

%9%z %

#
#

Please send your solutions 10 me, postmarked no

laterthan 31st March 1994, at the address on the front
page. Happy re-composing!

'"ffi""rr,'i&ufu

BDS

*r,,rrffir,,ffi%

CHRISTMAS GREETINGS
By way of wishing all readers of The

Problemist
merry

Supplement

B D STEPHENSON
H#2Y22 sols

Original

. Bf? 2. BeB Bh5 3.Bq6 Bq4 #

I. . .Bf'] 2 . BcB Bd5 3 . Be6 Be4 #

q) '"#it"'ffi

l'"'ffit'ffi''ffi,

Most readers will have noticed the regular Synthetics

column in the main magazine. Beginners may not have
realised what it is all about.
With chess problems, one is normally given a diagram
position, and the task is to solve it to find the one way (or
ways) in which the stipulation may be met. With
synthetics this task is reversed. You are presented with

Happy New Year,

offer this

original,

dedicated to you all.

Thank you all for your

1. .

TWO SYNTHETICS . A CHRISTMAS

COMPETITION

Christmas and

*2ffi',m. Tfu
,,,ffi

continued support,

without you there

would be no magazine. You make the

iob worth doingl

For Madrasi, see

issue 3 and for Grasshoppers see issue

1.

No space for more explanation or a solution!

ll2

Madrasi;Grasshoppers

BDS