Hi there.
I like to use this position to give you an introduction to Penns, this NEUTZE is absolutely pinned
to the king.
The night cannot move, it actually won't play here, and this position can arise from the opening called
the French defense, so it won't play here, but why it cannot move the noise.
It's just an illegal move.
So it's an absolute pain.
The bishop is absolutely pinning that night to the king.
So this is just an illegal move.
On the other hand, inferring this knight can move because it's only relatively pinned to the queen.
And relative pens are also very useful to have in general.
But you have to be aware that sometimes it could be advantageous for the opponent to even move a piece,
which seems to be, you know, penned.
But if it's only relative, sometimes it can be to your advantage to sometimes break out and sacrifice
material.
Kind of breaching what seems to be a pin space, but it was only relatively penned in this example.
That's not the case, though, but I can show you and I will show you, hopefully in the examples you
will see examples where relative pens can be rebelled against.
So that's actually a key skill as well.
It's not just the act of pinning.
Sometimes the act of underpinning is very useful.
Sometimes making use of absolute pens is very useful, sometimes making use of relative pens is very
useful, sometimes rebelling against relative pens is very useful.
But you can't quite rebel against absolute pens, you have to go back to unbanning, so what you can
rebel against is these relative pens.
Sometimes there are occasion.
So just bear in mind the difference between an absolute pen that's absolute or relative is just relative.
And by the way, opening theory here, you know, often continues with E5 and blacks not actually losing
this, not here because Black and counterattacked with a sex and can continue.
For example, the bishop might go back and we're talking about opening Feri now.
So this is not actually a losing position you might have 45 is not winning a piece on Cirilli.
No, it's more complicated is actually a standard opening position.
I just want to emphasize to you from the outset in this intro the difference between an absolute pen
and a relative pen.
Yeah.
And the relevant tactics and ideas that this can create.
Generally, you can't take things on the surface.
You have to look for your full resolution of possibilities.
Sometimes you have to use those possibilities to win games of chess or draw them.
So be aware, you know, as you get stronger, you're going to rebel more and more.
You're going to find opportunities to rebel more and more against events or to make it's part of the
attack to immobilize pieces, essentially, and a very, very good expression, which I find continually
useful.
Well, there's two related Tippins pins are so important I actually seek out those famous quotations,
which could be useful.
The power of the pen piece or pawn is illusionary.
So it's an illusion that this joint controls not not not if I b5 a for effort, which means, you know,
in the middle game, know, Queen could have come to a for a queen could have come to be five most expensive
pieces could have come to all of these guys.
Just remember the power of the pins piece we're talking about.
The absolutely pin piece is illusionary.
And also there's another expression which is essentially pin on when quite often pennies do actually
win.
Both relative and absolute pens do actually win you games, so if you're interested in winning chess,
the pen is a really important tactic.
The the other thing I like to say is that pins, when you paint a piece, you don't immediately even
have to win material.
Sometimes there's far greater gains kind of celebrating a pin, which is another kind of concept which
has won me so many games.
When you celebrate Penns, it can be over so many moves, not just short term exploitation and pain.
It could be in the longer term.
So, OK, let's look at some concrete stuff now.
Have you got some points out of this introduction?
And bear in mind, as well as a chess player.
OK, and so much.