Shadowing Practice: Top 5 Pawn Structures You Should Know - Learn English Speaking with Video
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In this video I'm going to reveal one of the biggest secrets in the game of chess,
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the fact that you can figure out the best plan in a position just based on how the pawns are set up.
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We're going to take a look at a handful of examples
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and how pawns are looking and standing after the first five to ten moves of the opening,
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I'll show you the best plans for white and for black, and a few terms to keep in mind before
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we jump into all this weakness of both a square that's empty and a physical piece,
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as well as peace activity and how we can create pawn breaks to open up the position.
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So we're going to jump in and take a look at the Karo Khan and Scandinavian defense pawn structure,
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which usually results after the E pawn for white and the D pawn for black are traded.
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In a position like this, black obviously has a very stout and solid center, preventing white from making any forward progress with this pawn,
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but white will try to play C4 and D5 to open things up.
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At the same time, white oftentimes will plant a knight on E5,
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and in the endgame could trade these two pawns and result in a three on two.
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That's called a queenside majority and oftentimes will end with you having a pawn versus nothing promoting something.
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So what this looks like in practice, for example, if white plays e4, black plays d5 and we get a Scandinavian defense like this,
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now white pawn will come forward to d4, for example, and black should move the bishop out
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Because if black doesn't, the bishop will get stuck behind the pawn.
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As the opening progresses further and further, let's just say hypothetically we have something like this, the d -pawn for white could be a potential target.
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For example, there are certain situations where if black were to castle queenside in this structure, black would have serious pressure on this pawn, right?
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So the pawn will not be able to come forward if you control the square in front of it.
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And if black does a good enough job doing that with four different pieces, it will be difficult for white to push it through.
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The same time, in the structure that we are discussing without the knight coming to c6,
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black also is looking for central pawn breaks of their own with something like c6, c5, or e6, e5.
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And as I promised, I would flip this around like this.
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This can also lead to a Karakhan defense.
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In a Karakhan, you're not guaranteed the structure, but if, for example, you get a classical Karakhan after these moves,
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you see very quickly you have the same exact thing going on
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and black will play something like knight f6 maybe c5 to
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open up the position a little bit maybe knight c6 and
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that is the karakon structure
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which can result from a scandinavian it can result from a karo obviously
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that's what the name is based on it revolves around two pawn breaks for black
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and a basic weakness here on the pawn on d4
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and white tries to push through with c4 d5 plant the knight in the center and use the space advantage to repel
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Black's forces backward, and potentially even create an attack on the king, depending on which way the sides castle.
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For the next few, we're going to basically look at the Sicilian defense.
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The Sicilian defense obviously begins with e4 and c5,
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a way for Black to fight for the center with the c -pawn without committing a central pawn.
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The Maroxi structure in particular, you'll notice that the c -pawn here was traded for White's d -pawn.
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The Maroxi structure revolves around white playing e4 and c4,
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oftentimes f3 and b3, creating a cascading light -squared pawn block.
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The knights will be on c3.
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Your other knight can rotate like this.
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You'll plant your knights on c3 and e3.
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They will clamp down on the center, and slowly you will expand.
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Sometimes you will expand and break in with a pawn like this.
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Sometimes you'll break in with a pawn on this side.
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And using your massive space advantage, restricting black's play, you sometimes can launch an attack on the king if the king is over there.
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Black, on the other hand, in these kinds of positions, when black is restricted, will create pawn breaks with f5 or b5.
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Sometimes with a6 and some sort of peace setup.
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Sometimes f5 will have a bishop defending it, or a knight, or you'll even have a pawn on g6, and like a rook,
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and you'll play f5 now obviously this is not the easiest thing to imagine without pieces on the board
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so the sicilian defense can lead to for example a dragon right this is
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when black plays the bishop to g7
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and now we have this opportunity for white to play the moraxi bind
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but the thing is you can actually try to get a
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moraxi against many of black setups for example against e6 which is entering Kunoz, Taimanov, Khan, two knight Sicilian.
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You can even play d4, take, take, a6, which is a Khan Sicilian, and here white can play c4.
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And now you get a Maroxi bind formation anyway.
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So you can specialize in this Maroxi setup against anything that black plays in the Sicilian for the most part,
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for the most part, basically creating the sort of restrictive environment for black's position, not letting black play any of these breaks.
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Black will then spend the rest of the game fighting back against these breaks and as black
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It's not so simple to do this, to get out of this, because I'll tell you one thing.
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Let's say you play the Night Orph, for example, which after
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Knight F6, A6 is a very dynamic system.
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Here, White can still play the move F3 and now try to play C4 before they play Knight C3.
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And here with Black, you have to not just play a Dragon or a Night Orph.
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You have to thematically fight against F3 and go E5 and then
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Knight and then D5.
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And that can lead to a very sharp and theoretically important variation.
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If you don't learn that, then what happens is you end up in a Meroxi bind again,
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and you're really getting restricted here by this e4 and c4 kind of structure for white.
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So those are kind of the two dynamics of the Meroxi Sicilian.
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For the next few Sicilians, we're going to look at more open -based stuff, so positions where you haven't played the move c4,
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although right now white could theoretically do that, but if white played the move c4 here white would weaken this square considerably
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that would result in a knight planting itself there for for example this structure with e5
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and d6 it can come from a handful of um of different positions uh
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but most i mean the most thematic of
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which is uh is the knight orf
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which results in uh these opening moves in the beginning
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and let's say white plays one of the many moves
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that white can play here something like this black has played the pawn to e5
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this is now a very very
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and a nice square for white to control
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this pawn on d6 is what's known as a backwards pawn it's a pawn
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that has no pawn behind it protecting it it is protected
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but not by a pawn
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and the square in front of it is controlled completely by the enemy so enough so that the pawn cannot move forward.
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However, this pawn is really difficult to capture, and the benefit of the Sicilian is that black has two central pawns, right?
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White only has one, not to mention that black has the c -file.
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So oftentimes, in a complex enough middle game, just making a few moves here, the theoretical value is not the most important.
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The rook takes the c -file, and you can play with b5 and b4, and the position is extremely imbalanced,
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not to mention if white is to castle queen side.
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That makes it even more exciting because now you castle short, they attack you like this with the pawns,
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and you use the open C file to counterattack white on the queen side.
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Sicilian is an incredibly imbalanced opening.
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There are dynamics left and right depending on which way the sides castle,
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but hopefully this gives you a kind of a better insight into how your...
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Oh, slipped on my chair there.
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Into how your decision -making process can go as you set your pawns up in the middle game in the Sicilian.
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And let's also not forget that in the Sicilian, white can also very early play something like c3,
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which could lead to d4 and all sorts of other structures that are important to know.
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The Sicilian is incredibly dense and interesting, and it can lead to a handful of different structures.
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For the next one, I'm going to look at positions with white
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and black where black has doubled f pawns
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this can result in a variety like from a handful of openings uh the trumpowski is one just in general
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when we take early on f6 structures like this uh are they you know black's central mobility is killed off
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because black doesn't have a central pawn
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and white oftentimes can create uh a trade of pawns on
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the other side of the board to then pressure on the open file.
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That's one way I like to play the position.
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Black, however, can mobilize the structure forward,
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clamping down on the center and using the pawns as a little map for the pieces to maneuver in and out of.
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Black can play a setup where they put every pawn on a light square, right?
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That would be seven light squared pawns.
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If you follow my arrows, we can add eight, eight light squared pawns.
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That means that trading the light squared bishop would be decent, right?
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Because then you counterbalance your control that you've given away on the light squares.
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And then if you put every pawn on a light square,
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that means your dark squared bishop is very happy because the bishop can maneuver in and out.
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So the break c4 will be very thematic.
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And notice one thing as I flip this to Black's perspective is that the e pawn took here, right?
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But there are doubled f pawn positions where the g pawn can also take, and that leads to something a little bit different
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so let's just take a look at this doubled f pawns
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can result for example with b3 knight f6 bishop b2
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and for example if g6 take take
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and now you've traded your dark squared bishop
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which means it's good for you to set up on the dark squares
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so c3 e3 maybe g3 bishop g2 and fighting against
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that central pawn if it ever lands there so in a perfect world, the position could look something like this.
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And, you know, we've kind of created the structure we've talked about.
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uh with a knight coming here
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and knight coming here maybe c4 going to be a slow crawl position determined by the correct pawn break
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this can also happen from a trumpowski d4 knight f6
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and bishop g5 and then you can take on f6
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but as i said in the other example
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we have the e -pawn capturing whereas in this example we can have the g -pawn capturing
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and this can also happen in in in e4 right in in e4 positions let me flip
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this to black's perspective so i just show you how it can look
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if the g pawn were to take so just
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so we have one final note here if the trumpowski happens
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and you take with the g pawn now you have a central pawn
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so you can either go for e5
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which would leave your pawn here a little bit weak or you can go for e6 stabilizing the structure and then c5,
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trying to fight against the center.
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You also have the open g file, which is something that is very nice, especially of white castles this way.
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You can consider castling in the other direction, because your king will be pretty unsafe if it gets over there.
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But this can also occur in e4 positions.
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For example, in the Karakhan defense, there's a variation called the Bronstein -Larsen, where you play knight f6 early, and rather than playing ef6,
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which is the Tartikauer, which goes bishop d6
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and then castles you can play g takes f6
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now taking the control here with the with the rook queen out bishop out knight out
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and castling long
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and fighting with the for the center with the move pawn to e5 as i said
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or pawn to c5 uh there's also a variation of the french defense
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that i like to play
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i have a video on it uh called the rosman french where i get a lot of very exciting games like this.
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I get my rook to the g -file.
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I'll play b6 and bishop b7 and try to castle my king in the other direction, because I've taken toward the center with my g -pawn,
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which normally damages the structure, but it's not so easy to target,
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and oftentimes the pawns repel the enemy pieces from any of these four squares, right?
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So it's about pawn breaks if you're more passive, and setting up your pieces in a way
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that they play around your structure and don't get in the way of your structure.
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For the last one that I want to do from like a theoretical standpoint is one that is called the Carlsbad structure,
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named after the city or tournament.
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And this structure can arise actually out of a handful of openings.
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So in this case, white play d4 and c4 took on d5 and it was the black e -pawn which took back.
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So it's an e -pawn for a c -pawn, right? from white's perspective, this can be a queen's gambit declined exchange variation.
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Any queen's gambit where you play cd5, ed5.
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If black sea pawn were to take, and this pawn got moved like this, that would result in a symmetrical structure,
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and that would be from like a slav defense.
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But symmetry is boring, let's be honest.
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I mean, my nose is a little bit crooked.
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It makes me look a little bit more interesting, doesn't it?
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No, not the time to admit my personal flaws on this video, not a problem.
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And the way this works is that white has three queen side pawns and black has four.
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The colors can also be flipped.
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I will show you what that looks like in a second.
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Here, white can employ something called a minority pawn attack.
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You can play a rook to b1 and play b4, a4, b5, breaking into black structure because if you were to take this pawn away,
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this pawn is isolated and now becomes weaker.
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Queen's pawn structures have a lot of these small nuanced situations.
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And if white ever plays b4, sometimes black will even play b5, leaving this pawn weak, but trying to land something on that square,
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which would be supported by both of these pawns.
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What's interesting is that you can achieve this, as I said, from something as simple as this position.
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Take, take.
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Now you have a Carl's bot structure, right?
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We have these three, and we have the bishop coming out, knight coming out, and something like this.
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In the Carlsbad structure, white relies on the minority attack
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and sometimes the break in the center because you have the two central pawns versus the one central pawn.
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So you can even build up with f3 e4 as long as your king is out of the way
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and you're castled, right?
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At the same time, black can actually get this position too.
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For example, d4, d5, let's say they play a London system.
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Now we'll play something like knight f6, pawn to e3, and the move c5.
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After knight f3, c takes, e takes, we traded c for e pawn.
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Now we have the three, and they have the four, right?
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So what do we know?
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We know that in the long run, if we trade this bishop, which controls this square, we can create queenside play.
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We can play like this.
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We can use the open C file for our pieces, right?
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So it's interesting how structures can get completely reversed depending on how the opening goes.
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One other way that this can happen, E4, C6, D4, D5.
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Take, take.
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It's the three on four.
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So if you're a Kara Khan player watching this, you might be getting Carlsbot structures.
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Now you know what to do against them.
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You can play variations where you build up for an e5 push with knight c6.
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One of my favorite things to do is to play g6, bishop g7, rotate this knight to this square, f6, knight f7, and then play e5.
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And then that will be supported by so many different pieces, right?
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That's one way I like to play it.
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And another way is just to play it normally with a6, b5, and pushing like this.
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This structure can come from Queen's Gambit declined, Karakon, London.
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And I mean, there are other like weird ways that this trade can happen.
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So that's kind of the last like theoretical one that I wanted to share.
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Hopefully gives you some good ideas to figure out how to study these things.
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For the last one, I kind of wanted to freestyle it.
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I wanted to, for example, show maybe closed centers.
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So like an example is the advanced French, right?
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In the advanced French, it's all about pawn breaks.
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It's about whether or not black can play c5 and f6,
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which successfully or unsuccessfully will destabilize white's center and chip away white's pawns.
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A good example of this is also the Karakhan advance, right?
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Like this, where black can slowly play bishop f5, e6 and c5 and it's kind of a better version of a french
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but you're still restricting black
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and my favorite variation here is the very tricky tile variation with h4 uh
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but there's also just black playing c5 immediately gambiting the pawn
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and having to win this back over the course of time
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and those positions are are quite tricky queen's pawn positions lead to a oop that's not a queen's pawn position.
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Queen's pawn positions can lead to a whole bunch of stuff.
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So first of all, we looked earlier at the Carl's bot structure, but what if you get like the queen's gambit, right?
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And what happens as you trade off the pawns in the center is that you get what's called an isolated pawn position.
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One pawn, it has no neighbors, it stands by itself, and it obviously can't be pushed forward.
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And black kind of controls the square in front of it.
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The way white plays with an isolated pawn,
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white needs to avoid trading pieces because the pieces will support the pawn's health and not allow it to be captured.
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You can either look to push it through with the support of certain pawns, sorry, pieces, which will then activate your position or play around it.
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Since you don't have any pawns on the sides,
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it means that rooks would go really well on the neighboring files to try to fight straight down the board.
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You can also use the pawn as a protective shield, sometimes hiding behind it to line up an attack on the enemy king.
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Another example of a structure that looks similar to this, but slightly different from a queen's pawn opening, is the Nimso Indian defense with d4,
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c4, and then the bishop coming to b4 like this.
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Now, the Nimso has a lot of different ways
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that it can become a hanging pawn structure is what it's called um
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i'll give you just kind of the non not necessarily the
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the theoretical like the the number one theoretical way to achieve this position uh
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but let's say something like e3 black plays d5 um
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you know knight knight f3 for example uh black let's say black just takes for simplicity's sake
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and plays c5 now after a transformation uh of certain things like here we can arrive at a position
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that looks like this this is i'm again i'm not playing the mainline theory
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because you don't need that the point is
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that you need a lesson in structure notice
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that the only difference between this position and the other one
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that we looked at is white's pawn here in the other position the pawn was on b2 okay
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Now the pawn is here.
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When you have d4 and c3 like this, or d5 and c6, versus e and b, notice we don't have e and b,
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but they do, these are called hanging pawns because they're kind of hanging off by themselves and potentially by a thread.
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Now, the way white would play with hanging pawns is very similar to the isolated pawn,
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but the difference is that black in a lot of positions can use the c file
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and target this pawn the difference in the two variations is
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that again if you if you if you compare the two black doesn't have a c file Right?
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Like, in the hanging pawn example, I should say.
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Like, black doesn't have the open C file.
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Right?
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I mean, we're both kind of fighting here for the C file.
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Whereas, I guess I'm mixing up a little bit what I'm saying here.
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In this particular example, with the pawn on B2, right, they're both fighting for the C file.
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Backtrack for a second.
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They're both fighting for an open C file.
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However, in a structure like this, we do not have a C file.
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Instead, we have a B file.
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Black is going to try to fight against our pawn.
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And we're going to try to maybe, for example, slide the bishop back, push the pawn up, push this pawn up a little bit,
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use the bishops, use the open lines, and use the pawns as a shield to attack the enemy king.
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Hanging pawn structure is all about whether our opponent can block the pawns with pieces and then start, like, just winning the pawns,
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or if we can use the pawns to our advantage to push through, hide behind them, attack the king, and so on.
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This was a lot.
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This was a lot.
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And, yeah, I mean, even I stammered over my words at the end.
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I hope you can forgive me for that.
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Like I said, I do these in one take, so I don't really want to edit it out.
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I want to finish my sentences, and I want to make this relevant to you.
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So, first things first, I believe the Grandmaster Flores has a fantastic book on pawn structures.
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A lot of you like books, holidays are coming up, not sponsored or anything, but he's got a great book on structures of pawns.
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But the truth is, if you're like a beginner and intermediate player, you don't need to learn a million different structures.
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You need to learn how to navigate the structures of your opening.
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If you play a London, a Queen's Gambit, a Ruy Lopez, a Jocopiano, an Evans Gambit,
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what do the structures look like and what do the tactics look like?
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And I hope this video inspires a little bit of that thought.
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Like, I gotta figure out how the pawns are set up in my opening.
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Let me go study some games.
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Literally take the game, the opening you play, you, you, type in best games and go look at some of the tactical patterns
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and structural patterns
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that happen you will be shocked at how much easier understanding maneuvering in between your pawns will look like
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and you won't have to spend
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so much time reinventing the wheel as they say as you will already have a guide
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you'll be surprised i'm telling you at how fast you will see the results hope this was enjoyable
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if there's other concepts you want me to cover
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that are a bit more abstract like structures of pawns let me know in the comments below
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if you haven't found something good out there yet.
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I will happily do it.
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And yeah, stay awesome.
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See you in the next video.
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Vocabulario y notas de pronunciación para esta lección
Esta lección de conversación se basa en el vídeo “Top 5 Pawn Structures You Should Know”. Las palabras que más se repiten: pawn, structure, position, knight, example. Este vídeo tiene 118 frases y 4224 palabras para practicar shadowing. La parte hablada dura 22:57. El hablante habla rápido, unas 184 palabras por minuto, así que espera sonidos enlazados y reducidos. Solo el 79 % de las palabras está entre las 3.000 más comunes del inglés, por lo que el vocabulario es exigente.
Vocabulario clave de este vídeo
15 palabras del vídeo que vale la pena aprender, con su pronunciación y significado:
| Palabra | Pronunciación | Significado |
|---|---|---|
| pawn sustantivo | /ˈpɔːn/ | peón |
| knight sustantivo | /ˈnaɪ̯t/ | caballero, caballera |
| bishop sustantivo | /ˈbɪʃəp/ | obispo |
| castle sustantivo | /ˈkɑːsəl/ | castillo, castro |
| khan sustantivo | /kɑːn/ | kan |
| variation sustantivo | /ˌvɛəɹiˈeɪʃn̩/ | variación |
| handful sustantivo | /ˈhæn(d)fʊl/ | puñado |
| theoretical adjetivo | /ˌθi.əˈɹɛt.ɪ.kəl/ | teórico |
| capture verbo | /ˈkæp.(t)ʃɚ/ | capturar |
| flip verbo | /flɪp/ | darle vuelta, voltear |
| restrict verbo | /ɹɪˈstɹɪkt/ | restringir, cortapisar |
| isolate verbo | /ˈaɪ.sə.leɪt/ | aislar |
| versus | /ˈvɝsəs/ | contra, en vez de |
| depend verbo | /dɪˈpɛnd/ | depender/pender (de), ser dependiente (de) |
| maneuver sustantivo | /məˈnuvɚ/ | maniobra, ejercicio |
Phrasal verbs que vas a escuchar
| Palabra | Pronunciación | Significado |
|---|---|---|
| figure out verbo | averiguar, captar | |
| come out verbo | /ˌkʌm ˈaʊt/ | revelarse, salir a la luz |
| chip away verbo | mellarse | |
| come up verbo | salir a relucir | |
| get out of verbo | salirse de, ponerse fuera de | |
| get over verbo | superar, sobreponerse a | |
| line up verbo | /laɪnˈʌp/ | alinear |
| mix up verbo | revolver |
Gramática en este vídeo
Las estructuras que más usa el hablante, con las palabras exactas del vídeo:
| Estructura | En el vídeo |
|---|---|
| Oraciones condicionales if + oración, will/would + verbo — una condición y su resultado | if black doesn't, the bishop will get |
| Voz pasiva be + participio pasado — importa lo que ocurre, no quién lo hace | are set · are traded · is based |
| Present perfect have/has + participio pasado — una acción pasada que sigue importando ahora | haven't played · has played · has doubled |
| Oraciones de relativo who / which + oración — información extra sobre una persona o cosa | file, which is · one that is · pieces, which will |
Pronunciación a tener en cuenta
El hablante usa 63 contracciones y formas reducidas, como we're, don't, I'm. Dilas en su forma corta, tal como las oyes.
- Los sonidos de “th”: theoretical /ˌθi.əˈɹɛt.ɪ.kəl/, thread /ˈθɹɛd/, thematic /θɪˈmætɪk/
- Los sonidos de “sh” y “zh”: bishop /ˈbɪʃəp/, variation /ˌvɛəɹiˈeɪʃn̩/, capture /ˈkæp.(t)ʃɚ/, potentially /pəˈtɛnʃ(ə)li/, shield /ˈʃild/
- Palabras largas — cuida el acento: theoretical /ˌθi.əˈɹɛt.ɪ.kəl/, minority /maɪˈnɒɹ.ɪ.ti/, potentially /pəˈtɛnʃ(ə)li/, incredibly /ɪŋˈkɹɛdɪbli/, necessarily /ˌnɛs.əˈsɛɹ.ə.li/
Sonidos difíciles para hispanohablantes:
- s + consonante al inicio — sin añadir una “e” delante: slide /ˈslaɪ̯d/, slip /ˈslɪp/, structural /ˈstɹʌk(t͡)ʃəɹəl/, sponsor /ˈspɒn.səː/, standpoint /ˈstændpɔɪnt/
- /v/ — no es /b/: los dientes tocan el labio inferior: variation /ˌvɛəɹiˈeɪʃn̩/, versus /ˈvɝsəs/, maneuver /məˈnuvɚ/, reveal /ɹɪˈviːl/, arrive /əˈɹaɪv/
- /z/ — sonora, no /s/: whereas /(h)wɛɹˈæz/, arise /əˈɹaɪz/, oftentimes /ˈɔf.ənˌtaɪmz/, destabilize /diːˈsteɪbɪlaɪz/, mobilize /ˈməʊbɪlʌɪz/
Cómo practicar con este vídeo
- Escucha el vídeo entero una vez sin hablar y anota las palabras que no conoces.
- Empieza a velocidad 0,75×, haz shadowing frase por frase y vuelve a la velocidad normal cuando te resulte fácil.
- Grábate y compara con el original, prestando atención a palabras como pawn, knight, bishop.
¿Qué es la Técnica de Shadowing?
Shadowing es una técnica de aprendizaje de idiomas respaldada por la ciencia, desarrollada originalmente para la formación de intérpretes profesionales y popularizada por el políglota Dr. Alexander Arguelles. El método es simple pero poderoso: escuchas audio en inglés nativo y lo repites en voz alta de inmediato, como una sombra que sigue al hablante con solo 1-2 segundos de retraso. A diferencia de la escucha pasiva o los ejercicios de gramática, el shadowing obliga a tu cerebro y músculos de la boca a procesar y reproducir simultáneamente patrones de habla reales. Las investigaciones muestran que mejora significativamente la precisión de la pronunciación, la entonación, el ritmo, el habla conectada, la comprensión auditiva y la fluidez al hablar, convirtiéndola en una de las metodologías más efectivas para la preparación del IELTS Speaking y la comunicación en inglés en el mundo real.