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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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Vocabolario e note di pronuncia per questa lezione
Questa lezione di conversazione si basa sul video “Top 5 Pawn Structures You Should Know”. Le parole che ritornano più spesso: pawn, structure, position, knight, example. Questo video contiene 118 frasi e 4224 parole da ripetere con lo shadowing. Il parlato dura 22:57. Chi parla va veloce, circa 184 parole al minuto: aspettati suoni legati e ridotti. Solo il 79% delle parole rientra nelle 3.000 più comuni dell’inglese, quindi il lessico è impegnativo.
Vocaboli chiave di questo video
15 parole del video che vale la pena imparare, con pronuncia e significato:
| Parola | Pronuncia | Significato |
|---|---|---|
| pawn sostantivo | /ˈpɔːn/ | pedone, pedina |
| knight sostantivo | /ˈnaɪ̯t/ | cavaliere |
| bishop sostantivo | /ˈbɪʃəp/ | vescovo, vescova |
| castle sostantivo | /ˈkɑːsəl/ | castello |
| khan sostantivo | /kɑːn/ | khan |
| variation sostantivo | /ˌvɛəɹiˈeɪʃn̩/ | variazione |
| handful sostantivo | /ˈhæn(d)fʊl/ | manipolo, gruppetto |
| theoretical aggettivo | /ˌθi.əˈɹɛt.ɪ.kəl/ | teorico |
| capture verbo | /ˈkæp.(t)ʃɚ/ | catturare, riprendere |
| flip verbo | /flɪp/ | capovolgere, spadellare |
| restrict verbo | /ɹɪˈstɹɪkt/ | restringere, limitare |
| isolate verbo | /ˈaɪ.sə.leɪt/ | isolare |
| versus | /ˈvɝsəs/ | contro |
| depend verbo | /dɪˈpɛnd/ | dipendere |
| maneuver sostantivo | /məˈnuvɚ/ | manovra, esercitazione |
I phrasal verb che sentirai
| Parola | Pronuncia | Significato |
|---|---|---|
| figure out verbo | scoprire, rendersi conto | |
| set up verbo | /ˌsɛt ˈʌp/ | preparare, installare |
| come up verbo | venire fuori, emergere | |
| get over verbo | superare, vincere | |
| line up verbo | /laɪnˈʌp/ | allineare |
| open up verbo | aprire |
La grammatica di questo video
Le strutture che chi parla usa di più, con le parole esatte del video:
| Struttura | Nel video |
|---|---|
| Frasi condizionali if + frase, will/would + verbo — una condizione e il suo risultato | if black doesn't, the bishop will get |
| Forma passiva be + participio passato — conta ciò che accade, non chi lo fa | are set · are traded · is based |
| Present perfect have/has + participio passato — un’azione passata che conta ancora adesso | haven't played · has played · has doubled |
| Frasi relative who / which + frase — un’informazione in più su una persona o una cosa | file, which is · one that is · pieces, which will |
Pronuncia a cui fare attenzione
Chi parla usa 63 contrazioni e forme ridotte, come we're, don't, I'm. Pronunciale nella forma breve, così come le senti.
- I suoni “th”: theoretical /ˌθi.əˈɹɛt.ɪ.kəl/, thread /ˈθɹɛd/, thematic /θɪˈmætɪk/
- I suoni “sh” e “zh”: bishop /ˈbɪʃəp/, variation /ˌvɛəɹiˈeɪʃn̩/, capture /ˈkæp.(t)ʃɚ/, potentially /pəˈtɛnʃ(ə)li/, shield /ˈʃild/
- Parole lunghe — attenzione all’accento: theoretical /ˌθi.əˈɹɛt.ɪ.kəl/, minority /maɪˈnɒɹ.ɪ.ti/, potentially /pəˈtɛnʃ(ə)li/, incredibly /ɪŋˈkɹɛdɪbli/, necessarily /ˌnɛs.əˈsɛɹ.ə.li/
I suoni difficili per chi parla italiano:
- /h/ — va soffiata, non è muta: handful /ˈhæn(d)fʊl/, whereas /(h)wɛɹˈæz/, happily /ˈhæp.ə.li/
- Consonante finale — senza aggiungere una vocale dopo: knight /ˈnaɪ̯t/, bishop /ˈbɪʃəp/, flip /flɪp/, restrict /ɹɪˈstɹɪkt/, isolate /ˈaɪ.sə.leɪt/
- /æ/ — più aperta della “e”: handful /ˈhæn(d)fʊl/, capture /ˈkæp.(t)ʃɚ/, dragon /ˈdɹæɡən/, whereas /(h)wɛɹˈæz/, expand /ɪkˈspænd/
Come esercitarsi con questo video
- Ascolta tutto il video una volta senza parlare e annota le parole che non conosci.
- Inizia a velocità 0,75×, fai shadowing frase per frase e torna alla velocità normale quando diventa facile.
- Registrati e confronta con l’originale, facendo attenzione a parole come pawn, knight, bishop.
Cos'è la tecnica dello Shadowing?
Shadowing è una tecnica di apprendimento delle lingue supportata da studi scientifici, originariamente sviluppata per la formazione dei traduttori professionisti e resa popolare dal poliglotta Dr. Alexander Arguelles. Il metodo è semplice ma potente: ascolti un audio in inglese di madrelingua e lo ripeti immediatamente ad alta voce — come un'ombra che segue il parlante con un ritardo di solo 1–2 secondi. A differenza dell'ascolto passivo o degli esercizi di grammatica, lo shadowing costringe il tuo cervello e i muscoli della bocca a elaborare e riprodurre simultaneamente i modelli di discorso reale. La ricerca dimostra che migliora significativamente la precisione della pronuncia, l'intonazione, il ritmo, il discorso connesso, la comprensione dell'ascolto e la fluidità del parlato — rendendolo uno dei metodi più efficaci per la preparazione alla prova di speaking dell'IELTS e per la comunicazione reale in inglese.