WEBVTT 00:01.200 --> 00:01.840 Hi there. 00:02.760 --> 00:13.020 I like to use this position to give you an introduction to Penns, this NEUTZE is absolutely pinned 00:13.590 --> 00:14.340 to the king. 00:15.490 --> 00:23.350 The night cannot move, it actually won't play here, and this position can arise from the opening called 00:23.350 --> 00:30.190 the French defense, so it won't play here, but why it cannot move the noise. 00:30.200 --> 00:31.720 It's just an illegal move. 00:31.900 --> 00:33.820 So it's an absolute pain. 00:36.760 --> 00:39.530 The bishop is absolutely pinning that night to the king. 00:40.180 --> 00:42.310 So this is just an illegal move. 00:42.850 --> 00:50.500 On the other hand, inferring this knight can move because it's only relatively pinned to the queen. 00:52.900 --> 00:58.590 And relative pens are also very useful to have in general. 00:59.050 --> 01:06.670 But you have to be aware that sometimes it could be advantageous for the opponent to even move a piece, 01:06.670 --> 01:08.110 which seems to be, you know, penned. 01:08.110 --> 01:14.590 But if it's only relative, sometimes it can be to your advantage to sometimes break out and sacrifice 01:14.590 --> 01:15.250 material. 01:18.320 --> 01:24.290 Kind of breaching what seems to be a pin space, but it was only relatively penned in this example. 01:24.320 --> 01:30.500 That's not the case, though, but I can show you and I will show you, hopefully in the examples you 01:30.500 --> 01:34.560 will see examples where relative pens can be rebelled against. 01:34.910 --> 01:36.970 So that's actually a key skill as well. 01:37.490 --> 01:39.440 It's not just the act of pinning. 01:41.240 --> 01:43.970 Sometimes the act of underpinning is very useful. 01:45.860 --> 01:51.710 Sometimes making use of absolute pens is very useful, sometimes making use of relative pens is very 01:51.710 --> 01:57.910 useful, sometimes rebelling against relative pens is very useful. 01:59.880 --> 02:05.910 But you can't quite rebel against absolute pens, you have to go back to unbanning, so what you can 02:05.910 --> 02:08.460 rebel against is these relative pens. 02:09.000 --> 02:10.930 Sometimes there are occasion. 02:11.190 --> 02:17.500 So just bear in mind the difference between an absolute pen that's absolute or relative is just relative. 02:18.270 --> 02:25.530 And by the way, opening theory here, you know, often continues with E5 and blacks not actually losing 02:25.530 --> 02:29.550 this, not here because Black and counterattacked with a sex and can continue. 02:30.270 --> 02:34.370 For example, the bishop might go back and we're talking about opening Feri now. 02:34.590 --> 02:39.900 So this is not actually a losing position you might have 45 is not winning a piece on Cirilli. 02:40.710 --> 02:43.700 No, it's more complicated is actually a standard opening position. 02:43.950 --> 02:50.250 I just want to emphasize to you from the outset in this intro the difference between an absolute pen 02:50.310 --> 02:51.170 and a relative pen. 02:51.600 --> 02:51.960 Yeah. 02:51.990 --> 02:55.650 And the relevant tactics and ideas that this can create. 02:57.360 --> 03:01.020 Generally, you can't take things on the surface. 03:01.770 --> 03:06.360 You have to look for your full resolution of possibilities. 03:06.450 --> 03:10.680 Sometimes you have to use those possibilities to win games of chess or draw them. 03:11.370 --> 03:16.200 So be aware, you know, as you get stronger, you're going to rebel more and more. 03:16.200 --> 03:22.350 You're going to find opportunities to rebel more and more against events or to make it's part of the 03:22.350 --> 03:29.040 attack to immobilize pieces, essentially, and a very, very good expression, which I find continually 03:29.040 --> 03:29.420 useful. 03:29.440 --> 03:37.290 Well, there's two related Tippins pins are so important I actually seek out those famous quotations, 03:37.680 --> 03:38.660 which could be useful. 03:39.390 --> 03:42.270 The power of the pen piece or pawn is illusionary. 03:42.930 --> 03:52.230 So it's an illusion that this joint controls not not not if I b5 a for effort, which means, you know, 03:52.230 --> 03:57.810 in the middle game, know, Queen could have come to a for a queen could have come to be five most expensive 03:57.810 --> 03:59.660 pieces could have come to all of these guys. 03:59.670 --> 04:02.490 Just remember the power of the pins piece we're talking about. 04:02.490 --> 04:05.430 The absolutely pin piece is illusionary. 04:05.910 --> 04:11.490 And also there's another expression which is essentially pin on when quite often pennies do actually 04:11.490 --> 04:11.820 win. 04:14.070 --> 04:21.090 Both relative and absolute pens do actually win you games, so if you're interested in winning chess, 04:21.420 --> 04:23.670 the pen is a really important tactic. 04:24.390 --> 04:33.060 The the other thing I like to say is that pins, when you paint a piece, you don't immediately even 04:33.060 --> 04:34.630 have to win material. 04:34.860 --> 04:40.680 Sometimes there's far greater gains kind of celebrating a pin, which is another kind of concept which 04:40.680 --> 04:42.270 has won me so many games. 04:42.690 --> 04:47.960 When you celebrate Penns, it can be over so many moves, not just short term exploitation and pain. 04:47.970 --> 04:49.150 It could be in the longer term. 04:49.920 --> 04:53.370 So, OK, let's look at some concrete stuff now. 04:53.610 --> 04:56.280 Have you got some points out of this introduction? 04:56.280 --> 04:59.520 And bear in mind, as well as a chess player. 04:59.910 --> 05:01.290 OK, and so much.