One of Tom's favorite proverbs on the "moves that disturb" point was "take care of the draws and the wins will take care of themselves." I like the Greek proverb "little strokes fell great oaks" and of course Sondheim in his hateful way takes that song in Company and makes it "it's the little things you do together… that make marriage a joy," as he shows two couples fighting like cats and dogs.

It would be interesting to see if Nigel agrees that "moves that disturb chess positions the least" are best. I believe Art Bisguier told me to try not to break the tension of a position, and I've also been told that once you give away which side of the board you're likely to castle from, the handwriting is on the wall. 

Ken Drees comments:

Sultan Khan an Indian native master player from the 1930s used to wait very long to castle and sometimes not at all since castling was not a legal move option in India where he was schooled in chess. It seems like everychanging strategy and recycling (switches) always is necessary to stay competitive, and fresh. Playing against the unorthodox– like the basketball team full court press (Mr. Watson's recent post), or the uncastled king that seems content in the center with a closed position game illustrates the need to be able to counter the strange or unusual opponent. Get a "book" player out of his book and then your fundamentals will hopefully give you an edge. The emotions that occur when faced with the unorthodox style are one more element that the aggressor has in his favor and one more item that the level headed player must tamp down and counter internally.

As for building and constructing ever more powerful latently strong positions–Nimzovich comes to mind as a chess stylist who always made incrementally stronger and stronger tactical moves. This tension naturally releases at some point in the game and then the gameboard takes on fresh vistas of open lines and changed landscapes. Seeing the new and powerful layouts well ahead of your opponent is key to the entire buildup process.


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