....It was thus, I was deep in thought about the entire hand, my proposed defense and our carding methods. I held two clubs in my hand. I hesitated on the first club play but the real 'call the director' error was the hesitation on my second club play (my one and only card left) Here, is my guidance regarding that incident and the suggestion for rectification.Much too good not to share with the rest of you! Enjoy learning from my mistake.************
From John...
There are times when it is appropriate to do one's thinking about the hand on defense and other times when it is not (or when if you do, you must tell declarer that you are thinking about the whole hand, not this trick). Obviously, when you are on lead you can think all you want to before leading. You can also generally think all you want when you are deciding whether to win a trick (if you have a choice of plays) or when you are deciding what to discard (although it would be improper to hesitate simply to make declarer think that you have a discarding problem), or when you have a decision about whether or not to cover declarer's card (although again, only if you have a real choice of plays). And it's OK to take some time at trick one as opening leader's partner to think about the hand, although it is courteous to announce that you are thinking about the hand if that is what you are doing.
But there are some 'time-sensitive' situations when you simply must play in tempo when you have no significant choice of plays from the standpoint of trick-taking potential. Those include the following:
1. Declarer has or may have a 'finesse or drop' guess, as in this case (and yes, once she played the ace on the first club trick, it was apparent that it was at least possible that she had such a guess).
2. Declarer leads a card that you may or may not want to cover, e.g., dummy has K9xx and declarer leads the 10, or dummy has the A10xx and declarer leads the J.
3. Declarer leads low toward a holding like the KJ.
In those situations, when declarer leads at the critical moment and you hesitate, declarer will reasonably think that you have something to think about that is germane to a decision about what to play to this trick. If you find that you have hesitated about something else than what to play to this trick, the ethical thing to do is to say before playing or as you play 'I have no problem on this trick' or 'I was thinking about the whole hand, not this trick' (assuming that this is true--of course one should not say this if declarer has caught you napping in a cover/noncover situation). This is particularly the case if you hesitate when you only have one card in your hand that you could legally play to the trick.
Now Smith Echo creates some choices on defense that are a little different from standard signalling. I can understand your confusion about whether to echo in this situation--I can see arguments in both directions. The best time to be thinking about this would be at trick 1, i.e, don't turn your own card over until you have decided whether to echo on what declarer leads. However, having not done so, it was probably, but just barely, OK to do so at trick 2 when declarer led the ace, since obviously you were not going to be taking that trick. Note that it really wouldn't have been OK if declarer had led low toward the KJ10, since now the hesitation would have suggested that you had the club A. So if declarer had led low and you had hesitated about what to play from 85, that would have been potentially problematic, although not necessarily, since your hesitation might not affect declarer's play, particularly if she had the ace.
The point I am trying to make here is that in these time-sensitive situations, declarer will interpret a hesitation as meaning that you have something to think about that is germane to trick-taking, not that you are thinking about whether or not to give count or whether or not to make a Smith Echo. And if it turns out otherwise, declarer is going to be justifiably upset and may call the director, at all levels of the game. And if it turns out that you hesitated when you had only one legal card to play to the trick, that is really going to cause a problem. So if you find yourself hesitating when you have no trick-taking issue, and particularly when you have only one card you could play, you need to say something to make sure that declarer is not deceived.
So one thing about playing Smith Echo is that you do have to be on top of it, and thinking all the time about whether you are going to echo or not. Now against declarers who understand Smith Echo, they are probably going to understand what you are thinking about when they lead the A and you hesitate, so you probably have no problem there. When you hesitate on the second round, that is a whole other kettle of fish. I understand the argument 'why would I hesitate with the Q?' But the other side of that is 'why on earth would you hesitate when you only have one club left?' And I have seen plenty of people hesitate with Qx left in hopes that declarer would prematurely call a card from dummy or play a card from his hand.
If you want to read the bridge laws about this, you can look at Law 73.D on the ACBL website. They basically say that we should all try to maintain a steady tempo, that we should be particularly careful in positions in which variations may work to the benefit of our side, but that declarer draws inferences at his/her own risk.
Sunday, January 11, 2009
Saturday, January 10, 2009
3 Level Interference over NT
The opponents never leave you alone. Partner and I were playing online and Partner opened 1S. (3C). There you are. Now what.
First if you are a passed hand: Bid what you think is the optimum contract. Remember that no call is forcing after passing so if you want to show your six card suit before offering four card support, don't. You may just get passed in the new suit and there you are. If you are an unpassed hand. A new suit is forcing to game.
If you have no support and less than game going values, pass, wait for pard to X in or lho to raise or something.
Three level free bids force to game or 4m (I believe) i.e. strong actions. If you want to raise the major, do it thus: 4M is still preemptive. 3M is anything from a good constructive raise to a bad limit raise. 4 of the preempt suit is a Major suit raise stating that you would have gone to game without the preempt based on values.
If you look at your hand when pard opens and say "this is a hand that is going to game" (or more) Q bid the 3 level preempt at the four level. This way opener can advance that auction based on the way you made your major suit raise. This was taught to me by Bill Hardy, certainly capable of adequately explaining such standard expert strategies. Use them often! and Have Fun!
First if you are a passed hand: Bid what you think is the optimum contract. Remember that no call is forcing after passing so if you want to show your six card suit before offering four card support, don't. You may just get passed in the new suit and there you are. If you are an unpassed hand. A new suit is forcing to game.
If you have no support and less than game going values, pass, wait for pard to X in or lho to raise or something.
Three level free bids force to game or 4m (I believe) i.e. strong actions. If you want to raise the major, do it thus: 4M is still preemptive. 3M is anything from a good constructive raise to a bad limit raise. 4 of the preempt suit is a Major suit raise stating that you would have gone to game without the preempt based on values.
If you look at your hand when pard opens and say "this is a hand that is going to game" (or more) Q bid the 3 level preempt at the four level. This way opener can advance that auction based on the way you made your major suit raise. This was taught to me by Bill Hardy, certainly capable of adequately explaining such standard expert strategies. Use them often! and Have Fun!
Tuesday, December 23, 2008
How To Spot A Bridge Addict
How To Spot A Bridge Addict
Imagine yourself at some social gathering and suddenly the topic of bridge comes up. You don’t know how, but before you know it a person with foam flecking the corners of her mouth is staring into your face with the wide-eyed desperation of a heroin addict in need of a hit, trying to convince you that playing bridge is really, really, really, really, really, really, really, really, fun and that you ought to try it. Now. Really fun. Try it now, right now. The judge, the guests and your bride-to-be can just cool their damned heels for a minute. Really try fun now bridge.
A card table, two other bridge addicts, four chairs, bidding boxes and an endless supply of boards will instantly appear, for all bridge addicts have the cartoon character-like ability to produce these items upon demand from a seemingly normal pant leg. You will be led to your place at the table and the three of them will commence simultaneously to explain to you what each feels are the most important aspects of the game. Once you have received more technical instructions than it takes to assemble a Volvo, the three of them will in unison encourage you to relax and just enjoy yourself because the main thing about bridge is that it’s really, really fun. Really.
Cards pass through your hand and then the first game is over, you guess, because the three of them are chorusing about how much fun they had while inspecting you like a lab animal for signs of addiction. A discussion (‘discussion’ is what bridge addicts call a fight) begins (breaks out) between your opponents. The female of the two complains that her partner did not make the correct uppercut play, whereupon she demonstrates proper uppercut technique by striking his jaw with her fist. A scrum ensues which twists the bridge table into a metallic piece of origami. Your partner, the original bridge addict, manages to separate the two addicts who live in her pant leg and remind them, jerking significant nods towards you, that bridge is really, really fun. The three of them reassemble the bridge table (which now has a permanent wobble) and sit down amid sniffles and threats muttered under the breath, all staring at you with crazed smiles. Time to play another hand. Religious texts refer to your current circumstances as ‘hell’ and suggest that it lasts a very, very long time.
The trouble with spotting a bridge addict and thus avoiding such catastrophe is that they look very much like normal people; that is, very much like people with other, equally severe but less annoying psychological problems. An effort to eradicate them by destroying all books on bridge proved unsuccessful after bridge addicts developed uncanny powers of recall like those rebels in Ray Bradbury’s Fahrenheit 451. That dangerous looking guy on the bus with the mad stare and an ominous bulge in his rucksack, with tattoos all over his shaved head, wearing nothing but a vest, army fatigues and boots in the dead of winter? You may try to comfort yourself by pretending he’s merely a psychotic hatchet murderer but the truth is he’s probably a bridge addict and the tattoos are probably Sanskrit for Jacoby Transfers, that portion of bridge lore entrusted to his care.
No, you’re basically on your own when it comes to dealing with these maniacs, which is why it pays to know how to spot one right off and then get while the getting’s good. So imagine yourself at a party that you suspect bridge addicts might attend. Here are a few dead giveaways:
1. Addicts love to segue into a discussion about bridge from totally unrelated topics:
You: “So the pain my chest was really getting bad and then my left arm went numb. I thought I might just be able to drive myself to Emanuel Hospital which is on the east side of the Fremont Bridge – ”
Addict: “Bridge? Do you play? What conventions do you use?”
2. Anytime a finger is run over a stack of papers, mimicking the sound of a deck of cards being shuffled, a bridge addict will exhibit the Pavlovian responses of dilated pupils, profuse sweating and rapid, shallow breathing.
3. Bridge addicts will move in one direction along the buffet table while insisting that dishes be passed along in the opposite direction. They will often launch into cheerful, spontaneous chatter about how they like to make a balanced food plate for themselves but that sometimes it’s nice to have a whole lot of one kind of dish – what they refer to as the ‘long’ dish – and none of another (the ‘void’ dish). They will ask your opinion on this natter with an expression reminiscent of Jack Nicholson in The Shining.
If you notice any of these signs, the first rule is DON’T PANIC! Bridge addicts are well known for their ability to smell fear. However, there is not a moment to lose if you want to get out before it’s too late: Try these techniques:
1. Say to the bridge addict: “You know, I think I heard of a table in Susanville that needs a fourth.” For your own safety, be sure you are not standing in the path to the door when you use this technique. Also, be sure that it is not your car blocking the bridge addict’s as they try to leave.
2. Steer the bridge addict in the direction of a hat rack. Introduce hat rack as a friend who would love to know more about bridge. Quietly slip away. It helps if you’ve already retrieved your hat so you don’t risk disturbing the addict several hours later when you depart.
3. Try this: “Yeah, I have a friend who plays bridge. He said that once he was declarer with a balanced hand, a 3-4 fit and 24 combined points and somehow he made seven spades. How do you figure he did that?”
You don’t have to know what any of these words mean. The effect of them will be to cause the bridge addict to pace back and forth in a corner for hours muttering to herself, her head down and her arms wrapped tightly around her waist. Everyone else at the party will thank you.
4. This is my favorite. Lean nonchalantly against something handy to lean against and intone in a casual voice, “Yeah, I played bridge years ago. Even taught the game for a while. Had this one older guy who was my student who did okay for himself, considering. Fella by the name of Lusky, as I recall. Heard of him?”
This Lusky guy is apparently really, really good at the really, really fun game of bridge, but that doesn’t really matter. What does matter is that the bridge addict will fall to her knees like she’s receiving a visitation from the Angel Gabriel. You now have a slave for life which is really, really handy should you have some yard work that needs to be done.
Also, as the teacher of Lusky, you can now tell the addict anything you want about the game of bridge and even if it flies in the face of everything she knows, she will believe you. For example, tell her that when alerting unusual bids by her partner she should now set down her cards, stand on her chair, scream “Gompers!” at the top of her lungs and then spit on the floor. Take a stroll past the bridge club one evening when she’s playing, I swear she’ll be doing it. Really. In fact, years later, when even she admits that you were putting her on, she will continue to insist that in some strange way following your instructions actually improved her game. But that’s an addict for you.
For my friend Isolde Knaap, the most addicted bridge player I know, on the occasion of her fiftieth birthday.
© Andrew W. Osborn February 18, 2004
Send e-mail anywhere. No map, no compass. Get your Hotmail® account now.
Imagine yourself at some social gathering and suddenly the topic of bridge comes up. You don’t know how, but before you know it a person with foam flecking the corners of her mouth is staring into your face with the wide-eyed desperation of a heroin addict in need of a hit, trying to convince you that playing bridge is really, really, really, really, really, really, really, really, fun and that you ought to try it. Now. Really fun. Try it now, right now. The judge, the guests and your bride-to-be can just cool their damned heels for a minute. Really try fun now bridge.
A card table, two other bridge addicts, four chairs, bidding boxes and an endless supply of boards will instantly appear, for all bridge addicts have the cartoon character-like ability to produce these items upon demand from a seemingly normal pant leg. You will be led to your place at the table and the three of them will commence simultaneously to explain to you what each feels are the most important aspects of the game. Once you have received more technical instructions than it takes to assemble a Volvo, the three of them will in unison encourage you to relax and just enjoy yourself because the main thing about bridge is that it’s really, really fun. Really.
Cards pass through your hand and then the first game is over, you guess, because the three of them are chorusing about how much fun they had while inspecting you like a lab animal for signs of addiction. A discussion (‘discussion’ is what bridge addicts call a fight) begins (breaks out) between your opponents. The female of the two complains that her partner did not make the correct uppercut play, whereupon she demonstrates proper uppercut technique by striking his jaw with her fist. A scrum ensues which twists the bridge table into a metallic piece of origami. Your partner, the original bridge addict, manages to separate the two addicts who live in her pant leg and remind them, jerking significant nods towards you, that bridge is really, really fun. The three of them reassemble the bridge table (which now has a permanent wobble) and sit down amid sniffles and threats muttered under the breath, all staring at you with crazed smiles. Time to play another hand. Religious texts refer to your current circumstances as ‘hell’ and suggest that it lasts a very, very long time.
The trouble with spotting a bridge addict and thus avoiding such catastrophe is that they look very much like normal people; that is, very much like people with other, equally severe but less annoying psychological problems. An effort to eradicate them by destroying all books on bridge proved unsuccessful after bridge addicts developed uncanny powers of recall like those rebels in Ray Bradbury’s Fahrenheit 451. That dangerous looking guy on the bus with the mad stare and an ominous bulge in his rucksack, with tattoos all over his shaved head, wearing nothing but a vest, army fatigues and boots in the dead of winter? You may try to comfort yourself by pretending he’s merely a psychotic hatchet murderer but the truth is he’s probably a bridge addict and the tattoos are probably Sanskrit for Jacoby Transfers, that portion of bridge lore entrusted to his care.
No, you’re basically on your own when it comes to dealing with these maniacs, which is why it pays to know how to spot one right off and then get while the getting’s good. So imagine yourself at a party that you suspect bridge addicts might attend. Here are a few dead giveaways:
1. Addicts love to segue into a discussion about bridge from totally unrelated topics:
You: “So the pain my chest was really getting bad and then my left arm went numb. I thought I might just be able to drive myself to Emanuel Hospital which is on the east side of the Fremont Bridge – ”
Addict: “Bridge? Do you play? What conventions do you use?”
2. Anytime a finger is run over a stack of papers, mimicking the sound of a deck of cards being shuffled, a bridge addict will exhibit the Pavlovian responses of dilated pupils, profuse sweating and rapid, shallow breathing.
3. Bridge addicts will move in one direction along the buffet table while insisting that dishes be passed along in the opposite direction. They will often launch into cheerful, spontaneous chatter about how they like to make a balanced food plate for themselves but that sometimes it’s nice to have a whole lot of one kind of dish – what they refer to as the ‘long’ dish – and none of another (the ‘void’ dish). They will ask your opinion on this natter with an expression reminiscent of Jack Nicholson in The Shining.
If you notice any of these signs, the first rule is DON’T PANIC! Bridge addicts are well known for their ability to smell fear. However, there is not a moment to lose if you want to get out before it’s too late: Try these techniques:
1. Say to the bridge addict: “You know, I think I heard of a table in Susanville that needs a fourth.” For your own safety, be sure you are not standing in the path to the door when you use this technique. Also, be sure that it is not your car blocking the bridge addict’s as they try to leave.
2. Steer the bridge addict in the direction of a hat rack. Introduce hat rack as a friend who would love to know more about bridge. Quietly slip away. It helps if you’ve already retrieved your hat so you don’t risk disturbing the addict several hours later when you depart.
3. Try this: “Yeah, I have a friend who plays bridge. He said that once he was declarer with a balanced hand, a 3-4 fit and 24 combined points and somehow he made seven spades. How do you figure he did that?”
You don’t have to know what any of these words mean. The effect of them will be to cause the bridge addict to pace back and forth in a corner for hours muttering to herself, her head down and her arms wrapped tightly around her waist. Everyone else at the party will thank you.
4. This is my favorite. Lean nonchalantly against something handy to lean against and intone in a casual voice, “Yeah, I played bridge years ago. Even taught the game for a while. Had this one older guy who was my student who did okay for himself, considering. Fella by the name of Lusky, as I recall. Heard of him?”
This Lusky guy is apparently really, really good at the really, really fun game of bridge, but that doesn’t really matter. What does matter is that the bridge addict will fall to her knees like she’s receiving a visitation from the Angel Gabriel. You now have a slave for life which is really, really handy should you have some yard work that needs to be done.
Also, as the teacher of Lusky, you can now tell the addict anything you want about the game of bridge and even if it flies in the face of everything she knows, she will believe you. For example, tell her that when alerting unusual bids by her partner she should now set down her cards, stand on her chair, scream “Gompers!” at the top of her lungs and then spit on the floor. Take a stroll past the bridge club one evening when she’s playing, I swear she’ll be doing it. Really. In fact, years later, when even she admits that you were putting her on, she will continue to insist that in some strange way following your instructions actually improved her game. But that’s an addict for you.
For my friend Isolde Knaap, the most addicted bridge player I know, on the occasion of her fiftieth birthday.
© Andrew W. Osborn February 18, 2004
Send e-mail anywhere. No map, no compass. Get your Hotmail® account now.
Monday, December 22, 2008
Thoughts from a mentee
In the January/February Trumpet Hendrik Sharples touched on a most important aspect of the bridge world - mentoring. Yes, despite the "pro system" which exists, mentorship in its purest form is alive and well.
Here are Isolde’s thoughts:
1) Find a mentor who embraces your communication style. One mentor once told me to "read a book". Hmmm, he didn't know that in general, I hate to read. Another once answered a bridge question in a cryptic three word e-mail. Hmmm, but buy him a drink after the game is over and you will receive a wealth of information. What worked for me is e-mail. From the moment I presented my first hand via the keyboard, we were off. There was something calming about the physical distance, and the forgiving time lapse added to the learning process.
2) Don't get too many mentors. You'll avoid a lot of anguish and confusion if you stick to one or two mentors. This is the problem. For the most part there is a element of style in bridge, and there certainly are different approaches. I once heard three different responses from three mentors to the same question, true story. Pick a style that works for you (for me the style was extremely structured and mathematical, where communication systems were clearly defined).
3) Pay attention to what your mentor says. Take copious notes if you forget (I started writing down all my hands when I played, every last spot card). The most dreaded words I hear are: "Haven't we gone over that?" I don't believe I've heard those words often, but have said on occasion, "we've gone over that already.”
4) Work hard. Add your own blood, sweat and tears to the process. Before you approach your mentor with a difficult bridge problem, check the bridge encyclopedia, do a Google search, check the references your mentor gave you. Can you find an expert who has played the same hand, online perhaps, so you can review his/her declarer play card for card? Now your mentor will see that you are as invested as he/she is.
5) Be a true friend, since you can offer your mentor little besides friendship. Watch him/her play the major events. Congratulate him/her on the big wins. Make sure that your competitive passion is as tuned for your mentor as it is for your own level of play with your partners and teammates. Flowers, cards and the traditional "first place or don't come home" exchange, e-mailed before every "biggie", were my attempts at reciprocal karma.
6) Don't argue with your mentor. If, for whatever reason, you can't accept the guidance he/she gives at the time it was given, use this phrase to end the conversation: "I've heard you and appreciate your thoughts. I'll wait until I get as good as you to understand the concept in its entirety.”
7) Be trustworthy. Full-blown mentorship is a very intense private exchange. Trust that relationship to guard the special communications you share which are not meant for the entire world to hear.
8) Share what you learn. Once you think you are capable, share your mentorship teachings with others. I've written several bridge articles based on my mentor's teachings. I've also developed a special relationship with bridge players "in the making", Laura Beal, Dave Coleman, Paul Cieslak and others.
I can also share two potential problem areas in mentorship situations.
• Get your partner to buy into your mentor's approach to bridge. If it's a constant issue between you and your partner to accept your mentor's teaching, get a different mentor or partner. It isn't going to work for anyone.
• Remember that you will be competing against the person who is there to teach you. Make sure that you know his/her commitment is ultimately to his/her partners and teammates. The fact that he/she is willing to help develop players able to compete successfully at the national level makes goal setting easy. For both you and your mentor it isn't about getting an 80% in the local club game; it's about making it to the third day of the Blue Ribbon Pairs.
Hope these ideas are of help and you will enjoy a mentorship journey soon! For women this journey is essential. We aren't often seen intuitively and socially as national champions. It's such a struggle to break through some of those gender-based barriers. The strength gained through mentorship can be the wellspring of that quiet reserve you need to make it out of the Consolations and into the Finals.
Here are Isolde’s thoughts:
1) Find a mentor who embraces your communication style. One mentor once told me to "read a book". Hmmm, he didn't know that in general, I hate to read. Another once answered a bridge question in a cryptic three word e-mail. Hmmm, but buy him a drink after the game is over and you will receive a wealth of information. What worked for me is e-mail. From the moment I presented my first hand via the keyboard, we were off. There was something calming about the physical distance, and the forgiving time lapse added to the learning process.
2) Don't get too many mentors. You'll avoid a lot of anguish and confusion if you stick to one or two mentors. This is the problem. For the most part there is a element of style in bridge, and there certainly are different approaches. I once heard three different responses from three mentors to the same question, true story. Pick a style that works for you (for me the style was extremely structured and mathematical, where communication systems were clearly defined).
3) Pay attention to what your mentor says. Take copious notes if you forget (I started writing down all my hands when I played, every last spot card). The most dreaded words I hear are: "Haven't we gone over that?" I don't believe I've heard those words often, but have said on occasion, "we've gone over that already.”
4) Work hard. Add your own blood, sweat and tears to the process. Before you approach your mentor with a difficult bridge problem, check the bridge encyclopedia, do a Google search, check the references your mentor gave you. Can you find an expert who has played the same hand, online perhaps, so you can review his/her declarer play card for card? Now your mentor will see that you are as invested as he/she is.
5) Be a true friend, since you can offer your mentor little besides friendship. Watch him/her play the major events. Congratulate him/her on the big wins. Make sure that your competitive passion is as tuned for your mentor as it is for your own level of play with your partners and teammates. Flowers, cards and the traditional "first place or don't come home" exchange, e-mailed before every "biggie", were my attempts at reciprocal karma.
6) Don't argue with your mentor. If, for whatever reason, you can't accept the guidance he/she gives at the time it was given, use this phrase to end the conversation: "I've heard you and appreciate your thoughts. I'll wait until I get as good as you to understand the concept in its entirety.”
7) Be trustworthy. Full-blown mentorship is a very intense private exchange. Trust that relationship to guard the special communications you share which are not meant for the entire world to hear.
8) Share what you learn. Once you think you are capable, share your mentorship teachings with others. I've written several bridge articles based on my mentor's teachings. I've also developed a special relationship with bridge players "in the making", Laura Beal, Dave Coleman, Paul Cieslak and others.
I can also share two potential problem areas in mentorship situations.
• Get your partner to buy into your mentor's approach to bridge. If it's a constant issue between you and your partner to accept your mentor's teaching, get a different mentor or partner. It isn't going to work for anyone.
• Remember that you will be competing against the person who is there to teach you. Make sure that you know his/her commitment is ultimately to his/her partners and teammates. The fact that he/she is willing to help develop players able to compete successfully at the national level makes goal setting easy. For both you and your mentor it isn't about getting an 80% in the local club game; it's about making it to the third day of the Blue Ribbon Pairs.
Hope these ideas are of help and you will enjoy a mentorship journey soon! For women this journey is essential. We aren't often seen intuitively and socially as national champions. It's such a struggle to break through some of those gender-based barriers. The strength gained through mentorship can be the wellspring of that quiet reserve you need to make it out of the Consolations and into the Finals.
Tuesday, December 16, 2008
Juxtaposed: 4th best vs third and low on opening lead against suits
Third and low differs from third and fifth in what you lead from seven card suits. In third and low you lead 7th --the lowest one. In third and fifth you lead fifth. Third from the bottom.
One of the first things a partnership decides when filling out a card is the nature of their length leads. I started playing fourth best leads, but pretty soon after taking the game up seriously, decided to switch to third and low. Many expert D20 bridge players lead fourth best, so I doubt there is a consensus on the best treatment in all situations (or even most of them). Might be a factor of how one analyzes the hand ...or one might learn to analyze hands differently when playing one versus the other. I don't know.
I do know the characteristics of these lead agreements are not the same and it pays to study the differences. From my own personal history, this caused one of the few major public displays of disagreement in one of my past partnerships and I would advise everyone to avoid this at all a costs by studying the issues carefully.
I probably don't have to emphasize that whether you lead fourth best or third and low, you start counting cards from the top. The major differences between these two systems also delineate the major advantages.
Note: length leads from fourth best are always from strength. Discuss with your partner whether it promises the T, J or perhaps even Q minimum, but it has to promise some honor.
Note: length leads from third and low denote count, period. Nothing is promised about the quality of the suit. Third from an even number of cards, low from an odd number of cards. So hereby you see the difference.
1) Using fourth best leads, one leads the 4 form 42, K94, K964, K9642, K96432. There you go, five different lengths on the opening lead and you lead the same card.
2) Using third and low leads, one leads the 2 from 652, J52, K52, KJ2 87532, K7532, KJ532. There you go, the same card from two lengths and three different suit qualitities.
So, what you absolutely know with fourth best length leads is that it is from some sort of strength holding although the actual length of the suit might be unknown until further play has occurred. What you most likely know about third and low leads is the number of cards in the suits, provided you can distinguish from the 3/5/7 two card differences.
It is necesary to hold a brief discussion about what to lead from bad holdings playing fourth best. What does not work is to lead small (as if one has a strength holding). From three small, one needs to decide top of nothing or MUD. From four small, one usually leads second highest.
As if all of this isn't complicated enough, these two different styles are used primarily on opening lead. What your partnership does in the middle of the hand is also a discussion point. Most lead "low from interest".
Which method your partnerhip uses on opening lead might be a matter of philosophy. 4th besters like to send an immediate signal by the opening leader that he/she does or does not like the suit led. 3rd and low leaders like to give an immediately start on counting the entire hand.
Be open to using different methods. If you've traditionally counted on leads from strength holdings, perhaps try other methods to determine high card distribution. Experts use clues from the bidding and first few card plays to figure out where high cards are located.--but, that may be a whole other lesson. See what the future holds?
One of the first things a partnership decides when filling out a card is the nature of their length leads. I started playing fourth best leads, but pretty soon after taking the game up seriously, decided to switch to third and low. Many expert D20 bridge players lead fourth best, so I doubt there is a consensus on the best treatment in all situations (or even most of them). Might be a factor of how one analyzes the hand ...or one might learn to analyze hands differently when playing one versus the other. I don't know.
I do know the characteristics of these lead agreements are not the same and it pays to study the differences. From my own personal history, this caused one of the few major public displays of disagreement in one of my past partnerships and I would advise everyone to avoid this at all a costs by studying the issues carefully.
I probably don't have to emphasize that whether you lead fourth best or third and low, you start counting cards from the top. The major differences between these two systems also delineate the major advantages.
Note: length leads from fourth best are always from strength. Discuss with your partner whether it promises the T, J or perhaps even Q minimum, but it has to promise some honor.
Note: length leads from third and low denote count, period. Nothing is promised about the quality of the suit. Third from an even number of cards, low from an odd number of cards. So hereby you see the difference.
1) Using fourth best leads, one leads the 4 form 42, K94, K964, K9642, K96432. There you go, five different lengths on the opening lead and you lead the same card.
2) Using third and low leads, one leads the 2 from 652, J52, K52, KJ2 87532, K7532, KJ532. There you go, the same card from two lengths and three different suit qualitities.
So, what you absolutely know with fourth best length leads is that it is from some sort of strength holding although the actual length of the suit might be unknown until further play has occurred. What you most likely know about third and low leads is the number of cards in the suits, provided you can distinguish from the 3/5/7 two card differences.
It is necesary to hold a brief discussion about what to lead from bad holdings playing fourth best. What does not work is to lead small (as if one has a strength holding). From three small, one needs to decide top of nothing or MUD. From four small, one usually leads second highest.
As if all of this isn't complicated enough, these two different styles are used primarily on opening lead. What your partnership does in the middle of the hand is also a discussion point. Most lead "low from interest".
Which method your partnerhip uses on opening lead might be a matter of philosophy. 4th besters like to send an immediate signal by the opening leader that he/she does or does not like the suit led. 3rd and low leaders like to give an immediately start on counting the entire hand.
Be open to using different methods. If you've traditionally counted on leads from strength holdings, perhaps try other methods to determine high card distribution. Experts use clues from the bidding and first few card plays to figure out where high cards are located.--but, that may be a whole other lesson. See what the future holds?
Saturday, December 13, 2008
When are Q bids "to play"
It's been ages since I've written to you and for my end of that, I apologize. Fact is, unless I play with you guys somewhat I really don't know where your needs are. (sorry). It's been a good year for me --once the smoke cleared, Freeman and I are the only D20 players representing this unit at both the pair and team events this year (Roger McNay, Eric Stolz and Chris Gibson Q'd but couldn't make it to Detroit). This, for me, is a phenomenal accomplishment and the beginning of true high level play. I'm glad that at least for me, hard work and having fun are not mutually exclusive. Go team and nose to the grindstone!
But, back to serious business for you guys. Yesterday, Jim Smith asked me to inspire him to play better bridge. I hope I accomplished that --it's always a fine line between "inspire" and "overwhelm". Hopefully I made the grade. However, here's what I need to share with this group so we don't mess this up in the finals of the Blue Ribbons. Please learn these sequences. Your developing partnerships may be at odds, and it can cause some discomfort, but I can guarantee you your flight A partners will thank you immensely.
(1m) 3m is natural. Get it --it's not "give me a stop" or "super majors". It's natural. Yesterday, my rho opened 1C and with this hand J,Axx,Tx,QJxxxxx, I bid 3C. To play. Natural.
(1D) 3D is also natural. To play.
The following Q bid sequence is also "natural" barring special within partnership agreements. Yesterday my lho opened 1C and rho bid 1H. Holding AQxx,KQ87xx,Ax,6 I wanted to play hearts so I bid 2H. Duh......natural. I don't care if rho has four of them, I can handle that. 2H is natural in this sequence --it is not "unusual" or "michaels" or asking for a heart stop. It's natural and to play.
In this hot seat sequence, 2m is also natural. The sequence (1C) (1H) 2C --i.e. instead of hearts I bid clubs, is also "to play". I hold something like Axx,x,xxx,AKQTxx. Natural.
Warning --please differentiate (1m) 3m from (1M) 3M. This 3H/3S bid is not natural. Duh, rho has already promised five. This is somewhat of the Western Q bid that is overly used and abused but here it is, in all it's glory. 3M over 1M asks specifically if partner can stop the major from running. This bid promises nine tricks. Not 8.5, not 8 on a good day and/or 7. It promises 9 tricks provided the major can be stopped. Why? Flight A players when they hear this bid will not lead the major. They will lead your long running minor so the QT98 you have in your hand will never be trick 9. You'll be one short. Here's another reason. Pesky flight A players will jam the auction with the major. Something like (1M) 3M (4M). I, as your advancer would now like to know when I can bid 4 nt. i.e. I not only have the major stopped but I have trick 10 for you or perhaps trick 12 for the slam. Vul vs nv at imps you'll be glad you found this and come back to your table with a huge imp win. If there are any questions (hopefully not too confusing), please ask. I'm here to help
But, back to serious business for you guys. Yesterday, Jim Smith asked me to inspire him to play better bridge. I hope I accomplished that --it's always a fine line between "inspire" and "overwhelm". Hopefully I made the grade. However, here's what I need to share with this group so we don't mess this up in the finals of the Blue Ribbons. Please learn these sequences. Your developing partnerships may be at odds, and it can cause some discomfort, but I can guarantee you your flight A partners will thank you immensely.
(1m) 3m is natural. Get it --it's not "give me a stop" or "super majors". It's natural. Yesterday, my rho opened 1C and with this hand J,Axx,Tx,QJxxxxx, I bid 3C. To play. Natural.
(1D) 3D is also natural. To play.
The following Q bid sequence is also "natural" barring special within partnership agreements. Yesterday my lho opened 1C and rho bid 1H. Holding AQxx,KQ87xx,Ax,6 I wanted to play hearts so I bid 2H. Duh......natural. I don't care if rho has four of them, I can handle that. 2H is natural in this sequence --it is not "unusual" or "michaels" or asking for a heart stop. It's natural and to play.
In this hot seat sequence, 2m is also natural. The sequence (1C) (1H) 2C --i.e. instead of hearts I bid clubs, is also "to play". I hold something like Axx,x,xxx,AKQTxx. Natural.
Warning --please differentiate (1m) 3m from (1M) 3M. This 3H/3S bid is not natural. Duh, rho has already promised five. This is somewhat of the Western Q bid that is overly used and abused but here it is, in all it's glory. 3M over 1M asks specifically if partner can stop the major from running. This bid promises nine tricks. Not 8.5, not 8 on a good day and/or 7. It promises 9 tricks provided the major can be stopped. Why? Flight A players when they hear this bid will not lead the major. They will lead your long running minor so the QT98 you have in your hand will never be trick 9. You'll be one short. Here's another reason. Pesky flight A players will jam the auction with the major. Something like (1M) 3M (4M). I, as your advancer would now like to know when I can bid 4 nt. i.e. I not only have the major stopped but I have trick 10 for you or perhaps trick 12 for the slam. Vul vs nv at imps you'll be glad you found this and come back to your table with a huge imp win. If there are any questions (hopefully not too confusing), please ask. I'm here to help
Non forcing constructive -what does it mean, what does it look like, how should it be advanced
I just came off a disaster playing against the Polish team in one of the finest events in bridge. I want to avoid a subsequent gaffe, so let's work on the above-named topic some. So, have you ever heard a term and not known what it meant, failing to look the word/term up somewhere and 'hoping' you would eventually get it from context. Yeah, me too, and the word 'constructive' was one of those terms in bridge.
Trouble is, I never figured it out and finally I got so tired of deciphering it from the pros in all its versions that I asked one of them. 'OK! So tell me what this word represents in bridge lingo: constructive'. As described by them it means 'not junk, below invitational'.
So one application you'll hear often is this: A bid in a new suit is 'non forcing constructive' in this position/sequence. This 'non forcing constructive' term means your hand looks like a weak two. Yep, memorize it --'non forcing constructive' means 'weak two'. For our purposes, our non forcing constructive example hand will be: 87,932,J4,KQJT54. There, a 6322 weak two hand in clubs.
This type of hand is shown in three important sequences: 1) As a response to an opening bid over a TOX. Example: I open a spade, lho makes a TOX and you make a two level club bid. Your hand looks like 87,932,J4,KQJT54.2)
As an advance of an overcall bid: Example: Lefty opens 1H, my partner overcalls 1S. Rho passes and I bid 2C. My hand looks like87,932,J4,KQJT54.3)
As a response to an opening bid over a 1N interference call: Example: Partner opens 1S and rho overcalls 1N. I bid 2C. My hand looks like 87,932,J4,KQJT54. The follow-ups here are very important to examine also. Note that after your pard opens a weak two, one does not usually have a 2N bid 'to play'. 2N bids are usually feature-asking or Ogust asking for forging on to nt games, or suit games, in the preempted suit. Tell me I'm wrong.
By a passed hand 2N should be a relay to a seven card suit hand you didn't preempt in a previous position through a 3c relay. Same situation in all of the above example cases. Don't use 2N 'oh it might play better here'. It rarely does, the strong hand should defer to the weak hand for suit play. 2N should be used to acknowledge the preempt type hand and invite to three if appropriate. Given this advice (and to emphasize it one more time). If you're all red in the Spingold and Polish player rho opens 1H and you hold AQTxx,Axxx,Kxx,9 and dare to overcall 1S. Lho passes and pard bids 2C, Pass. I don't see any reason to further the auction here. Opposite 87,932,J4,KQJT54 the place to play is 2C. If one wants to bid 2N which invites 3N, one should have hearts stopped solidly and a fit with pard. There, -1400 vs 110 avoided and teammates much happier!
Trouble is, I never figured it out and finally I got so tired of deciphering it from the pros in all its versions that I asked one of them. 'OK! So tell me what this word represents in bridge lingo: constructive'. As described by them it means 'not junk, below invitational'.
So one application you'll hear often is this: A bid in a new suit is 'non forcing constructive' in this position/sequence. This 'non forcing constructive' term means your hand looks like a weak two. Yep, memorize it --'non forcing constructive' means 'weak two'. For our purposes, our non forcing constructive example hand will be: 87,932,J4,KQJT54. There, a 6322 weak two hand in clubs.
This type of hand is shown in three important sequences: 1) As a response to an opening bid over a TOX. Example: I open a spade, lho makes a TOX and you make a two level club bid. Your hand looks like 87,932,J4,KQJT54.2)
As an advance of an overcall bid: Example: Lefty opens 1H, my partner overcalls 1S. Rho passes and I bid 2C. My hand looks like87,932,J4,KQJT54.3)
As a response to an opening bid over a 1N interference call: Example: Partner opens 1S and rho overcalls 1N. I bid 2C. My hand looks like 87,932,J4,KQJT54. The follow-ups here are very important to examine also. Note that after your pard opens a weak two, one does not usually have a 2N bid 'to play'. 2N bids are usually feature-asking or Ogust asking for forging on to nt games, or suit games, in the preempted suit. Tell me I'm wrong.
By a passed hand 2N should be a relay to a seven card suit hand you didn't preempt in a previous position through a 3c relay. Same situation in all of the above example cases. Don't use 2N 'oh it might play better here'. It rarely does, the strong hand should defer to the weak hand for suit play. 2N should be used to acknowledge the preempt type hand and invite to three if appropriate. Given this advice (and to emphasize it one more time). If you're all red in the Spingold and Polish player rho opens 1H and you hold AQTxx,Axxx,Kxx,9 and dare to overcall 1S. Lho passes and pard bids 2C, Pass. I don't see any reason to further the auction here. Opposite 87,932,J4,KQJT54 the place to play is 2C. If one wants to bid 2N which invites 3N, one should have hearts stopped solidly and a fit with pard. There, -1400 vs 110 avoided and teammates much happier!
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