I have posted A Black Fianchetto System in the Open Games, Part One, which is the first of a projected seven-part series on a classical way of playing against 1.e4 with 1…e5 and an eventual g6.
The viability of a black fianchetto in the open games was demonstrated by Wilhelm Steinitz in the late nineteenth century (see, for example, Rosenthal – Steinitz, Vienna 1873 and Mackenzie – Steinitz, London 1883), and it has been played with success by the likes of Alekhine, Keres, Geller, and Smyslov. Black has had success with a fianchetto against many lines in the open games:
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Spanish / Ruy Lopez, 1.e4 e5 2.Nf3 Nc6 3.Bb5 g6
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Scotch Game, 1.e4 e5 2.Nf3 Nc6 3.d4 exd4 4.Nxd4 g6
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Three Knights, 1.e4 e5 2.Nf3 Nc6 3.Nc3 g6
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Scotch Gambit, 1.e4 e5 2.Nf3 Nc6 3.d4 exd4 4.Bc4 g6
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Italian Game / Giuoco Piano, 1.e4 e5 2.Nf3 Nc6 3.Bc4 g6
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Ponziani Opening, 1.e4 e5 2.Nf3 Nc6 3.c3 Qe7!? 4.d4 d6 5.Bd3 g6
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Center Game, 1.e4 e5 2.d4 exd4 3.Qxd4 Nc6 4.Qe3 g6
Where a fianchetto system is not so successful is against lines where White can play an early f4, such as the Vienna, the Bishop’s Opening, and the King’s Gambit. But we will examine an alternative system against these lines where the Bishop is often developed to b4.
In this first of a planned seven-part series, we examine lines where White plays c3 followed by d4, striving to establish a classical center. This is one of the best places to begin our discussion because it helps us see the g6 system as a potential tabiya that can work across various opening lines that are typically treated quite separately in the opening manuals.
The Tabiya of the Fianchetto System
In subsequent articles, we will look at:
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historical games with the g6 line
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various gambit tries for White with d4 followed by c3
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attacking tries with d4 followed by Bg5
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lines with d4 and Nxd4
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attempts to attack by h4
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and various closed systems for White with d3
The Black fianchetto system in the open games fits very well into an opening repertoire that involves the King’s Indian Defense or other fianchetto lines against the d-pawn openings. For ideas on how you can build an entire repertoire around these lines, see my earlier article, “Repertoire Renovations.” As always, I welcome reader feedback.