Types of endgames

Endgames can be divided into three categories:
 
1. Theoretical Endgames (TE) They are positions where the correct line of play is generally known and well-analyzed, so the solution is a matter of technique.  Before the computer they were hundreds of TE . Now, with the Endgame Tablebases they are thousands. Nevertheless just few dozens are worth to know, depending of the players strength. The technique achieved in the learning process will likely be enough to apply in other positions.

TE usually include very few pieces and can be defined by a formula. I .ex. the famous Lucena position is a R+P vs. R ending.

the Lucena Position = R+P vs. r

2. Practical endgames (PE)

Positions arising in actual games. They use to be more complex with several pawns and pieces, therefore not suitable for formula definition. The knowledge acquired studying TE provides the technique required to play PE with skill, since PE endgames can frequently be divided in partial theoretical problems.

i.ex. The following position arouse in the 13th game of the WCC match, Spassky-Fischer. It’s complex and difficult to synthesis with a formula:

            Spassky – Fischer, game 13th

3. Endgame studies (ES)

These are artificially created by a chess composer. They could be divided in two sub-types:

a. Artistic studies. They are characterized by their beauty, normally involving brilliant tactical blows. The positions use to look weird and almost impossible to encounter in practical chess

mate in three study

b. Theoretical studies. Composers also like to back theoretical knowledge with neat solutions. Many TE have been stated from a previous composition.  The Lucena position i.ex., was composed by Salvio il puttino in 1637

Blending theoretical knowledge
We will start with a basic theoretical ending:

white to win or black to draw

Most of us know that to achieve a draw, black king should reach f7/f8 squares right after white takes in h7. Therefore, if it’s white to move, will win, but if it’s blacks turn, the game will end in a draw.

Now we will go to a second theoretical ending. Is similar to the first one adding a knight.

 black to draw

In this ending black can only play Kf7 or Kf8 as we learned in the previous position, and move from one square to the other (alternate white/black squares). Whites answer can only be a knight move since his king is caged and blocking the pawn. The knight, by nature, also switches from white to black squares. So if black plays Kf8?, white knight will follow hitting a white square (let’s say, Nc7 will hit white squares e8/e6), and in a couple of moves, the knight will take control of f8 while the bK is in f7, and black will have to retreat from the drawing zone. Therefore, the concrete solution is Kf7!. In general terms, the weak king must move to the same coloured square of the knight.

Taking both examples into account, the third step will be to analyze a more complex ending adding a bishop to the game. The following study composed by Loyd in 1860:

Loyd, 1860

Black needs to promote the pawn. The manoeuver is Kg1, Ng2 (to block the bishop from the diagonal), h2, h1=Q.  White has to resources: take the pawn at h3/h1 and if it doesn’t work, block whites king in h1 as we saw in the previous example. In the latter, black will try to unblock his king with the knight.

Loyd - 1860

Result: 1/2-1/2

Site: white to draw

Date: 2012.01.01

[...] 1.¥d7! forcing black to move the pawn. Other moves like Bc6+?, lose

(1.¥c6+? ¢g1! preparing h2 and the blocking move, Ng2, while preventing wK to reach f1/f2
2.¥d7 h2 3.¥c6 ¤g2+°)

1...h2 2.¥c6+ ¢g1 3.¥h1! wK will move between e1/e2 and will step forth to f1/f2 (depending of the position of the knight), just after bK takes in h1.
3...¢xh1 4.¢f2! draw. wK must step in the same colour square as the knight

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Practical application. Gashimov vs. Ponomariov, WC 2011
 
 This game was played in World Cup 2011 held on Khanty-Masnyk. Ponomariov hesitated a bit because he didn't remember exactly how to coordinate the knight with wK moves. Finally he managed to convert.