Section E: Helpmates

Judges: Bosnia-Herzegovina, Greece, Italy, Sweden, Switzerland

Reserve Judge: Great Britain

Theme:

Helpmates in 3 moves are required with (at least) two phases, where:In phase 1 the move of a piece X has a certain effect 'e' (line-opening, line-closing, pin, unpin, capture, etc.) with respect to an adversary (opposite-colour) piece Y. In phase 2 the move of piece Y has the same effect 'e' with respect to piece X.

See basic pattern and other allowed alternatives below (where Xs belong to one side, Ys belong to the opposite side).

Pattern A (basic pattern):
Phase 1: the move of X has the effect 'e' with respect to Y
Phase 2: the move of Y has the effect 'e' with respect to X

A cyclic expression is permitted, as in the following pattern:

Pattern B:
Phase 1: the move of X1 has the effect 'e' with respect to Y1
Phase 2: the move of Y1 has the effect 'e' with respect to X2
Phase 3: the move of X2 has the effect 'e' with respect to Y2
Phase 4: the move of Y2 has the effect 'e' with respect to X1

A splitting is also permitted, as in the following patterns:

Pattern C:
Phase 1: the move(s) of X has (have) the effects 'e1' and 'e2' with respect to Y
Phase 2: the move of Y has the effect 'e1' with respect to X
Phase 3: the move of Y has the effect 'e2' with respect to X

Pattern D:
Phase 1: the move(s) of X has (have) the effect 'e1' with respect to Y1 and 'e2' with respect to Y2
Phase 2: the move of Y1 has the effect 'e1' with respect to X
Phase 3: the move of Y2 has the effect 'e2' with respect to X

A doubling, tripling, etc. of the theme in any way, and a combination, expansion or condensation of the above-mentioned patterns are allowed. Pawn(s) may be used as the thematic piece(s).

Set-play, twinning and multi-solutions are permitted, but zeropositions or duplex settings are not allowed.

Question 1:
Is task h#2,5 possible?

Answer: Helpmates in 2.5 moves are not allowed.

Question 2:
Is it allowed to create a twin by changing the place of a thematic piece?

Answer:
This kind of twinning is not forbidden by the theme definition. It is the judges' duty, however, to consider the artistic value of such a device.


E01 – 1.Tb4 Ld6 2.Sf4 Te3 3.Tb5 Ta3#; 1.Sb4 Lc7 2.Tc3 Te5 3.Tb3 Ta5#.  Mutual unpin of black white rook! (black S unpins w&b rook during solutions too).

E02  – a/ 1.Ke4 g:f4 2.e:f4 Tg5 3.f3 Te5#; b/ 1.f:g3 Te2 2.e4+ T:e4 3.g2 Tf4#. Mutual capture by bP/wP.

E03 – a/1.Le7 Lh4 2.d5 Kf2 3.Lc5 Lf6#; b/1.d5 La5 2.Le1 Kf6 3.Lc3 Lb6#. Umnov,follow me wB,bB.

E04 – 1.Lb5 La3 2.Tb4 (line closing, anticipating pinning) Lb7+ 3.Kc5 L:b4#; 1.Tf6 Lb4 (line closing bTa4, anticipating pinning) 2.Ke6 Kd4 3.Lf7 Lc8#.

E05 – 1.T8d4 [Td8 interferes with the La1 (e1)) Ld3 (Lb1 interferes with the Td1 (e2')] 2.Kg7+ Kb1 3.Kh8 L:d4#; 1.T1d3 [Td1 interferes with the Lb1 (e2)] Ld4 [La1 interferes with the Td8 (e1')] 2.Kg6+ Ka1 3.Kh7 L:d3#.

E06 – a/ 1.Df5 Td4 2.Tc7 h4 3.Te7 Td6#; b/1.Kg6 g4 2.Td3 Tc7 3.Sh6 Tg7#. Thematic men: wT and BT, in a)white rook unpins black rook, in b)black rook unpins white rook.

E07 –  * 1.- Lh2 2.Td3 Sa5(Se5?) 3.d4 Ld6#; 1.Db3 Se3(S4b6?) 2.Td3 Sd5:+ 3.Kc4 Sd6#. Mutual indirect unpins WS-BR.

E08 – 1.Df6 Sg5+ 2.Kf5 Sf7 3.De6 Sd6#; 1.Tf3+ Tf6 2.Ke3 Kc3 3.Tg7 Te6#. Selfin + upin

E09 – 1.Tc7 Tc6 2.Tg7 T:f6 3.T:g4 Th6#; 1.g2 Tc2 2.Tc3 T:g2 3.Th3 L:f6#. A) Mutual rook line clearance+ analoguous movement of rooks on rowns, B) white rook ends on h-file, black rook ends on g-file, and vice versa in the second solution.

E10 – a/ 1.Lc7 Tb4 2.Da3 Ta4 3.Dc5 Ta6#; b/ 1.Db8 Ta8 2.Da7 Tc8 3.La5 Tc6#.

E11 – 1.Dc7: Tc7: 2.Kd5 Kf6 3.Kd6 Td7#; 1.Dd7:+ ed7 2.Kd4 d8D+ 3.Ke5 Df6#; 1.De6: Se6: 2.Kb5 Tb7+ 3.Ka6 Sc5:#. Cyclic captures & Cyclic Zilahi. Thematic units: Sc7,Td7,Pe6 & Dd6

E12 – a/ 1.Tb2 (Tg2 unpins Sf6) Sd5 (Sf6 unpins Tf3) 2.Tf6 Lf8 3.Tb5 Se5#; b/ 1.Tc3 (Tf3 unpins Sf6) Se4 (Sf6 unpins Tg2) 2.Td2 Le3 3.Td7 Sed6#

E13 – a/ 1.Tg8 Lg7 2.Kg6 h5+ 3.Kh7 Sg5#; b/ 1.Tf7 La1 2.Tb2 Sg7+ 3.Kf6 L:b2#

E14 – 1.Lb2 Sg5 2.Kd4 Kb4 3.Se3 L:b2#; 1.Ke4 Ld4 2.Se3 Kc3 3.Sf5 Sg5#. Mutual interference by wB/bB and anticritical moves.

E15 – 1.Ld5 [La2 interferes with the La8 (e1)] Le5 [Lh8 interferes with the Lh2 (e2')] 2.Ke4 Kd6 3.Sd3 L:d5#; 1.Le5 [Lh2 interferes with the Lh8 (e2)] Ld5 [La8 interferes with the La2 (e1')] 2.Kd4 Ke6 3.Td3 L:e5#

E16 – 1.Te2 Kg2 2.Se3+ Kh3 3.Kf3 Sd2#; 1.Tc4 Le2 2.Td4 K:f2 3.e5 Sc3#

E17 – 1.La6 (X) Lb5 (X') 2.Df5 Lc6(Y) 3.Ld3 (Y') de6 (Z)#; 1.ed5 (Z) Lf1 (X) 2.Le2 (X') Kc2 3.Lf3 (Y) Ld3 (Y')#. Effect X: Bi-color L-L Bristol; Effect Y: Line - opening & passing of b/wL to d3. Effect Z: reciprocal capturing Pd5/Pe6.

E18 – a/ 1.Sd6 Te1 2.De2 c3 3.Dc4 Te5#!; b/ 1.De8 Te7 2.Tc5 T:b7 3.De4 Td7#. Two Bristol-type variants with move-aside and switchback+1 with thematic pieces.

E19 – 1.ba5 bc5 2.K:c5 Sf2 3.Kb4 Sd3#; 1.cb4 ab6 2.K:b6 Se3 3.Ka5 S:c4#

E20 – a/ 1.Db8 Tb7 2.Lc6 (Sc6?) Td7 3.Db4 d4#; b/ 1.Sc6 (Lc6?) Tb1 2.Db2 e5 3.Dd4 Tb5#. Mixed Bristol. Queen and Rook play to each other's starting square

E21 – a/ 1.Kd7 Lh7 (e1: Bristol) 2.Lg6 (e2: Umnow) b:c5 (e3: capture) 3.Le8 (e4: gate opening) Lf5#; b/ 1.Lb1 (e1: Bristol) Lc2 (e2: Umnow) 2.c:b4 (e3: capture) Lb3 (e4: gate opening) 3.Lf5 c5#

E22 – a/ 1.Sg4 Kf3 2.S:e3 Le4+ 3.Kd4 d:e3#; b/ 1.c:d2 Lf4 2.Kd4 a3 3.Kc3 L:e5:#. Reciprocal captures, Zilahi.

E23 – a/ 1.Sc3 Sa4 2.Sd1 Sc3 3.Lc1 Sb1#; b/ 1.c3 Sd3 2.Sb2 Sc1 3.Sd3 Sb3#. Consecutive Umnov.

E24 – a/ 1.Lf3 (La8 interferes with Lh1) Le5 (Lh8 interferes with Da1) 2.Kd5 Kf6 3.Tc5 (Sc5?) Lf3:#; b/ 1.Dg7 (Da1 interferes with Lh8) Le4 (Lh1 interferes with La8) 2.Kd4 Kf3 3.Sc5 (Tc5?) Lg7:#

E25 – a/ 1.Ke5 e7 2.Lf5 e:f8D (Pe6 captures Lf8) AB 3.Ke6 De7#;  1.L:d6 (Lf8 captures Pd6) BC e7 2.Lf4 e:d8D 3.Te5 Dd3#; b/ 1.Kd5 d7 2.Lc5 d:c8D (Pd6 captures Lc8) CD 3.Kd6 Dd7#; 1.Sc7 d:c7 2.L:e6 (Lc8 captures Pe6) DA c8D 3.Ld5 Dg4#. Cyclic pattern.

E26 – a/ 1.Tc6: Td1 2.Dd2 Sg6+ 3.Kd6 Td2:#; b/ 1.Dd4: La8 2.Tb7 Sf7+ 3.Kd5 Lb7:#. Double realization of the theme by the reciprocal captures of Tb6/Lc6 and Df4/Td4, plus Zilahi and 2x "Maslar theme".

E27 – 1.Kg3 Ke3 2.Kh4 Kf2 3.Th3 gh6#; 1.L:g5+ Kc3 2.Ke3 Kb4 3.Kd2 L:g5#

E28 – 1.Tc6 cd6 2.Tc4 Tc5 3.Kd4 Td5#; 1.Dd4 Tc6 2.Lc7 Tf6 3.Te6 Tf5#

E29 – I/ 1.f:e2 Sbc5+ 2.Kf3 Se4 3.L:e3 Seg5#  [Pf3(A1) captures Pe2(B1); Ld4(A2) captures Pe3(B2)]; II/ 1.Kd5 e:f3 2.Tc2 e:d4 3.Tc4 S:f4#  [Pe2(B1) capture Pf3(A1); Pe3(B2) captures Ld4(A2)]. Reciprocal capture of two pairs of pieces, doubling the theme.

E30 – a/ 1.L:c3 Sf5 2.Ke5 Sg3 3.Te6 L:c3#; b/ 1.Ld4 Td8  2.Td7 cd4 3.Te7 d5#. X: white Pc3 - Y: black Lh8; "e" (effect): capturing.

E31 – a/ 1.b:c5 b:a5 2.c4 Tb1 3.Ld4 Lb4#; b/ 1.a:b4 c:b6 2.b3 La3 3.Kc4 Tc5#. Mutual captures of Pa5/Pb4 and Pb6/Pc5.

E32 – a/ 1.Tb2 Le6 2.Kd4 K:b6 3.De4 S:b5#; b/ 1.Dd6 Lb2 2.Te6 K:b5 3.Kd5 Sf6#. Effects: Mutual interferences

E33 – 1.Tb4 Tc7: 2.Tc6 c4+ 3.Kc5 Tc6:#; 1.Td6 Sf7 2.Ke6 Tc6 3.Tf5 Td6:#. Thema Maslara Cooks! 1.Le6 Sf7 2.Sd2 Tc7: 3.Se4 c4#; 1.Le3 Se6 2.Sc5 Td3 3.Kc6 Sd8#; etc.

E34 – 1.e:d2 L:b3 2.d1T d:e4 3.Td4 Te6#; 1.e:d3 Tc6 2.Kd5 d:e3 3.Le5 L:f3#

E35 – 1.S:e5 Sc4 2.Sg4 Se5 3.Tee3 Sg6#; 1.fe5 Sg4 2.Se3 Sf6 3.Sg4 Sd5#.

E36 – 1.S:f2 Tg5 2.Td5 Te4(WTd4 pins BD) 3.T:d2 Tg1#; 1.D:f2 (BD pins WTd4) Td6 2.Te5 T:c6 (2.- Tc4? Rook is pinned) 3.Te2 Tc1#

E37 – 1.c:b1L L:h2 (1.- g6? 2.Lh7??) 2.Lh7 g6 3.Lg8 Le5#; 1.h:g1T D:c2 2.T:g5 Dd2 (2.- Dg6? 3.Tg8??) 3.Tg8 Dh6# Doubled effect in 1st move with mutual capture by Db1 & Pc2 and Lg1 & Ph2.

E38 – a/ 1.Th1 Tg1 2.Se1 Tg3 3.Tf1 Se4#; b/ 1.b6 Th1 2.Tg1 Se4+ 3.Ke1 T:g1#  Cook! b/ 1.Se3 Tg1 2.Sf1 Tg3 3.Te1 Se4#

E39 – a/ 1.L:h2 L:a8 2.Kg1 Tb7 3.Kh1 Tb1#; b/ 1.L:h1 L:b8 2.Kg2 Tc7 3.Kh2 Tc2#

E40 – 1.Tb6 Lc8+ 2.L:c8 (e1: capture) T:g2 (e2: capture) 3.Lb7 Ta2#; 1.Lb6 Ta2+ 2.T:a2+ (e2: capture) L:h3 (e1: capture) 3.Ta5 Lc8# Bristol and Zilahi.

E41 – a/ 1.Td1 S:b3 2.De1 Lg1 3.Ld2 Sd4#  - (line opening Df2 for Ld4); b/ 1.Ld3 Le3 2.Lf6 c:d3 3.Ke5 Sc4# – (line opening Ld4 for Lc3); c/ 1.Sc5 Sc6 2.La5 c4 3.Sb7 Sb8# - (line opening Lc3 for Pc2); d/ 1.Ka3! c:b3 2.Da2 e5 3.Lb2 Lc5# - (line opening Pc2 for Df2). Four-phase cycle of line openings  

E42 – 1.Dh2 L:c3 2.T:c3 Sd5 3.Tg3 Sf4#; 1.T:b6+ L:b6 2.Dg2 Lg1 3.Lg3 g5#. Active sacrifice La5 - active sacrifice Tb3.  

E43 –  1.T:b3+ L:b3+ 2.Ke5 Sb6 3.Lb8 Sd7#; 1.Tb4 L:e4+ 2.T:e4+ Kd3 3.Te5 Sc7#.  

E44 – a/ 1.Te4 Tf4 2.Dd5 Kg4 3.T:f4+ e:f4#;  b/1.S:f5 Th4 2.Tg4 e:d4+ 3.Kf4 T:g4#

E45 – a/ 1.Le4 Ka7 2.Td2 Tb4 3.Ld3 Tc4#; b/ 1.Kb1 Le4 2.Dc2 Tf7 3.Tc3 Tf1#

E46 –  a/ 1.Th4 La3 2.Db4 Lg4+ 3.Ke7 L:b4#; b/ 1.Dh3 L:b5 2.Tc4 Lg3+ 3.Kf1 L:c4# 

E47 –  a/ 1.De7 ed6 2.De2 De3 3.Dd2 Dc5#; b/ 1.d5 De7 2.d4 Da3 3.Db4 Dc1#.  

E48 –  a/ 1.Lg3 (Lf4 unpins Te3) Te5 (Te3 unpins Lf4) 2.Lf2+ Kg4 3.Lc5 bc5#; b/ 1.Lb7 Tg3 (Te3 unpins Lf4) 2.Le3 (Lf4 unpins Te3) Tg5:+ 3.Kc6 b5#

E49 – a/ 1.Ld7 e:d7 (e1: capture) 2.T:g6 (e2: capture) d8D 3.Tg4 Dd3#; b/ 1.Th7 g:h7 (e2: capture) 2.L:b6 (e3: capture) h8D 3.Lg1 D:h4#; c/ 1.L:e6 (e1: capture) b:a7 (e3: capture) 2.Lf5 a8D 3.Lb1 D:a3#. Cyclic Zilahi.

E50 – 1.Te5 Sc3 2.Kd4 Lc2 3.Se3 Sb5#; 1.Tc2 Le5 2.Kd3: Kd5 3.Le3 Sc1#. 2 X bicolor Grimshaw (on c2 & e5). Thematic pieces Lb1-Tc1 & Lh8-Tg5

E51 – a/ 1.Df5 Lc2 2.Dd7 Lh7 3.Ke6 Lg8#;  1.e5 Le8 2.Da4 Le3 3.Dc6 Lf7#; b/ 1.Lb8 Lc7 2.b6 L:b6 3.Ka8 Lc6#; c/ 1.Dd1 L:g5 2.Lf4 Lb5 3.Ld2 L:h4#

E52 – a/ 1.e6 Lb4 2.Td2 Le7+ 3.Ke5 f4#; b/ 1.Tb4 Ld4 2.Tb3+ Tb4 3.Tf3 Lc3#

E53 – 1.Tc8 Ta7 2.Td6 Te7 3.Tc4 Te5#; 1.T6:b5 Tc1 2.Tc2 L:e4+ 3.Kc4 T:c2#; X: white Tc4 - Y: black Tc5; "e" (effect): black-white-black Bristol clearing.

E54 – a/1.D:d3 L:d6 2.D:d5 Lc7+ 3.Tb6 T:d5#; b/ 1.T:d6 T:d3 2.T:d5 T:d5+ 3.Db5 Lc7#

E55 – 1.Kf5 S:c5 (d7S clear for L) 2.L:c5 (L capture d7S) Kg7 3.L:e3 (L clear for c4S) S:e3# (c4S capture L); 1.Kh5 S:b2 (c4S clear for L) 2.L:b2 (L capture c4S) Lg3 3.L::f6 (L clear for d7S) S:f6# (d7S capture L). Two thematic pairs of units (L/d7S) (L/c4S) and effects (clear square/capture).

E56 – 1.Lb7 Le6 2.Kb4 K:d6 3.Lc3 T:b7# - L(A1) close the line of T(B1), L(A2) close the line of T(B2); 1.Te6 Tb7 2.Kc4 K:c6 3.Dc3 L:e6# - T(B1) close the line of L(A1), T(B2) close the line of L(A2). Four thematic pieces and doubling of the theme in two phases.

E57 – 1.T:d3 Lf1 2.Td4 La6 3.Sc4 Lb7#; 1.Tg3 L:g4 2.Ld4 Lf5 3.Tg6 Le4#

E58 – a/ 1.Sc5! Sbd3 2.Sb2 Sc4 3.Kc6 Sb4#; 1.Sd6! Sa4 2.Sb2 Sd3 3.Kc6 Sb4#; b/ 1.Sc1! Sf3 2.Se5 Sc4 3.Kd1 Se3#; 1.Sd2! Sec4 2.Se5 Sd3 3.Kd1 Se3#.

E59 – a/ 1.Ld4 c:b4+ 2.K:b4 Th1 3.Lc5 Tb1#; b/ 1.Le5 Td4 2.b:c3+ K:c3 3.Ld6 Tc4#  

E60 – 1.Le6: Tf6 2.Lc4 Tc6 3.Lb5 Le7:#; 1.Lg4 Td3: 2.Le2 Td5 3.Lc4 Le1#

E61 – 1.Lb6 (X1 `e' Y) Lc5 (Y `e' X2) 2.Sf3 e4 (tempo!) 3.Sh4 Le3#; 1.Sc6 (X2 `e' Y) Le5 (Y `e' X1) 2.Lf2 e3 3.Lh4 Lf4#, X1= BLc5, X2= BSe5, Y= WLd6; `e'= unpin, Duplication of the theme, reciprocal functions of BLc5 and BSe5, (black/white Umnov)   

E62 – a/ 1.Tf4 Lg8 2.Df7 Te3 3.Dg6 Le6#; b/ 1.Kf4 T:g3 2.De3 Ld5 3.De5 Tf3#; c/ 1.Da2 Lb3 2.Kg6 Lc2 3.Df7 T:g3#; d/ 1.Da3 Tb3 2.Kg4 Tb4 3.Df3 Le6#

E63 –  1.S:f1 Kf7 2.Ke3 Ke6 3.Kd4 L:b6#; 1.Td5 S:d2+ 2.Ke3 Lf4+ 3.Kd4 Sb3#; 1.L:c7 Se3 2.Kg3 K:h6 3.Kh4 Sf5#; 1.Th4 L:b6 2.Kf4 Sg3 3.Kg5 Le3#   

E64 – a/ 1.Ke6 e5 2.Ke7 e6 3.T:e6 T:d7#; b/ 1.T:e6 d6 2.Kd5 d:e7 3.Kd6 e:d8D#. - BK, wP follow-my-leader; - bT, wT recripical captures; - wT,bT recripical captures; (also Zilahi and bT change of functions).

E65 – a/ 1.Kf7 Lc8 2.Da8 Lb7 3.De8 Ld5#; b/ 1.Df5 Le4 2.Dd5 L:g6 3.Se5 f5#

E66 – 1.Tc2 Tc7 2.Tgc6 K:e5+ 3.Kc3 Kf5#; 1.Lb2 Lf6 2.De5+ K:c6+ 3.Kc3 Kb7#. Tc8 shuts off Db8, Tg6 shuts off Tc8, Lh8 shuts off Tg6, Db8 shuts off Lh8, cyclic shut- offs + critical moves + pin mates

E67 – 1.- T:h1! 2.Ka3 T:h5 3.b3 Ta5#; 1.T:a1! f7 2.Ka3 f8=T! 3.b3 Ta8#. Mutual capture of the rooks. E68 – 1.La6: Sc7 2.Kc5 b4+ 3.Kb6 Sa8#; 1.Ta5 Sf4 2.Kc5 Kb2 3.Kb4 Sd3:#; 1.Ke7 ab7: 2.Kf7 b8D 3.Kg6 De8#; 1.Lc5 a7 2.Te7 a8D 3.Te6: Dd8#. Bicolor cycle of captures

E69 – a/ 1.Tgg7(Tdg7?) Te2 2.Ke5 K:g4 3.Td5(Dd5?) L:g7#; b/ 1.Le2(De2?) Lg7 2.Ke4 K:g5 3.Dd5(Td5?) T:e2#. Mutual interferences of Tg8/Lh8 and Ld1/Te1.   

E70 – a/ 1.f:e5 (X1 `e' Y1) L:e5 2.d:c3 (X2 `e' Y2) L:c3 3.g:h3 (X3 `e' Y3) Le1#; b/ 1.Lf4 e:f6 (Y1 `e' X1) 2.Ld6 h:g4+ (Y3 `e' X3) 3.Ke5 c:d4# (Y2 `e' X2), X1=BPf6, X2=BPd4, X3=BPg4, Y1=WPe5, Y2=WPc3, Y3=WPh3; `e'= capture. Triplication of the theme   

E71 – a/ 1.Sd6 La7! 2.Tb6! b5+ 3.Kc5 L:b6#; b/ 1.Tb5! Lb6! 2.Tc5! bc5 3.Kd7 Lb5#  Critical moves, critical square b6. 

E72 – 1.c:d4 (X1 `e' Y1) d:e3 (Y2 `e' X2) 2.Ke5 f4+ 3.Ke4 e:d3# (Y3 `e' X3); 1.e:d2 (X2 `e'Y2) T:d2 2.d:e2 (X3 `e' Y3) T:e2+ 3.Kd6 d:c5# (Y1 `e' X1), X1 = BPc5, X2 = BPe3, X3 = BPd3, Y1 = WPd4, Y2 = WPd2, Y3 = WPe2, `e'= capture. Triplication of the theme 5 line openings 

E73 – a/ 1.Tcc4 Tc5 2.Tfc6 Sf6 3.Kd4 T:d5#; b/ 1.Tf4 Tf6 2.Tcc6 Sc5 3.Te4 S:d7#

E74 –  a/1.Td4:e4 Se1 3.Kd4 Kg6 3.Ke5 S:f3#; b/ 1.Tb2 Le4:d3 2.Kb3 Lb5 3.Tb4 Sa1#; c/ 1.Ld3:c2 Lf5 2.Se4 Lh3 3.Kd3 Lf1#; d/ 1.Kc5 Sc2:d4 2.Lb5 Ld3 3.Lc6 S:e6#. Cyclic black- white captures: Td4:Le4, Le4:Ld3, Ld3:Sc2, Sc2:Td4

E75 – a/1.D:b3 (E1) Da2(y) 2.De6(E2) Dd5+(E3) 3.Kf6 Dg5#; b/ 1.Kd5 D:c2(E1) 2.Db1(y) Dg6(E2); 3.De4(E3) Dd6#; c/ 1.D:c2(E1) Kh1 2.Df5(E2) Dd3(E3) 3.Ke6 Dd6#; d/ 1.Kd5 D:b3+(E1) 2.Kc6 Dg8(E2) 3.Dd5(E3) Dc8#. y=b1›a2

E76 – a/ 1.Tc4 Td1(X) 2.Td2(X') Kg8 3.Te2(Y) Td3(Y')#; b/ 1.Td6(X) Td5(X') 2.Lc4 Tg5:(Y) 3.Td2(Y') Te5#;  Effect X: Bi-color T-T Bristol; Effect Y: Line - opening & passing of b/wT; Extra theme: Grimshaw on c4

E77 – 1.S:g2 L:g2 2.Kc5 S:d3+ 3.Kb5 Lc6# - L(A) takes S(B) which took T(C); 1.L:f2 T:f2 2.Se5 Lg2 3.Tc5 T:f4# - T(C) takes L(D) which took S(E); 1.T:h3 S:h3 2.Ke4 T:h2 3.Kf3 Sg5# - S(E) takes T(F) which took L(A). Cyclic expression, expansion of pattern B and combination with Zilahi theme.

E78 – 1.Lg1 L:c4 2.S:c4 Th5 3.Se5 f:e5#; 1.S:c2 L:c2 2.g5 Lg6 3.h:g6 f:g5#

E79 – a/ 1.f6 T:d3 2.Td4 dc3 3.Tf4 Td5#; b/ 1.Td8 Td7 2.Tg8 d4 3.Tg5 T:f7#; c/ 1.Ke5 dc3 2.Tf4 c4 3.f6 Td5#; d/ 1.L:d2+ Kd1 2.Lg5 Th4 3.Le4 fe4#

E80 – 1.Tf4 d5 2.Lg7 Se5 3.Tg6 Sf7#;  1.Dh8 Lf4 2.Kh7 L:e4 3.Tg7 Sf8#. Black - white Grimshaw with unpinning

E81 – 1.Td8 Td7 2.f:e3 Tf7 3.Td3 f3#; 1.Tf5 T:d2 2.Td3 e:f4 3.Tf3 Td4#

E82 – a/ 1.T:h2 Lg2 2.Sc3 Sde4 3.Kc4 Sd6#; b/ 1.De4 Sc4 2.Sg3 Sd1 3.Dc6 Sc3#; c/ 1.Lg5 Sd3 2.Sg1 Lh3 3.Da5 Ld7#

E83 – 1.L:f3 Lb4 2.Ld5 T:g3 3.Sc5 Lc3#; 1.S:e5 T:f4 2.Sc4 T:f5 3.L:d3 Lc5#

E84  – 1.Lf1 Le2 2.Kc5 Lb5: 3.Lb5: La3#; 1.Ke6 Ld1 2.Le2 Lf4: 3.Lg4: Lg4:#

E85 – 1.L:c4 L:a7 2.T:a7 T:c4 3.Tg7 Th4#; 1.T:c5 T:e2 2.L:e2 L:c5 3.Lh5 Lf8#

E86 – a/ 1.Kh2 Td5 2.Te5 h5 3.T:h5 T:h5#; b/ 1.Te6 Te5 2.fg2 Te2 3.Tee4 L:g2#

E87 – 1.dc4: ef5: 2.c3 Lb5: 3.Te2 Sc4#; 1.fe4: cd5: 2.De2: de6: 3.e3 Sde4#. Effects: "Three mutual captures", Gate openings and self-blocks.

E88 – 1.h1L S:c4 2.L:d5 S:e5 3.Le6 Sc4#; 1.S:e3 d4 2.S:d5 d:e5 3.Se3 e6#. Thematic men: xS and bS. in I)wS takes bS, in II)bS takes wS

E89 – a/ 1.Lh8(X) Lg7(X') 2.Le6 Lh6:(Y) 3.Lc3(Y') Lg5:#; b/ 1.Te6 La1(X) 2.Lb2(X') Kc4 3.Lc1(Y) Lc3(Y')#; Effect X: Bi-color L-L Bristol; Effect Y: Line - opening & passing of b/wL to c3  

E90 – a/ 1.Td7 d:e5 2.Kc6 Ke4 3.Sc7 Sd8#;  b/ 1.e:d4 Lg6 2.e5 Kg2 3.Ke4 Sf6#; 3x the required theme: 1. the kings procure each other square e4; 2. pawns d4 and e5 capture each other; 3. Tg7 and Le8 shut each other off.

E91 – a/ 1.Tf:d7+ f7 2.Tg6 f8S 3.Ld6 S:d7#; b/ 1.Td:f6 T:d4 2.g6 T:f4 3.Tc7 T:f6# 

E92 – a/1.Lb3: d3+ 2.Ka4 Lc3 3.La3 Ld7:#; b/ 1.Tc3 ba4: 2.Ta3 Lb3 3.ed2: Ld2:#; c/ 1.de6: de3: 2.Kf5 Ld2 3.Lf6 e4#. Effects: Cyclic mutual captures.

E93 – 1.Kd5+ (Kd6+?) Kf3 2.Kc5+ Te4 3.Ld5 Lb4#; 1.Tb7 Kd4+ (Ke4?) 2.Kf6 Ke4+ 3.Kg5 Tg2#

E94 – a/1.T:h6 Te3 2.De5 fg5 3.Ke6 Sf4#; b/ 1.gf4 Te2 2.Le3 T:h5 3.Ke4 Sf2#

E95 – 1.Lc6 Lf5 2.Tb3 K:e5 3.K:c3 T:c6#; 1.Tf5 Tc6 2.Le3+ K:d5 3.K:d3 L:f5#

E96 – 1.Kc4 La1 2.Lc3 T:h3 3.Kb3 T:c3#; 1.Kc6 L:e5 2.Kb7 Tb3+ 3.Ka8 Tb8#; 1.L:d4 Tc3 2.Ke5 T:c5+ 3.Kf6 Tf5#; 1.Lg7 Lf6 2.Ke4 Te3+ 3.Kf4 Lg5#

E97 – a/ 1.f3 Lg3 2.L:d4 Le5 3.Sf4 L:d4#; 1.T:b5 Ta4 2.Tb4 L:f4+ 3.K:d4 T:b4#; b/ 1.Lf8 Lh8 2.Lg7 T:c3+ 3.K:d4 L:g7#; 1.Kd3 Tc5 2.T:d4 Tc4 3.Se3 T:d4#

E98 – 1.L:g2! T:h3 2.L:e4 d:e4 3.Tb4 T:a3#; 1.T:f3! L:h1 2.Tf5 e:f5 3.Lb4 L:c6#. Two pairs of reciprocal captures (Lh1xLg2/Lg2:Lh1 and Tf3xTh3/Th3xTf3); reciprocal block Grimshaw!

E99 – 1.Tc3 Td3 2.Tc5 c3 3.Tf5 T:d4#; 1.Sf5 c4 2.Tc3 Ka4 3.Tc2 d3#; 1.d5 T:f2 2.Tf3 f5 3.T:f5 Te2#