sharpplay wrote on 07/24/10 at 12:10:19:If you look back at the games of players like Pillsbury, Marshall, Alekhine etc, we see a lot of the patterns we now study in our tactics books. But how did these guys learn the patterns? They did not have "How to Beat your Dad at Chess" or CT-Art 3.0. Did they have tactics puzzles to look at or was this all a product of their own creativity and playing lots of games?
I'm not a historian, but I think the early masters you mention indeed had to rely a lot on picking up patterns from their own and others' games, a form of studying "in context".
I think it's no coincidence that John Nunn could write while comparing the top tournaments Karlsbad 1911 (won by Teichmann) and Biel IZ 1993 (won by Gelfand):
"To summarize, the old players were much worse than I expected. The blunders thrown up by Fritz were so awful that I looked at a considerable number of complete games 'by hand', wondering if the Fritz results really reflected the general standard of play. They did. By comparison, the Fritz search on the 1993 Biel Interzonal revealed relatively little [...]"
And later:
"It is clear that the Karlsbad players were far more prone to severe errors than contemporary players. Even the leading players made frequent blunders."
(from
John Nunn's Chess Puzzle Book)
I argue that modern methods of massed tactics study (recently including computer programs like CT-Art, though that's not relevant to Biel 1993) are much more efficient, and have dramatically reduced the number of blunders and tactical errors on all levels including world-class.
I should admit that there are early examples of collections of tactical problems, though I have no idea how many, or how systematically they were used by ambitious players. An example is the following, very systematic 1862 effort by the well-known german master Max Lange:
http://books.google.com/books?id=vE9AAAAAYAAJ&printsec=frontcover&dq=Max+Lange+H...The book takes a historical perspective and contains all kinds of problems. From a modern, optimal training perspective it could be criticized for focusing too much on beautiful but artificial composed positions that are less relevant for practical play (though beautiful chess problems have value in themselves, of course).