Then how's this for a sample line...7. Bh3 hxg4
8. Bxg4 Nh6 9. e6 Nxg4 10. exf7+ Kxf7 11. fxg4 Qd6 12. Qf3+ Ke8
13. Bf4 Qe6+ 14. Ne2 Be4 15. Qb3 Bxh1 16. Qxb7 Bf3 17. Nbc3 Nd7
18. Qxa8+ Kf7 19. Qxa7 *

Or how about this one... 7. Bh3 e6
8. Bg5 Be7 9. gxh5 Rxh5 10. Qd2 Bxg5 11. hxg5 c5 12. dxc5 Qc7 13. Qf4 Nc6
14. Nc3 Nxe5 15. Qa4+ Nd7 16. O-O-O Qxc5 17. Rxd5 exd5 18. Qxd7+ Kf8
19. Qxd5 Qe3+ 20. Kb1 Qe1+ 21. Nd1 Ne7 22. Qd6 *


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I'm curious to know if anybody here has been able to analyze a new move in the Caro Kann Advance variation. I was kibitzing with myself in the Caro Kann Advance variation and discovered a move that I don't think Lars Schandorff mentions in the book. On page 87 he mentions for move 7 the line e6...being something that Black should decline on grounds the capture would ruin its pawn structure. But there's a potentially much stronger move for White here on move 7.

Here's the line I'm referring to:

1.e4 c6 2.d4 d5 3.e5 Bf5 4.g4 Be4 5.f3 Bg6 6.h4 h5...now at this point Lars Schandorff in the Caro Kann book for Grandmaster Repertoire mentions 7. e6. Black has the strong reply Qb6. But I was looking at the position for White on move 7 and found this:

7.Bh3!?

The point of this move becomes clear when Black captures 7...hg4 the White bishop becomes very powerful here after recapturing with 8.Bg4. The threat of f4 becomes very real here and Black suddenly has a very cramped position. Any thoughts on this new move?