Semi-Slav Defense: Noteboom Variation, Anti-Noteboom Variation

1. d4 d5 2. c4 e6 3. Nc3 c6 4. Nf3 dxc4 5. Bg5

Semi-Slav Defense: Noteboom Variation, Anti-Noteboom Variation after 1. d4 d5 2. c4 e6 3. Nc3 c6 4. Nf3 dxc4 5. Bg5 87654321abcdefgh

The Semi-Slav Defense: Noteboom Variation, Anti-Noteboom Variation is a chess opening classified as ECO D31, reached after 1. d4 d5 2. c4 e6 3. Nc3 c6 4. Nf3 dxc4 5. Bg5. It is a line of the Semi-Slav Defense. Black is to move. 1 named line continues from this position.

In 12.6 million rated Lichess games (blitz and slower), this position was reached 36 times by this move order. White won 53%, 3% were drawn and Black won 44%. The most popular continuation is 5… f6 (39% of games).

Engine evaluation: −0.11 (Stockfish, depth 46; best line 5… Be7 6. Bxe7 Nxe7 7. a4 Nd5 8. a5)

ECO
D31
Moves
9 plies
FEN
rnbqkbnr/pp3ppp/2p1p3/6B1/2pP4/2N2N2/PP2PPPP/R2QKB1R b KQkq - 1 5
PGN
1. d4 d5 2. c4 e6 3. Nc3 c6 4. Nf3 dxc4 5. Bg5

Analyse with Stockfish · Board image (SVG) · Open on Lichess

Results by rating

Average ratingGamesWhite / draw / Black
0-1499450%25%25%
1500-19992152%48%
2000+1155%45%
All3653%44%

Most played moves

MoveGamesWhite / draw / Black
5… f6
Noteboom Variation, Anti-Noteboom Variation, Belyavsky Line
14 (39%)57%43%
5… Be79 (25%)44%12%44%
5… Nf67 (19%)57%43%
5… Qc72 (6%)50%50%
5… Qa52 (6%)50%50%
5… b51 (3%)100%
5… Qb61 (3%)100%

Master games

14 over-the-board games are classified under this line (White 14%, draw 57%, Black 29%). The strongest:

Search all games of the Semi-Slav Defense: Noteboom Variation, Anti-Noteboom Variation and its sub-variations

Highest-rated Lichess games

Comes from

Semi-Slav Defense: Noteboom Variation 1. d4 d5 2. c4 e6 3. Nc3 c6 4. Nf3 dxc4

Continuations

More Semi-Slav Defense lines (all)

Opening names and moves from the Lichess openings dataset; statistics from the Lichess open database, 2026-09 (CC0), sample of 12.6 million games, bots excluded; evaluations from Lichess cloud analysis (all CC0). Master games from The Week in Chess #920–#1664 by Mark Crowther, used with permission.