Tham khảo tài liệu 'forex strategies for high and low volatility markets_3', tài chính - ngân hàng, đầu tư chứng khoán phục vụ nhu cầu học tập, nghiên cứu và làm việc hiệu quả | MASTERING THE CURRENCY MARKET Figure 5-29 Fifty Percent Retracement Level Holds in USDJPY of thumb the smaller the retracement the stronger the original move. For example a percent retracement after a move generally indicates a stronger likelihood of a continuation of the original move beyond its previous high or low compared with a retracement. It s also important to note the distance of the previous retracement as often that measurement becomes a characteristic and thus repeats itself. As always it s very important to have enough information in the form of time on the chart to avoid being caught measuring retracements of a minor move or retracements of a retracement and miss the long-term trend or the big picture. Figure 5-30 shows how USDJPY falls into a pattern of percent retracements as it gives us three in a row. It is not 116 SUPPORT AND RESISTANCE Figure 5-30 Three Percent Retracements in a Row uncommon to see price movement break down so cleanly into measured retracements. This type of predictability however generally is found only in very liquid that is very heavily traded securities currencies and commodities. Figure 5-31 shows GBPUSD completing a perfect 50 percent retracement on a 60-minute chart just ahead of a powerful rally after the . nonfarm payroll news release on June 6 2008. Figure 5-32 shows the intersection of a percent retracement and a bull trendline hold on a 240-minute chart followed by a powerful rally that quickly reversed the previous session s sell-off and confirmed the long-term uptrend. Also note the sizable change-of-direction candle that kicked off the up move. In Figure 5-33 we ve included a 60-minute chart of the same 117 MASTERING THE CURRENCY MARKET Figure 5-31 Fifty Percent Retracement on a 60-Minute GBPUSD Chart after an Economic Release Figure 5-32 A Percent Retracement on a 240-Minute USDJPY Chart .
