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CHOP, HALF VOLLEY, AND COURT POSITION IN TENNIS. |
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Written by Administrator
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Thursday, 01 October 2009 00:00 |
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Chop stroke.
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In Tennis, a chop stroke is a shot where the angle towards the player and behind the racquet, made by the line of flight of the ball, and the racquet travelling down across it, is greater than 45 degrees and may be 90 degrees. The racquet face passes slightly outside the ball and down the side, chopping it, as a man chops wood. The spin and curve is from right to left. It is made with a stiff wrist.
The slice shot merely reduced the angle mentioned from 45 degrees down to a very small one. The racquet face passes either inside or outside the ball, according to direction desired, while the stroke is mainly a wrist twist or slap. This slap imparts a decided skidding break to the ball, while a chop "drags" the ball off the ground without break.
The rules of footwork for both these shots should be the same as the drive, but because both are made with a short swing and more wrist play, without the need of weight, the rules of footwork may be more safely discarded and body position not so carefully considered.
Both these shots are essentially defensive, and are labour-saving devices when your opponent is on the service line. A chop or slice is very hard to drive, and will break up any driving game.
It is not a shot to use against a volley, as it is too slow to pass and too high to cause any worry. It should be used to drop short, soft shots at the feet of the net man as he comes in. Do not strive to pass a net man with a chop or slice, except through a big opening.
The drop-shot is a very soft, sharply-angled chop stroke, played wholly with the wrist. It should drop within 3 to 5 feet of the net to be of any use. The racquet face passes around the outside of the ball and under it with a distinct "wrist turn." Do not swing the racquet from the shoulder in making a drop shot. The drop shot has no relation to a stop-volley. The drop shot is all wrist. The stop-volley has no wrist at all.
Use all your wrist shots, chop, slice, and drop, merely as an auxilliary to your orthodox game. They are intended to upset your opponent's game through the varied spin on the ball.
The half volley.
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This shot requires more perfect timing, eyesight, and racquet work than any other, since its margin of safety is smallest and its manifold chances of mishaps numberless.
It is a pick-up. The ball meets the ground and racquet face at nearly the same moment, the ball bouncing off the ground, on the strings. This shot is a stiff-wrist, short swing, like a volley with no follow through. The racquet face travels along the ground with a slight tilt over the ball and towards the net, thus holding the ball low; the shot, like all others in tennis, should travel across the racquet face, along the short strings. The racquet face should always be slightly outside the ball.
The half volley is essentially a defensive stroke, since it should only be made as a last resort, when caught out of position by your opponent's shot. It is a desperate attempt to extricate yourself from a dangerous position without retreating. never deliberately half volley.
Court position.
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A tennis court is 39 feet long from service line to net. There are only two places in a tennis court that a tennis player should be to await the ball.
1. About 3 feet behind the service line near the middle of the court, or
2. About 6 to 8 feet back from the net and almost opposite the ball.
The first is the place for all service line players. The second is the net position.
If you are drawn out of these positions by a shot which you must return, do not remain at the point where you struck the ball, but attain one of the two positions mentioned as rapidly as possible.
The distance from the service line to about 10, feet from the net may be considered as "no-man's-land" or "the blank." Never linger there, since a deep shot will catch you at your feet. After making your shot from the blank, as you must often do, retreat behind the service line to await the return, so you may again come forward to meet the ball. If you are drawn in short and cannot retreat safely, continue all the way to the net position.
Never stand and watch your shot, for to do so simply means you are out of position for your next stroke. Strive to attain a position so that you always arrive at the spot the ball is going to before it actually arrives. Do your hard running while the ball is in the air, so you will not be hurried in your stroke after it bounces.
It is in learning to do this that natural anticipation plays a big role. Some players instinctively know where the next return is going and take position accordingly, while others will never sense it. It is to the latter class that I urge court position, and recommend always coming in from behind the service line to meet the ball, since it is much easier to run forward than back.
Should you be caught at the net, with a short shot to your opponent, do not stand still and let him pass you at will, as he can easily do. Pick out the side where you think he will hit, and jump to, it suddenly as he swings. If you guess right, you win the point. If you are wrong, you are no worse off, since he would have beaten you anyway with his shot.
Your position should always strive to be such that you can cover the greatest possible area of court without sacrificing safety, since the straight shot is the surest, most dangerous, and must be covered. It is merely a question of how much more court than that immediately in front of the ball may be guarded.
A well-grounded knowledge of court position saves many points, to say nothing of much breath expended in long runs after hopeless shots.
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THE VOLLEY AND OVERHEAD SMASH. |
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Written by Administrator
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Friday, 10 October 2008 00:00 |
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The net attack is the heavy artillery of tennis. It is supposed to crush all defence. As such it must be regarded as a point-winning stroke at all times, no matter whether the shot is volley or smash.
Once at the net hit from the point at the first opportunity given to get the racket squarely on the ball. All the laws of footwork explained for the drive are theoretically the same in volleying. In practice you seldom have time to change your feet to a set place, so you obviate trouble by throwing the weight on the foot nearest to the ball and pushing it in the shot.
Volleys are of two classes: (1) the low volley, made from below the waist; and (2) the high volley, from the waist to the head. In contradistinction to the hitting plane classification are the two styles known as (1) the deep volley and (2) the stop volley.
All low volleys are blocked. High volleys may be either blocked or hit. Volleys should never be stroked. There is no follow through on a low volley and very little on a high one.
You will hear much talk of "chop" volleys. A chop stroke is one where the racket travels from above the line of flight of the ball, down and through it, and the angle made behind the racket is greater than 45 degrees, and many approach 90 degrees. Therefore I say that no volleys should be chopped, for the tendency is to pop the ball up in the air off any chop. Slice volleys if you want to, or hit them flat, for both these shots are made at a very small angle to the flight-line of the ball, the racket face travelling almost along its plane.
In all volleys, high or low, the wrist should be locked and absolutely stiff. It should always be below the racket head, thus bracing the racket versus the impact of the ball. Allow the force of the incoming shot, plus your own weight, to return the ball, and do not strive to "wrist" it over. The tilted racket face will give any required angle to the return by glancing the ball off the strings, so no wrist turn is needed.
Low volleys can never be hit hard, and owing to the height of the net should usually be sharply angled, to allow distance for the rise. Any ball met at a higher plane than the top of the net may be hit hard. The stroke should be crisp, snappy, and decisive, but it should stop as it meets the ball. The follow through should be very small. Most low volleys should be soft and short. Most high volleys require speed and length.
The "stop" volley is nothing more than a shot blocked short. There is no force used. The racket simply meets the oncoming ball and stops it. The ball rebounds and falls of its own weight. There is little bounce to such a shot, and that may be reduced by allowing the racket to slide slightly under the ball at the moment of impact, thus imparting back spin to the ball.
Volleying is a science based on the old geometric axiom that a straight line is the shortest distance between two points. I mean that a volleyer must always cover the straight passing shot since it is the shortest shot with which to pass him, and he must volley straight to his opening and not waste time trying freakish curving volleys that give the base-liner time to recover. It is Johnston's great straight volley that makes him such a dangerous net man. He is always "punching" his volley straight and hard to the opening in his opponent's court.
A net player must have ground strokes in order to attain the net place. Do not think that a service and volley will suffice versus first-class tennis.
Strive to kill your volleys at once, but should your shot not win, follow the ball 'cross and again cover the straight shot. Always force the man striving to pass you to play the hardest possible shot.
Attack with your volleys. Never defend the ball when at the net. The only defensive volley is one at your feet as you come in. It is a mid-court shot. Volleys should win with placement more than speed, although speed may be used on a high volley.
Closely related to the volley, yet in no way a volley stroke, is the overhead smash. It is the Big Bertha of tennis. It is the long range terror that should always score. The rules of footwork, place, and direction that govern the volley will suffice for the overhead. The swing alone is different. The swing should be closely allied to the slice service, the racket and arm swinging freely from the shoulder, the wrist flexible and the racket imparting a slight twist to the ball to hold it in court. The overhead is mainly a point winner through speed, since its bounce is so high that a slow placement often allows time for a recovery.
Do not leap in the air unnecessarily to hit overhead balls. Keep at least one foot, and when possible both feet, on the ground in smashing, as it aids in regulating the weight, and gives better balance. Hit flat and decisively to the point if desired.
Most missed overhead shots are due to the eye leaving the ball; but a second class of errors are due to lack of confidence that gives a cramped, half-hearted swing. Follow through your overhead shot to the limit of your swing.
The overhead is essentially a doubles shot, because in singles the chances of passing the net man are greater than lobbing over his head, while in doubles two men cover the net so easily that the best way to open the court is to lob one man back.
In smashing, the longest distance is the safest shot since it allows a greater margin of error. Therefore smash 'cross court when pressed, but pull your short lobs either side as determined by the man you are playing.
Never drop a lob you can hit overhead, as it forces you back and gives the attacking place to your opponent. Never smash with a reverse twist, always hit with a straight racket face and direct to the opening.
Closely connected to the overhead since it is the usual defence to any hard smash, is the lob.
A lob is a high toss of the ball landing between the service-line and the baseline. An excellent lob should be within 6 feet of the baseline.
Lobs are essentially defensive. The ideas in lobbing are: (1) to give yourself time to recover place when pulled out of court by your opponent's shot; (2) to drive back the net man and break up his attack; (3) to tire your opponent; (4) occasionally to, win cleanly by placement. This is usually a lob volley from a close net rally, and is a slightly different stroke.
There is (1) the chop lob, a heavily under-cut spin that hangs in the air. This, is the best defensive lob, as it goes high and gives plenty of time to recover place. (2) The stroke lob or flat lob, hit with a slight top spin. This is the point-winning lob since it gives no time to, the player to run around it, as it is lower and faster than the chop. In making this lob, start your swing like a drive, but allow the racket to slow up and the face to tilt upward just as you meet the ball. This, shot should seldom go above 10 feet in the air, since it tends to go out with the float of the ball.
The chop lob, which is a decided under cut, should rise from 20 to 30 feet, or more, high and must go deep. It is better to lob out and run your opponent back, thus tiring him, than to lob short and give him confidence by an easy kill. The value of a lob is mainly one of upsetting your opponent, and its effects are very apparent if you unexpectedly bring off one at the crucial period of a match.
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THE PSYCHOLOGY OF SINGLES AND DOUBLES IN TENNIS |
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Written by Administrator
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Thursday, 09 October 2008 00:00 |
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Singles, the greatest strain in tennis, is the game for two players. It is in this phase of the game that the personal equation reaches its crest of importance. This is the game of individual effort, mental and physical.
A hard 5-set singles match is the greatest strain on the body and nervous system of any form of sport. Singles is a game of daring, dash, speed of foot and stroke. It is a game of chance far more than doubles. Since you have no mate dependent upon you, you can afford to risk error for the possibility of speedy victory. A lot of what I wrote under match play is more for singles than doubles, yet let me call your attention to certain peculiarities of singles from the standpoint of the spectator.
A gallery enjoys personalities far more than styles. Singles brings two people into close and active relations that show the idiosyncrasies of each player far more acutely than doubles. The spectator is in the position of a man watching an insect under a microscope. He can analyse the inner workings.
The freedom of restraint felt on a single court is in marked contrast to the need for team work in doubles. Go out for your shot in singles whenever there is a reasonable chance of getting it. Hit harder at all times in singles than in doubles, for you have more chance of scoring and can take more risk.
Singles is a game of the imagination, doubles a science of exact angles.
Doubles is four-handed tennis. Enough of this primary reader definition.
It is just as vital to play to your mate in tennis as in bridge. Every time you make a stroke you must do it with a definite plan to avoid putting your mate in trouble. The keynote of doubles success is team work; not individual brilliancy. There is a certain type of team work dependent wholly upon individual brilliancy. Where both players are in the same class, a team is as strong as its weakest player at any given time, for here it is even team work with an equal division of the court that should be the method of play. In the case of one strong player and one weaker player, the team is as good as the strong player can make it by protecting and defending the weaker. This pair should develop its team work on the individual brilliancy of the stronger man.
The first essential of doubles play is to PUT the ball in play. A double fault is bad in singles, but it is inexcusable in doubles. The return of service should be certain. After that it should be low and to the server coming in. Do not strive for clean aces in doubles until you have the opening. Remember that to pass two men is a difficult task.
Always attack in doubles. The net is the only place in the court to play the doubles game, and you should always strive to attain the net position. I believe in always trying for the kill when you see a real opening. "Poach" (go for a shot which is not really on your side of the court) whenever you see a chance to score. Never poach unless you go for the kill. It is a win or nothing shot since it opens your whole court. If you are missing badly do not poach, as it is very disconcerting to your mate.
The question of covering a doubles court should not be a serious one. With all men striving to attain the net all the time every shot should be built up with that idea. Volley and smash whenever possible, and only retreat when absolutely necessary.
When the ball goes toward the side-line the net player on that side goes in close and toward the line. His mate falls slightly back and to the centre of the court, thus covering the shot between the men. If the next return goes to the other side, the two men reverse positions. The theory of court covering is two sides of a triangle, with the angle in the centre and the two sides running to the side-lines and in the direction of the net.
Each man should cover overhead balls over his own head, and hit them in the air whenever possible, since to allow them to drop gives the net to the other team. The only time for the mate to protect the overhead is when the net man "poaches," is outguessed, and the ball tossed over his head. Then the server covers and strives for a kill at once.
Always be ready to protect your mate, but do not take shots over his head unless he calls for you to, or you see a certain kill. Then say "Mine," step in and hit decisively. The matter of overhead balls, crossing under them, and such incidentals of team work are matters of personal opinion, and should be arranged by each team according to their joint views. I only offer general rules that can be modified to meet the wishes of the individuals.
Use the lob as a defence, and to give time to extricate yourself and your mate from a bad position. The value of service in doubles cannot be too strongly emphasized since it gives the net to the server. Service should always be held. To lose service is an unpardonable sin in first-class doubles. All shots in doubles should be low or very high. Do not hit shoulder-high as it is too easy to kill. Volley down and hard if possible. Every shot you make should be made with a definite idea of opening the court.
Hit down the centre to disrupt the team work of the opposing team; but hit to the side-lines for your aces.
Pick one man, preferably the weaker of your opponents, and centre your attack on him and keep it there. Pound him unmercifully, and in time he should crack under the attack. It is very foolish to alternate attack, since it simply puts both men on their game and tires neither.
If your mate starts badly play safely and surely until he rounds to form. Never show annoyance with your mate. Do not scold him. He is doing the best he can, and fighting with him does no good. Encourage him at all times and don't worry. A team that is fighting among themselves has little time left to play tennis, and after all tennis is the main object of doubles.
Offer suggestions to your mate at any time during a match; but do not insist on his following them, and do not get peevish if he doesn't. He simply does not agree with you, and he may be right. Who knows?
Every doubles team should have a leader to direct its play; but that leader must always be willing to drop leadership for any given point when his mate has the superior position. It is policy of attack not type of stroke that the leader should determine.
Pick a mate and stick to him. He should be a man you like and want to play with, and he should want to play with you. This will do away with a lot friction. His style should not be too nearly your own, since you double the faults without greatly increasing the virtues.
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Last Updated on Sunday, 11 October 2009 09:13 |
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THE PSYCHOLOGY OF PHYSICAL FITNESS. |
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Written by Administrator
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Wednesday, 08 October 2008 00:00 |
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Physical fitness is one of the great essentials of equal play. Keenness can only be acquired if the physical, mental, and nervous systems are in tune. Consistent and systematic training is essential to a tournament player.
Regular hours of sleep, and regular, hearty food at regular hours are necessary to keep the body at its highest efficiency. Food is particularly important. Eat well, but do not over-eat, particularly immediately before playing. I believe in a large hearty breakfast on the day of a big equal. This should be taken by nine-thirty. A moderate lunch at about one o'clock if playing at three. Do not eat very rich food at luncheon as it tends to slow you up on the court. Do not run the risk of indigestion, which is the worst enemy to dear eyesight. Rich, heavy food immediately before retiring is bad, as it is apt to make you "loggy" on the court the next day.
It is certain injury to touch alcoholic drink in any form during tournament play. Alcohol is a poison that affects the eye, the mind, and the wind three essentials in tennis. Tobacco in moderation does little harm, although it, too, hits eye and wind. A man who is facing a long season of tournament play should refrain from either alcohol or tobacco in any form. Excesses of any kind are bad for physical condition, and should not be chanced.
"Staleness" is the great enemy of players who play long seasons. It is a case of too much tennis. Staleness is seldom physical weariness. A player can always recover his strength by rest. Staleness is a mental fatigue due often to worry or too close attention to tennis, and not enough variety of thought. Its symptoms are a dislike for the tennis game and its surroundings, and a lack of interest in the equal when you are on the court. I advocate a break in training at such a time. Go to the theatre or a concert, and get your mind completely off tennis. Do your worrying about tennis while you are playing it, and forget the unpleasantness of bad play once you are off the court. Always have some outside interest you can turn to for relaxation during a tournament; but never allow it to interfere with your tennis when you should be intent on your game. A nice balance is hard to achieve, but, once attained is a great aid to a tournament player.
The laws of training should be closely followed before and after a equal. Do not get chilled before a equal, as it makes you stiff and slow. Above all else do not stand around without a wrap after a equal when you are hot or you will catch cold.
A lot of a player has acquired a touch of rheumatism from wasting time at the close of his equal instead of getting his shower while still warm. That slight stiffness the next day may mean defeat. A serious chill may mean severe illness. Do not take chances.
Change your wet clothes to dry ones between matches if you are to play twice in a day. It will make you feel better, and also avoid the risk of cold.
Tournament players must sacrifice some pleasures for the sake of success. Training will win a lot of a equal for a man if he sticks to it. Spasmodic training is useless, and should never be attempted.
The condition a player is, in is apt to decide his mental viewpoint, and aid him in accustoming himself to the external conditions of play.
All equal players should know a little about the phenomenon of crowd-psychology since, as in the case of the Church-Murray equal I related some time back, the crowd may play an important part in the result.
It seldom pays to get a crowd down on you. It always pays to win its sympathy. I do not mean play to the gallery, for that will have the opposite effect than the one desired.
The gallery is always for the weaker player. It is a case of helping the "under-dog." If you are a consistent winner you must accustom yourself to having the gallery show partiality for your opponent. It is no personal dislike of you. It is merely a natural reaction in favour of the loser. Sometimes a bad decision to one play will win the crowd's sympathy for him. Galleries are eminently just in their desires, even though at times their emotions run away with them.
Quite aside from the effect on the gallery, I wish to state here that when you are the favoured one in a decision that you know is wrong, strive to equalize it if possible by unostentatiously losing the next point. Do not hit the ball over the back stop or into the bottom of the net with a jaunty air of "Here you are." Just hit it slightly out or in the net, and go on about your business in the regular way. Your opponent always knows when you extend him this justice, and he appreciates it, even though he does not expect it. Never do it for effect. It is extremely bad taste. Only do it when your sense of justice tells you you should.
The crowd objects, and justly so, to a display of real temper on the court. A player who loses his head must expect a poor reception from the gallery. Questioned decisions by a player only put him in a bad light with the crowd and cannot alter the point. You may know the call was wrong, but grin at it, and the crowd will join you. These things are the essence of good sportsmanship, and good sportsmanship will win any gallery. The most unattractive player in the world will win the respect and admiration of a crowd by a display of real sportsmanship at the time of test.
Any player who really enjoys a equal for the game's sake will always be a fine sportsman, for there is no amusement to a equal that does not give your opponent his every right. A player who plays for the joy of the game wins the crowd the first time he steps on the court. All the world loves an optimist.
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