Steal This Drill: Mirror-Mirror

Here is an interesting drill for training groundstrokes as well as for warming up. The best part about this drill is that it can be performed with 4 (or more) players on court so it could be useful for situations where the court-time is limited (e.g. indoors). The basic drill is as follows:

1. Players play on one-half of the court. This can be either the down-the-line half (including/excluding doubles - coach's choice) or the cross-court half (including/excluding doubles - coach's choice).

2. One of the players feeds a deep (aim for 2-3 feet from the baseline) ball into his opponent's half.

3. The recipient (the "proactive" player) hits either a forehand or a backhand.

4. Here's the scope of this drill: whatever the recipient hits (forehand/backhand), the feeder (the "reactive" player) has to match/mirror. Hence the "mirror-mirror" name for this drill. It's "open play" when one of the players makes it to the net. However, players should be encouraged to play from the baseline so as to hone their groudnstroke and body-language instincts.

5. Variations for this drill include instances where the point is "opened up" (i.e., any shot goes after the ball cross the net a certain number of times: 6-8-10, etc.). Furthermore, although initially the players must only match the stroke (forehand-for-forehand; backhand-for-backhand), as the players develope they can also be encouraged to copy the spins. So if the receiver hits a slice backhand, the feeder must hit that as well. Lastly, the players can also do "opposite" mirror - so if the proactive player hits a forehand, the reactive player has to hit a backhand. An additional layer of complexity can be added by forcing the reactive player to hit not just the opposite shot but the opposite spin as well (e.g. BH slice when opponent hits FH topspin; and vice versa).

The drill teaches the players to be proactive in terms of dictating play (this goes for the receiver) and also to "read" the opponent's body language in order to make adjustments with respect to stroke and spin (particularly for the feeder...the "reactive" player). The reactive player MUST REALLY PAY ATTENTION in order to do this drill well. So focus is also improved. In addition, the feeder (reactive player) is taught how to control the point and seek to gain the upper hand from a relatively defensive position (i.e., turning defense into offense). Footwork is also a huge component of this drill - as the the "reactive" player hits the ball and immediately has to recover and adjust for the next ball from the "proactive" player.

If you would like to share any drill ideas or practical suggestions for improving the game, please email us at catenniseditor@gmail.com or contact us on Facebook. As always, if you like the information, please pass it along to anyone who may be interested.

Steal This Drill: Aggressive Doubles

This drill comes to us from Mr. Frercks Hartwig who is currently associated as a tennis coach and player devepoler at TMS - Die mobile Tennisschule in Baden-Wurttemberg, Germany.

Thank you, Mr. Hartwig, for submitting this drill to CAtennis.com. We hope that all of you take the time to incorporate it into your tennis development process. The drill is as follows:

1. Draw a line about 1meter (3ft inside each baseline).

2. While the ball is in play, the doubles-players may not over-step this line.

3. The players are encouraged to take the ball early - either off a half-volley, regular volley or swinging volley.

4. The coach alternates feeds from A to B and points are played up 12. Feeds are to be mixed in terms of height, depth, pace and spin in order to put the receivers in the position to make a variety of adjustments [Editor's Note: there may or might not be "re-dos" for missed feeds; coach's choice depending on the level of the players]

5. Immediately after the feed, both teams proceed to move in and engage in a volley-volley exchange. By being forced to move in, the "volley-shy" players learn that it's more effective to win points at the net than at baseline.

6. This drill can also be performed by either (a) having the A-B team hit a groundstroke first; (b) having the teams sprint in from behind the baseline at the same time or (c) by moving the "artificial" baseline forwards or backwards to take into account the skills of the players.

For a similar singles drill, see here. If you would like to share any drill ideas or practical suggestions for improving the game, please email us at catenniseditor@gmail.com or contact us on Facebook. As always, if you like the information, please pass it along to anyone who may be interested.

Steal This Drill: Third Set Training

Have you ever made it to a third set against a tough opponent, come close to winning but, due to fatigue, managed to only snatch defeat from the jaws of victory?! If so, you understand the role of proper physical conditioning when it comes to tennis. Unfortunately, too many players don't play enough sets (particularly THREE SETS IN A ROW) or train hard enough to get themselves in the best possiible position to win. Often times, this a result of lack of time or inexperience. However, assuming that you are motivated to learn and improve, here is one way to train for the third set if you only have one hour available:

Grab an equally motivated partner and play serving games up to 10 (or 11, 15, 21). One player serves the whole game and then the partners switch roles. Here's the kicker: each player should do 10 kangaroo jumps before each point. If you're tough, you will do 10 before the second serves as well. This will get your heart racing real quick and teach you how to think when you're physically and mentally fatigued. Another alternative would be to have only the person who lost the point do the jumps.

Here's the deal, "muscle fatigue leads to changes in interaction between structures of abrain's neural network", Fatigue-induced increase in intracortical communication between mid/anterior insular and motor cortex during cycling exercise (Eur. J. Neurosci. 2011 Dec;34(12):2035-42. doi: 10.1111/j.1460-9568.2011.07909.x. Epub 2011 Nov 20.; Hilty, L; Langer, N.; Pascual-Marqui, R., Boutellier, U.; Lutz; K.). As you may know, the cortex (see "intracortical" in the title of the article) plays a key role in memory, attention, perceptual awareness, thought, language, and consciousness. In the study (involving cyclists), there was a "lag" in the communication time between the various functions of the brain. See also Reduced muscle activation during exercise related to brain oxygenation and metabolism in humans (2010 Jun 1;588(Pt 11):1985-95. Epub 2010 Apr 19; Rasmussen, P., Nielsen, J; Overgaard, M., Krogh-Madsen R., Gjedde, A; Secher, NH; Peterse, NC): "Exhaustive exercise provoked cerebral deoxygenation, metabolic changes and indices of fatigue similar to those observed during exercise in hypoxia indicating that reduced cerebral oxygenation may play a role in the development of central fatigue and may be an exercise capacity limiting factor." Deoxygenation...hypoxia = being deprived of oxygen (suffocating). 

In a sport as complex as tennis, where time is measure is fractions of a second, you cannot afford to have any kind of a lag - lapse in judgment - or central fatigue as that's exactly how the errors pile on. This is particularly true in a long three-setters where you are more prone for "taking the coward's way out" by hitting silly drop-shots, going for aces (including second serves), return winner or any other quick way for finishing the point. If you train yourself, your body will be more efficient at maintaining good energy for the duration of the match. Furthermore, your body will be better prepared to return the appropriate amount of oxygen and energy to the brain in order to stabilize its functions enabling you to make better decisions. Therefore, it is advisable that you incorporate some mentally stressful exercises into your routine so that you can understand the effects on your body and decision-making; know what you need to do (almost automatically) when you are in fact fatigued; and slowly push your tolerance levels beyond your comfort level thereby allowing you to play longer and higher quality matches. 

My Karma Ran Over My Dogma

Tennis is a difficult sport to learn because of the many components that must be perfectly orchestrated in order to produce a player's individual masterpiece. However, when learning the game, it is becoming on a player to use some critical thinking and analytical skills in order to cut through the flak, misinformation as well as seemingly conflicting information and get to the truth. In this regard, when a coach tells you to "never" do this or "never" attempt that, it is helpful to keep in mind that because the game is so complex, the "never" can mean "most of the time", "sometime" or "heck, I don't know. I don't feel like explaining the difference...just don't do it again".

Take for example our previous article on building forearm and wrist strength. In the article, we sought to emphasize the importance of having a strong grip. One of our favorite readers mentioned, like many players across the United States, that he was taught to hold the racket with the same grip strength that he would use when holding a bird. Sound advice...but is it? USPTA High Performance Coach and former WTA player Yvonne Gallop takes issue with this approach. Her opinion is that the grip must be varied to take into account pace of the oncoming shot as well as your intent vis-a-vis the ball. For example, squeezing the grip against a hard, incoming ball will propel the ball past it's intended target (like a ball rebounding against a wall). Similarly, having an overly-stiff grip and wrist against a soft ball may prevent you from generating sufficient pace. In short, there is no rule of thumb...it's a lot of trial and error and integrating various components (emphasizing some; de-emphasizing others) in the particular circumstance. 

Nevertheless, this brings into question an interesting concept: when we're talking about grip STRENGTH are we, ipso facto, talking about grip PRESSURE? The answer is "no". Think of grip strength as a barbell collar (device that keeps the weights from sliding off the bar). It is a pretty sturdy device made out of metal (first picture above) yet it slides easily onto the bar. If the bar is levered (i.e. tipped) against the collar, the latter won't break...because it's strong. On the other hand, grip pressure is the inward force (purple and red arrows in the second picture, above) that the collar applies to the bar when it's squeezed shut. Once it's locked, the bar doesn't slide within the collar due to the application of this pressure and friction. So, as a player, it's important to be strong when it comes to your grip so that you can apply the right amount of pressure as required by the particular circumstance. Try holding the racket like a birdie against an Isner rocket serve and you'll be collecting the stick from the next ZIP code. On the other hand, try choking the handle against a soft ball and your shot will have difficulty clearing the net.

In a similar vein, when talking about which grip is best and which one this player has or that player favors, keep in mind that there is no general rule. Take for example, tennis legend's Johan Kriek's take on Roger Federer's forehand grip:

"Roger adapts his forehand grip depending on the height of the ball...I have been doing it also for many years...tricky hey!" and "I used to use a continental grip but a little more to the strong backhand grip due to everybody thinking my backhand was the place to serve, which was great for me since it was actually my best shot. I could do anything off my backhand; my forehand was changed 2 years into my career from a continental to a more semi western grip but I used a little more eastern grip on fast surfaces. In 1986 I got to the semis of the French and that was for me one of the most satisfying results ever because of what it took in mental strength to attack so much on clay and the stamina it took to grind and attack at the right time. I eventually lost to Lendl but I was cooked physically by then, just too many 5 setters."

Many authorities, including Larry Stefanki, said the same thing about Bjorn Borg's forehand grip...that he adjusted it based on surface and trajectory of incoming ball. How many teaching pros have told you that you should probably master one forehand but be well-versed in many other grips?! Probably not many. How many pros have told you: (a) never hit swinging volleys (what about a floater?); (b) never play in the no-man's land (what if the opponent can't hit past the service line?); (c) never hit a flat second serve (what if you're serving for the match at 5-3; 40-0?); (d) never hit a drop-shot from behind the baseline (what if the opponent is 15 feet behind the baseline and tired?); (e) never serve and volley on clay (what about Johan Kriek's amazing run to the semis of the French Open?); (f) never hit to your opponent's strength (what if you want to do so in order to open up a weakness); etc.

When it comes to tennis, there are exceptions to every rule. It's your job as a player to read through the "nevers" as well as the "always" and determine when you should apply the exception and when to apply the rule. The more you play, the more experience you will acquire and the more adept you will become at parsing the communication. No coach in the world will be able to give you the exact recipe for every shot or every play since the exact factors that may exist in a practice scenario may be missing in a match. Accordingly, you have to do the dirty work of discovering the game yourself.

The Development Spectrum

When it comes to sports, it's important to have heros...idols. They make the game look so effortless and smooth and completely within reach of us mortals. Invariably, a junior (or even dedicated adult) will, with best intentions in mind, attempt to model his game after a particular pro. When going down this road, use your best efforts to remember the relevance of proper fundamentals.

Now, CAtennis.com seeks to avoid lengthy discussions about techniques or grips. We're not here to tell you that Federer's forehand is the best (probably is); that a semi-Western is superior to an Eastern grip; or that you have to start the shot like this and finish like that. These things are best left to your on-court pro who can explain to you the various aspects and how they fit your particular body/mental type. As a matter of fact, in previous postings we have taken the position that tennis is not just about the strokes. However, this is only to emphasize the fact that tennis involves more than just strokes. One must master several other dimensions in order to become a good player.

Nevertheless, when starting out with this game, it's indispensable to understand the proper fundamentals of the game in order to have a shot down the road. Having a solid foundation, as the term entails, allows you to build upon it and develop new dimensions to the game. Unfortunately, in a rush to be the best player in the world, many players seek to emulate a particular player without first mastering some basic concepts. Sometimes, they copy a player who has a certain peculiarity (e.g., finishing a forehand swing over his head as opposed to "through the ball" in the vicinity of the left shoulder) and wonder why the same shot doesn't pan out for them...why it doesn't fit their particular physical characteristic. Unsurprisingly, a failure to grasp the basic fundamentals is many times the answer. In terms of tennis development, think of a particular pro's game as a light spectrum. It doesn't matter who it is; it could be Federer, Nadal, Djokovic, Williams sisters, or anybody else for that matter. In this regard, what you see today in their game is usually not how they started out. 

For example, in the picture above, these top players may have started in the "blue" end of the spectrum. As they developed (got bigger, faster, stronger; got more experienced; or bodies changed a particular way) they made small adjustments towards the "green" end of the spectrum. Sometimes, they have decided to de-emphasize a component (e.g. loading) and over-emphasize another (e.g. swinging). Through this process, however, they have have understood (like a surfer mastering the long board before moving down to a 6ft board) the elements of a proper shot but made a conscious decision to modify the particular components to suit their respective, individual needs.

Nonetheless, when copying a "top" player, too many times beginners start at the "green" end of the spectrum and then make even further adjustments from there. Because the basic biomechanical and physical components are a foreign language to them, some of these players end up completely "off the reservation" in terms of their strokes. I have seen players who were willing to swear on a stack of holy manuscripts that their game resembles Nadal's, Moya's or Roddick's. Often times, the "style" is only a perversion of the original motion. The outfit is there; the shoes are there; the racket and strings are there; but the only thing that matters - the strokes - aren't anywhere near. Once you find yourself with funky shots, the road back can be daunting. Think about it: when you're young you don't have a lot of power so you can slap the ball silly and it's probably not going to fly on you; crazy swings, wide open stances, imperfect footwork and the ball still goes in. However, as you get older, power is cheap to come by - control is actually a scarce commodity. And a great deal of the control components comes from sound fundamentals. 

Accordingly, when learning the game, spend some time getting a real good understanding of the basic shot elements. Know why the grip should be in a particular range, why the footwork should look a certain way, why the torso and shoulders should be integrated in a proper chain reaction, why the swing should look and feel like this or like that, etc. For example, if you're trying hit the ball forward learn to drive through the ball in the direction of your target. I know it's hard, but learn to rely on logic and common sense. Although it's great to have idols, until you're on the right track, try to refrain from copying too much of your idol's strokes. After grasping the basics, it's OK to make small adjustments in pursuit of your ideal model. If you do the opposite - trying to copy someone too soon - you risk implementing a component in your game (something that may stand out to the untrained eye) that serves only minimal, cosmetic purpose and which could be problematic in the later stages of your development. Ideally, you should learn solid fundamentals by the time you're 14 so that, going forward, you will make only small adjustments dealing with power, placement and control.