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C6L5: Volley with Saw Like Tension

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Any time we get to volleys I have a very tough time finding good examples of good volleys. I have to go back to people like Pete Sampras, Stefan Edberg people that can volley. Leighton Hewitt had a nice volley because there just aren't that many, because its a mis- understood shot and there for its taught wrong. Watch here see that full body coil on Pete, see that tip of the racket is forward not back like we are taught. Look at that its still forward so you see that he is creating a coil with both his right and left sides, and his hips have already turned in and you can see he is still coiled look at that tip of that racket. Its forward and look at his left hand the two are balanced on the 45 degree angle. Look here that tip is still up in the air it hasn't gone back yet and for a fraction of a second it goes back not even a a full frame and the arm snaps into the hit. That's what you want thats the best kind of volley you can have the most efficient volley is the one with the least amount of movement but produces the biggest shot. As I have mentioned in other months and other lessons this is a full body shot. You see once again a full body coil the tip of that racket, see it here it is still forward, so the hips have done all the work. See the emblem on his shorts the hips have turned and the arms are still coiled in the center. Here is what I call a pre-transition, right before this tug happens, right before the hips the arm catches up with the hips right there you see in one or two frames you are in and out of the shot. The arm and racket snap back into the 45 and its by trying to hold that coil from the beginning. Every great volleyer very few of them, every great volleyer has this look at Mac look at the tip. Starts forward and its mimicked with the right arm both off the 45. So the body is turned those arms are coiled in at the 45. Look we have gone 3 or 4 frames into it and the tip is still forward. Look at the right arm thats coiled as well. So the hips have come around now they are starting to come back right in the figure 8 they are coming back towards the net. This is where the racket head gets shaken just a little in the back. See look at Mac he hardly lets that racket head go at all he really holds the coil in his wrist there. So its this tension you create from the very beginning of the volley that makes for this effortless snap into the hit. So from a very little nonlinear movement of the arm and the entire body you get this big hit. Thats easy to disguise and really pops the volley. You have pin point control because you are not really breaking your wrist as they say right. Lay the head back and push forward you are not going towards the ball. You've got this saw like tension, like if you took a saw and you took a wooden handle and warbled it it you know you moved it side to side you would hear that warble. Its that kind of tension you create with your entire body out to the hit. That really produces that sharp volley and the accurate volley. Look at Rafter same thing take a look at that backhand. There was no back swing its this contrary motion of the hips and arm and he tried to keep the tip of his racket same here with Safin, see here hips are parallel to the net and the arms are neutral. He has a little hip exchange in and out of that figure 8. His hip turned see that emblem the stripe and he sets the racket head, he doesn't pull it back, he sets the racket head and creates tension between his hips and his arms. The head is still forward his comes back a little bit unlike Mac's just a little but his hips have already come forward and now it snaps back into the 45 degree angle back from its coil. There it is so you get a pop on the ball as the racket snaps into the 45. So be very aware of your first move on the volley. You want to keep the racket head forward and feel a slight coil with that racket head. You want to feel the tip of the racket sort of leaning forward as you go into your volley with the body. Here is a good example, look from above look at Warren the tip of his racket see there. Now the tip lays back for just a fraction of a fraction of a second and then on this next frame it comes right back out again. The key is not to lay the racket head back. You want to keep the racket head pressed forward as much as possible and stay as close to that 45 degree grist or 45 degree line as you can. Thats where the control is and the more tension you build on that 45 the more pop you get in the volley. Got it so that tension is created by keeping the head pressed forward while you move your hips in and out of the shot smoothly. You don't have to be a pro to have a great volley. Paul has a beautiful volley off of both wings here forehand and backhand. You can with Paul the tension see he pushes the head forward and its just a little pop. There is no real motion towards the ball it self. You see the coil now? Its just a little bump out there but because of the tension that bump provides everything you need to send the ball where you want it to go. There he is again popping the high backhand volley. My goal on these shots to keep the head forward as long as possible.

Video Details

Duration: 6 minutes and 14 seconds
Country: United States
Language: English
License: All rights reserved
Producer: Jack Broudy
Director: Jack Broudy
Views: 69
Posted by: jackbroudy on Jan 18, 2014

Get the geometrical snap in your volleys.

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