Tennis is a wonderful sport - a highly complex and fascinating game. It provides exercise, competition and fun. It is a game you can play all your life.
| started playing tennis at school and soon became hooked on the game, wanting to improve and compete at the highest level that | could. My early role models, only seen on TV, were
Margaret Court and Billie Jean King. My love of the sport has not waned since those days. | still get a real buzz from playing and hitting the ball, and achieve great satisfaction from helping others to fulfil their potential, whatever that may be.
| hope that this book will inspire you, not only to play but also to work on your game, so that
_ you too can fulfil your potential and get as much fun and pleasure out of the sport of tennis as | have done. Perhaps you will become a champion from this modest beginning.
| can vouch for the fact that practice, practice and more practice, aligned with physical training and dedication, will give you a chance to achieve a high level. But whatever you do, don't forget to enjoy the game. Importantly, too, remember that it is never too late to start.
One small point: the book has been written mainly for a right-handed player, so if you are left-handed just substitute left for right. The left-handed slice serve is a wicked delivery keep working at it!
| sincerely hope that you will enjoy your participation in this wonderful game. Good luck with your tennis.
64 Playing the Forehand 66 The Stance and the Shot
140 Practice Drills and Skills
168 Before and After the Match
Ancient beginnings Tennis, as we know it today, has been through many trends and developments since its surprising beginnings.
Many experts cite the ancient Egyptians as the founders of the game we play today, because ball games played as part of religious ceremonies are depicted in wall carvings in Egyptian temples from as early as 1500 BC.
The French origin of ‘real tennis’
When the empire of the Moors spread to southern France in the 8th century AD, Christian monks adopted a simple version of the game, known as /a soule. This involved hitting the ball to and fro, using bare hands or a stick.
The game was played so frequently in the monasteries of France that it was almost banned by the church for causing a distraction. However, the popularity of /a soule among royalty and the nobility ensured its continued growth.
The more familiar structure of tennis, developed by the French, was known as jeu de paume (‘game of the palm’) and was similar to squash in that it was played indoors and involved hitting a ball against a wall.
During the 15th century, the most basic rackets were introduced. French players
This real tennis court shows its medieval origins.
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Horseracing may be the sport of kings, but this didn't stop English and French kings playing real tennis. Above, King James II (then the Duke of York) enjoys the game in the 1600s.
would begin the game by shouting tenez!
(meaning ‘play!"), the phrase that eventually gave rise to the name tennis. Its royal patronage led to its full name of real or royal tennis.
Real tennis emerged with the same fashionable status in England - becoming recognised as the ‘sport of the kings:
Henry Vill was a keen player and built a court at his palace in Hampton Court.
The game continued to spread —- to Spain, Holland, Germany, Switzerland and Italy but went into a decline in the 18th century because of changes caused by the French revolution and the Napoleonic wars. -
To this day, real tennis is still enjoyed by dedicated enthusiasts. Henry VIII's Hampton
Court is still used for public attraction and competitive games, as are a variety of other venues all over the world.
Lawn tennis After a decline in the 18th century, the prosperity of Victorian 19th-century Britain triggered new developments in tennis. Wealthy people built private tennis courts, and the first clubs began to emerge.
The development of lawn tennis (a term coined by British statesman Arthur Balfour) enabled the game to break from its confinement to royalty and the nobility, because the upper classes could now enjoy tennis in their gardens. As the trend gained pace, players also experimented with clay and concrete courts for a more vigorous game.
The establishment of tennis as an important competitive sport was accelerated when the game was recognised by the All
England Croquet Club - a major competitive club at the time. Because of the growing popularity of tennis this croquet club was losing much of its public interest so it decided to offer tennis as well.
The rise of competitive tennis
To raise funds for its new game, the All
William Renshaw playing against Herbert Lawford in an all-comers match prior to the final at
Wimbledon. In the early years of the championships, players had to compete in the all-comers knock-out before gaining the opportunity to challenge the reigning champion. THE LAWN TENNIS CHAMFIONSHIF MEETING AT WIMBLEDON —TUME FIFTH ROUND GF THE ALL COMERS’ MATCIT
THE GAME OF TENNIS _ launched its first tournament in 1877.
Official rules were drawn up by a committee, and the first championships took place off
Worple Road, Wimbledon.
At first, the only event held was
‘gentlemen's singles. In 1884, the tournament extended to include ladies’ singles and gentlemen's doubles, then in
1913 the club introduced ladies’ doubles and mixed doubles.
The excitement of the growth of
Wimbledon gave the game of tennis, and its players, worldwide recognition. The first tennis ‘personalities’ began to show their colours, the most impressive of which was William Renshaw, who won the championships title eight times between
1881 and 1889 and set a standard that remains unbeaten today.
In 1922, the Wimbledon championships moved to its present location, off Church
Road, where it continues to be regarded as the most prestigious event in tennis.
Alongside the French Open, the Australian
Open and the US Open, the Wimbledon championships is one of the Grand Slam events of the tennis year.
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Because it had become established as a competitive sport, tennis was included in the original nine events that comprised the first
Olympic Games in Athens in 1896. The game was restricted to male competitors at first as was the entire Olympic tournament. John
Boland of Ireland was the first Olympic tennis champion. When women’s tennis was introduced, some four years later, stars such as Charlotte Cooper (the first female champion), Laurie Doherty, Suzanne Lenglen and Helen Wills Moody emerged into the spotlight of fame.
Suzanne Lenglen's appearances in the Olympic Games gave her greater prominence.
Tennis continued at the Olympics until it was withdrawn in 1924. The (then)
International Lawn Tennis Federation had been dissatisfied with their treatment by the
International Olympic Committee, who at the time refused their involvement in the overall organisation of the Games, and upheld an unreasonable request that
Wimbledon should not be held in any
Olympic year.
Following a long and determined campaign, a highly successful demonstration tennis event was included in the 1984
Stefan Edberg, stars of this show, also led the way when tennis was welcomed back into the Olympic Games at Seoul in 1988.
The authorities could not deny the popularity of the tennis stars involved, or the public interest in the game.
The Olympics continue to give a limelight to the most dominant tennis stars, and this exposure at international level is one of the factors that has fed the commercial status of the game.
The 20th century saw the development of the game from the pastime of kings into a global sport played and viewed by millions.
The Davis Cup, an opportunity for the world’s best to compete against each other, oegan in 1900 and has since produced memorable tennis moments fuelled by national pride. International expansion
Tennis today is a huge marketplace attracting manufacturers, sponsors and a range of service suppliers. The young are a particular target.
THE GAME OF TENNIS continued; 1905 saw the first Australian
Open and 1928 the first staging of the
French Open at Roland Garros, its famous home. With Wimbledon and the US Open, these tournaments form the Grand Slam.
Interest in the women’s game also grew, with the French player Suzanne Lenglen leading the way with her 1920 Wimbledon triple crown of ladies’ singles, ladies’ doubles and mixed doubles.
World War II made the continuation of normal tennis business impossible with
Wimbledon, the French Open, and the
Australian Open all put on hold. Wimbledon itself saw action when a bomb landed on the
Centre Court; fortunately there was no loss of life, only 1,200 seats! After 1945, designer
Teddy Tinling shocked the tennis world with his dress for American Gertrude ‘Gussy'
Moran, her lace-trimmed knickers prompting a debate in the British Parliament.
The impact of television on all sports has been enormous; tennis is no exception. Today's top players are seen by millions of viewers around the world.
Such was the growing interest in the game that a more organised tour was inevitable.
A movement started by American Jack
Kramer in 1950 culminated in the ‘Open Era’ of tennis from 1968; all tennis players, regardless of professional or amateur status, could compete in the same tennis tournaments.
Today's professionals circumnavigate the globe several times a year competing in various tours: the ATP (Association of Tennis
Professionals) and WTA (Women's Tennis Association) for the top players, the
Federation and Davis Cups, the Masters
Series and, of course, those all-important
Grand Slams. Kramer's developments included, in 1970, the introduction of a points system leading to the distribution of prize money at the end of the season, a contribution recognised in 1972 through his appointment as the first Executive Director i of the ATP, the governing body of tennis to this day. Controversy hit Wimbledon in 1973 when the ATP boycotted the championships following the suspension of Yugoslav
Nikki Pilic.
1970 also saw the introduction of the tie-break, an invention by Jimmy Van Allen to curtail overly long sets. Largely successful, it failed in the 1985 Wimbledon encounter involving Gunnarson/Mortenson and Frawley/Pecci with a 26-24 tie-break.
The world's best players today enjoy celebrity status, attracting advertising contracts from multi-national companies and creating second careers. Monica Seles and
Andre Agassi in the restaurant business, and
Serena Williams (along with Tiger Woods and Joe Montana) in fashion are typical.
Technical innovation has emerged to meet the changing demands of the sport. Yellow tennis balls (1972) made the speeding ball more visible to cameras
(colour broadcasts began in 1967) and to spectators. Changes in racket construction and the raising of player fitness levels have resulted in a game dominated by power, exemplified by American Andy Roddick's
153 mph serve, recorded by the on-court speed gun. The ‘Cyclops’ machine had already been introduced, a rather unreliable gadget designed to ‘bleep’ when a service was long.
Many claim the game is now too fast and powerful and lacks the finesse of former times. Suggestions to reduce the impact of the ‘big hitters’ have included a return to wooden rackets, lengthening the court, increasing the size and reducing the pressure of the balls and allowing only one serve into a narrower service area to reduce angles. All have so far been resisted, reflecting a determination to retain this great game intact for all, be they recreational player or world beater.
The modern game! Serena Williams at the 2004 US
Open playing in an outfit she designed herself and could market through her own fashion line.
The familiar yellow ball used in tennis matches today has been through many developments since the first games of tennis were played. Although real/royal tennis and lawn tennis are similar, the types of ball traditionally used are very different.
Real tennis balls typically consisted of a stitched, leather or cloth casing, stuffed with horsehair, rags or something similar.
Lawn tennis, however, required a softer ball so as not to damage the grass. This became possible after the introduction of vulcanised ‘India rubber’, which was invented by Charles Goodyear during the 1850s.
At first the lawn tennis ball was simply a solid rubber sphere. However, the durability of the ball was later improved by a cloth casing stitched into the rubber. Then the ball was made hollow and pressured with gas, which increased its bounce.
Originally, lawn tennis balls were either black or white in colour, depending on the surface in play. It wasn't until 1972 that the
International Tennis Federation introduced yellow balls on the basis that they were more visible for television viewing. Wimbledon, however, did not adopt the yellow ball until 1986. Today, the yellow ball is universal.
The rackets typical of today's tennis have also come a long way since the early use of sticks, gloves or even bare hands to hit the ball in the course of a game.
In the 1500s, the first wooden tennis rackets began to emerge. They consisted of a wooden frame laced with strings made from sheep's intestines. It is thought that the first proper racket was actually invented in Italy in 1583.
By the late 1800s, the racket head had grown to a size that remained constant
(although varying in shape and materials) until the 1970s.
There were only minor changes to rackets in the late 19th and early 20th century.
Although wooden rackets did improve during
These real tennis balls - as they are called today - are the forerunner of the modern lawn tennis ball.
this century, with advances in ‘laminating technology’ (using thin layers of wood glued together) and in strings, players were disadvantaged by the weight of the wood and the small size of the racket heads factors that would not improve until new materials were explored.
The first metal racket existed as early as
1889, but failed to surpass the popularity of the wooden racket. This changed in 1967, when Wilson Sporting Goods introduced the
'T2000' - the first real step away from the use of wood in tennis rackets.
The T2000 was the steel racket first popularised by Jimmy Connors, who used it in a Wimbledon final - against the wooden racket of Bjorn Borg - to devastating effect.
This was probably the first time that technology was seen as a major factor in the game's development.
A series of subsequent innovations has seen the graphite racket, with anti-vibration devices, dominate the game. It was John McEnroe, using the (then) incredibly light 355g (12.50z) racket, who first championed graphite rackets in the 1980s. Since then a host of variations, including titanium and fibreglass, have been tried. With the game enjoying worldwide popularity, the next big thing in racket design could be a real money spinner.
This lawn tennis set from the early part of the 20th century
Modern graphite rackets and tournament balls.
includes old-style wooden rackets.
In the modern game the four ‘majors’ or Grand Slam events - comprising the Australian, French and US Opens, and the
Wimbledon championships - are those that receive the most attention. Players plan their event diaries in order to be at peak fitness for these tournaments.
The idea of a Grand Slam was first discussed in the 1930s, when it looked like
Australian Jack Crawford would win the four tournaments in one year. Sadly, he failed at the last hurdle (the US Open). Very few players have achieved, or are ever likely to win, the Grand Slam, especially since they are now played on different surfaces: two types of hard court in Australia and the US, clay in
France and grass at Wimbledon.
Wimbledon during the championship fortnight.
The Center Court will have a roof by the 2009 championships.
The Australian Open, which is also known as the Grand Slam of Asia Pacific, is held in Melbourne in mid-January and is traditionally the season's opener. The competition is played on a hard surface and has been characterised by very high emperatures. It was first held in 1905.
The French Open, played at the Roland
Garros courts in Paris, started as a one-day ournament in 1891. The competition flourished during the heyday of French ennis in the first half of the 20th century.
t began to accept non-French competitors in 1925 and became an open competition in 1968.
The Wimbledon championships claim to be the oldest tennis tournament in the world - first staged in 1877. Tradition still
Play on an outside court at the Australian Open.
plays a large part in the championships.
Because the matches are played on grass, some players don't like the competition, but many others say it is their favourite surface.
The tennis season's last major is the
US Open at Flushing Meadows in Queens, New York. It was held on grass until 1974, The Arthur Ashe court is filled with noisy crowds during the US Open.
Alongside the Grand Slams (open to both men and women) is a series of Association of Tennis Professionals (ATP) competitions for men. These are staged around the world and allow players not only to win titles and prize money but also to gather points and a world rankirig. At the end of the season the
Tennis Masters Cup puts the world's eight top-ranked players into competition. Played indoors, the competition is staged in a different country - on a different continent
— every year.
Alongside the men’s events is the Women's Tennis Association (WTA) tour.
Representing your country Most tennis is for individuals — or pairs of players. However, there are a few occasions where a player can represent his or her
THE GAME OF TENNIS moved to clay from 1975 to 1977 and then became a hard court tournament. Large and patriotic crowds characterise floodlit matches, especially in the 20,000-plus seater
Arthur Ashe court. With the need to provide excitement on the court, the US Open was the first major to adopt the tie-break.
country. Most notable are the team events the Davis Cup for men and Federation Cup
(known as the Fed Cup) for women. The cups are competed for in regional zones, then the leading teams play to qualify for the annual final. Although some of the top players do not compete, these competitions remain the focus for team events in tennis and they still retain the capacity to engender great patriotic support.
In addition, players can also represent their countries at the Olympic Games. Once the preserve of amateurs, playing at the
Olympics was often considered the peak of a player's career. Tennis at the Olympics ceased as the Open Era in the sport developed (see page 12). Today, somewhat controversially, professionals have the
Opportunity, once every four years at the
Games, to win gold medals instead of money.
US star ‘Big Bill’ Tilden dominated the men's game in the 1920s and 1930s with seven US championships, participation in seven Davis
Cup victories, and a wealth of victories in the US and Europe. It is said that during the period of his dominance he even lost an occasional game or set, just to keep it interesting!
Born into wealth, Tilden moved in celebrity circles and enjoyed the fame the game brought him. He helped move tennis from a genteel game to one where physicality and mental toughness were important. He certainly played to win and used his huge serve as a key weapon. If his serves did not bring immediate success he would prefer to rally from the baseline until his strength and accuracy wore down his opponent.
Like a number of top players of his age, Tilden had to make the difficult decision to turn professional - to give up competing for prestigious titles and play for the money that fans were prepared to pay. Among a wealth of positives from his period in the game, Tilden may also be remembered as one of the first athletes to be accepted as a homosexual.
It was illness that brought Frenchwoman
Suzanne Lenglen into the game - her father thought tennis might help her overcome asthma - an illness that brought about her untimely death. She died of pernicious anaemia at the age of 39.
Lenglen won more than 20 singles and doubles titles at Wimbledon and the French championships and was an Olympic gold medallist. Of her 81 singles championship successes, seven were achieved without losing a game.
Although all her major victories were achieved in Europe, she was the first truly international female tennis star. After World
War | there was great clamour for her to play in the US. Her first visit, in 1921, was blighted by illness. Her second, as a
THE GAME OF TENNIS E professional nearly six years later, was a triumph. Interest was enormous in the
French star who dressed ‘immodestly’ and took brandy between games. However, it was her quick feet and great ball placement that allowed her to dominate the women's game for nearly a decade.
This national French heroine turned to coaching and writing after retirement from tournament play.
Helen Wills Moody won 31 major titles in both singles and doubles and two gold medals at the 1924 Olympics in Paris.
Between 1927 and 1938 she won eight
Wimbledon singles titles, losing only one match in the process. Interestingly, Wills
Moody was equally successful, and popular, in the US and Europe and was part of the process of making tennis a truly international game.
On court she lived up to her nickname of ‘Little Miss Poker Face’, rarely giving anything away. The public were captivated by her ‘match of the century’ against Suzanne Lenglen in 1926 in Monte Carlo.
Lenglen, coming to the end of her career, won the match 6-3 8-6 and promptly turned professional, paving the way for Wills
Moody's supremacy in the amateur game.
Alongside her tennis achievements, Wills Moody exhibited her paintings, wrote a novel and left $10 million to her old university
(Berkeley, California) for medical research.
Englishman Fred Perry's 1935 French Open success meant he was the first player to win all four Grand Slam titles. His final total was eight, reached in the following year.
Perry's three-in-a-row Wimbledon successes - the third final won inside 40 minutes in
1936 - made him the last ‘home’ player to win the championship and he is thus a
British legend.
Perry was not always that popular. He
‘unsportingly' looked for weaknesses in his opponents and preyed on them. Sometimes he even argued with court officials and tennis administrators.
Perry was the son of a British Labour MP and had many friendships with Hollywood stars of the time. Such friendships probably proved very useful as he launched his successful sports clothing lines. Today,
Perry's statue stands outside the Wimbledon courts, playing what appears to be his characteristic right-handed approach shot.
In 1938, Californian Don Budge became the first player to win all four Grand Slam tournaments in the same year - part of a run of six consecutive Grand Slam wins. He then turned professional! Competing against this tall, slim man who had a great serve was compared to playing against a wall.
Although not the most elegant or stylish player, Budge did appear to return every shot.
The timing of his career, however, was not great. He was reaching his peak as World
War Il began. In 1941, in the absence of world competition but still only 26 years old, he retired to-concentrate on business interests. He also served in the US air force.
During his career Budge played a large number of head-to-head matches against other top players.
In a sport saturated with exciting matches, people still talk about Budge's winning 1937 Davis Cup encounter with
German Gottfried Von Cramm. Budge won the fifth set 8-6, having trailed by two sets, 4-1 in the last.
In 1953 American Maureen Connolly, ‘Little
Mo' as she was universally known, won all four Grand Slam singles titles: Wimbledon, and the open championships of the US, France and Australia. She was only 18 and the first woman — and second person - ever to achieve this feat. In total Connolly won all nine Grand Slam singles in which she competed, gaining her first US title at the age of 16. Sadly, however, her career will always be remembered for what might have been, rather than what she actually achieved. In 1954, while out horseriding (her first sporting love), she was involved in an accident. She broke her leg badly and never competed again.
Connolly's achievements are remarkable, perhaps more so considering that she changed from left- to right-handed, believing that left-handed players could not win major events. After her enforced retirement she became extremely popular as a commentator and writer. She tragically died young.
Australian Roy Emerson was probably the best player in the world at the time the major championships were opened to allcomers. His total of 12 singles and 16 men's doubles titles - nine on home territory - in
Grand Slam events is remarkable. Many of the top players were, at the time, playing professionally.
Emerson's particular asset was his strength. He trained excessively hard, was a strong serve-and-volley player, and was more likely to win a match the longer it went on. In a re-matched 1965 Australian final, Emerson beat fellow Australian Fred
Stolle in five sets, having lost the first two 9-7 6-2. This was part of a five-year winning sequence (1963-67) in the event.
Australian Rod Laver's achievement of winning all four Grand Slams in a single year twice, in 1962 and 1969, sets him at the
= TENNIS GREATS pinnacle of the men’s game. Statistics alone are unhelpful in measuring his success because he spent a number of years as a professional when most major tournaments were only for amateurs. In his first full ‘open’ season Laver had a 106-16 win ratio in singles matches and was the first player to accrue $1 million in prize money.
He was the first of a number of Australians to reach the very top in world tennis, and he helped his country win the
Davis Cup in four consecutive years, from
1959. He was also on the winning team in 1973, when Australia beat the US 5-0.
Left-handed Laver, known as ‘Rocket’ on account of his powerful ground shots, is also credited with perfecting and popularising the topspin shot.
Margaret Court was the victor at 11
Australian Opens, at the US and French
Opens on five occasions, and at Wimbledon on three occasions. In all she won 62 Grand
Slam titles - 24 singles, 19 doubles and 19 mixed. She gained 17 singles titles in one year alone (1971). Although statistics alone do not make a player great, these remarkable figures hint at the pre-eminence of one of the world’s greatest players.
A strong serve and forceful forehand were
Court's main weapons on all surfaces. Never
Ze flamboyant on or off court, her progress in the game was relentless, not spectacular.
Her achievement was particularly noteworthy when one considers that she was competing with Billie Jean King through much of her career and took significant breaks from the game to have her children. Her 14-12 11-9
Wimbledon final victory against King in
1970 is remembered as one of the best women's matches ever. She retired in 1977.
American Billie Jean King had a brilliant record in women's tennis, comprising 12
Grand Slam titles among more than 60 major singles successes. She won 39 Grand Slam titles in all. King was an athlete in every sense of the word: fit, strong and very determined on court. Her rivalry with
Margaret Court produced some of the greatest matches ever seen in women’s tennis.
More than this, perhaps, King may be remembered for the way she helped transform women's tennis. She was largely responsible for creating the women's tour and persuading sponsors and organisers to pay much greater prize money. She also won the noted ‘battle of the sexes’ against selfpublicist and one-time Wimbledon champion
Bobby Riggs, winning in straight sets in front of more than 50 million television viewers.
Although nobody doubted her altruism -
King was also a great supporter of junior tennis - she also benefited from her campaigning. In 1971 she became the first woman athlete to win more than $100,000 in prize money.
Along with Rod Laver, Tony Roche, Roy
Emerson and Ken Rosewall, John Newcombe helped keep Australia at the forefront of world tennis in the 1960s and early 1970s.
He won seven Grand Slam singles titles and
17 doubles, and was world number one in
1970, 1971 and 1973.
Newcombe's fast-paced serve-and-volley game made him exciting to watch and difficult to play against; it also made him a great doubles player. He took risks on court, especially with ambitious (often winning) second serves.
Left-handed American star Jimmy Connors reached the top of the world rankings in July
1974 and stayed there for more than three years. In his career he was world number one for a total of 263 weeks. Among more than 100 successes were his five US Open singles titles.
What made Connors extra special was his intense desire to win. Opponents knew that he would never give up. He matched
THE GAME OF TENNIS aggression with doggedness, and he enjoyed all surfaces and feared nobody.
Connors frequently challenged the status quo. He fell out with the Association of
Tennis Professionals and was one of the first top players to move from wooden to metal rackets - not a universally popular move at the time. The latter part of his career was enlivened by a fierce rivalry with John McEnroe.
Chris Evert's father was a professional coach and helped her achieve exceptional success as a youngster. In her first year at the US
Open, in 1971, she reached the semi-final before losing to Billie Jean King.
The American ‘ice maiden’ was particularly strong on clay, where her baseline accuracy and intense concentration led her to a record 125 consecutive victories from 1973 to 1979. In all she won 18 Grand
Slam singles titles, including seven French
Opens. Remarkably, in her first seven years as a professional, Evert never lost two matches in a row.
Her achievements are all the more extraordinary when one considers that her career overlapped considerably with that of
Martina Navratilova. They met 80 times -
Navratilova holding a 43-37 advantage.
Evert retired in 1989.
‘Ice man’, as Bjorn Borg was nicknamed, was famous for his unblinking concentration and coldly consistent baseline play. From 1973 to his early retirement in 1981, he won five
Wimbledon titles in a row and six French
Open titles, including four in a row.
Although Borg was able to play equally well on all surfaces, he competed only once at the Australian Open and underachieved at the US Open, where he claimed he didn't like playing under floodlights. His Wimbledon finals against John McEnroe in 1980 and
1981 were two of the most fascinating games of tennis in the modern era.
Borg very much reflected his era, and his long hair tied back was a huge hit with young female fans. He is credited with making the game much more popular in
Scandinavia; several other top Swedes followed him into the professional game.
Many believed that Borg retired too soon.
An attempted return to the game in the early 1990s was a failure, although he later resumed old rivalries on the masters circuit.
Left-handed Martina Navratilova was born in (then) Czechoslovakia and defected as a top player to the US in 1975, where she proceeded to win at the highest level for
30 more years!
She attempted to dominate opponents with a strong serve-and-volley game. This was particularly effective on fast courts, and she won nine women's singles finals on the grass of Wimbledon. She also excelled at doubles and, with Pam Shriver, notched an incredible 109 match-winning streak. In all, Navratilova won 18 Grand Slam singles titles and held a record in the women's game of
74 singles victories in a row.
Her remarkable achievements ensured that she dominated the game in the early and mid-1980s. She won her last Wimbledon trophy, the mixed doubles, in 2003. They say great players need great rivals. Navratilova had two: Chris Evert in her early career and
Steffi Graf later. Outside of the game, Martina worked extensively for animal and children’s charities.
At one point in his early career, American
John McEnroe was in danger of being known more for his bad behaviour and lack of respect for tradition than for his considerable skill. Both officialdom and his opponents found him hard to handle.
There is no doubt that McEnroe made tennis more interesting, bringing in a wider audience who thrilled to his powerful play and petulant personality. His aggressive lefthanded game saw him win 77 singles titles, including seven Grand Slams, between 1978 and 1992. He enjoyed rivalries with other
THE GAME OF TENNIS top players of the time, notably Jimmy Connors and Bjorn Borg, both of whom he met in classic Wimbledon finals.
McEnroe's most remarkable year was 1984, when he had an 82-3 singles record and won a career-high 13 singles tournaments, including his third Wimbledon and fourth
US Open titles.
It should never be forgotten that he also won 78 doubles tournaments - a testament to his extraordinary stamina.
After retirement, and perhaps mellowing a little, McEnroe became a very popular and respected commentator as well as a fierce competitor on the masters circuit.
Andre Agassi Andre Agassi (b.1970)
Andre Agassi has long been recognised as one of the game's most entertaining players. At the age of three he was deemed a tennis prodigy, and he was still competing for major championships at the age of 35. His father was an Olympic boxer.
From childhood stardom, Agassi turned professional in 1986 and finished in the world's top 10 for 16 of the 20 years that he was a professional. His career included 59 singles titles, and he was one of only three men to win all four Grand Slam titles in the
Open Era. In addition, Agassi won an
Olympic gold medal in Atlanta in 1996.
In terms of technique, Agassi based his game on some of the simplest shots in the book. He might appear easy to copy, but he possessed an unbelievable ability to take the ball early. His return of serve - perfected with a compact backswing - was perhaps his most damaging shot.
Agassi was not only a first-rate tennis professional but also did a tremendous amount for charity. The Andre Agassi
Charitable Foundation raised nearly $40 million, primarily for underprivileged children. This American tennis player was a true ambassador for his sport.
Steffi Graf Steffi Graf (b.1969)
Margaret Court the greatest-ever player? Graf won 22 Grand Slam singles titles, beginning in 1987. In 1988 she became the only woman to win the ‘Golden Slam’, all four Grand Slams plus an Olympic gold medal. She was world number one for more than 350 weeks. Above all, Graf was a fantastic athlete with an incredible forehand drive and an excellently controlled backhand slice. She was equally strong on all surfaces.
Off-court events affected her later career. A trying relationship with, her father/coach
Peter Graf contributed to poor form, and her domination ended when challenged by
Monica Seles. Later, when Seles was stabbed by a Graf ‘fan’, the German rose to the top again.
Injury forced a slightly premature retirement in 1999. Graf married US tennis star Andre Agassi in 2001.
Pete Sampras (b.1971) Finishing number one in the world rankings for six successive years - and scooping a record 14 Grand Slam singles titles probably accounted for ‘Pistol Pete's’ reputation as the greatest male tennis player
THE GAME OF TENNIS e f ? het pps
Sampras’ achievement is all the more remarkable as it came at a time when there ever. The fact that he never won the French were other great players around - notably
Open, nor was a flamboyant or outspoken Andre Agassi - and when big rewards champion, meant that some dispute encouraged intense competition.
the claim.
Greek-American Sampras won his first Venus (b.1980) and Serena (b. 1981)
US Open when he was only 18, in 1990, and Williams his last in 2002. Both matches were against Venus, and younger sister Serena, grew up in Andre Agassi. It was the combination of a low rent, high crime area of Los Angeles, Sampras’ serve and all-round speed that California. Both sisters were playing in gave him his nickname and his success. His tournaments before their teens, coached second serve was often as deadly as his first, | mostly by their father, Richard, who taught and he was credited with perfecting, if not himself tennis from ‘how-to-play book’. inventing, the ‘slam-dunk' smash. Venus turned pro at 14 and quickly climbed
TENNIS GREATS the world rankings making it to the US Open in 1997. It was Serena, however, who, in
1999, made the bigger headlines. She won the US Open, becoming the first African-
American woman to claim a Grand Slam title in almost five decades. By 2002 Serena and
Venus were numbers one and two in the world. The younger sister defeated her older sibling in the finals of the French Open, Wimbledon and US Open in that year.
Their similar and successful games have been largely based on strong ground strokes and powerful serves but they are more than just tennis stars. They are also cultural icons with interests in an number of fields. Despite their obvious rivalry the sisters have been consistently good friends, bound by their family and church interests as much as the
‘celebrity’ lives they lead.
It is rare for one player to be universally acknowledged as the best in the world, yet
Swiss-born Roger Federer achieved that feat during the 2004/05 season. Admired by opponents and fans alike, Federer's brilliance on the court was matched by modesty and humanity off it. He moved rapidly toward the top of the game, reaching number one status in 2004. In that year he won 11 tournaments including three Grand Slams.
Federer's concentration was clearly a major plus in his game. By 2005 he had won 15 consecutive finals and possessed a winning streak on grass of 24 matches. For a long time he toured the world without a coach, and he relied on family and friends to manage his tennis affairs. His game was based on a range of qualities including speed, accuracy, confidence and the ability to improvise when needed.
Like many great players Federer not only played all the classic shots but also produced a range of intuitive - possibly unreproducible — shots. By 2006, the game of tennis waited to see just how dominant, on the court and in the record books, Federer was to become.
The tennis stars of yesterday have Nick Bollettieri’s Academy in Florida, marked their place in the game's history. USA. This entailed a difficult two-year
But there will be more great names as separation from her mother, but the time moves on. We may be watching a family was eventually re-united and
Suzanne Lenglen or Don Budge of the viewed this as a sacrifice worth making. future right now. There are many Sharapova has tremendous desire and contenders for the title of ‘all-time hunger for the game, no doubt helped by great’ - Maria Sharapova is just one. her background and her determination to succeed. Her height, over 6ft (1.8m), Maria Sharapova (b.1987) enables her to generate pace and find
Russian-born Maria Sharapova was one the angles on the serve. She also has of several exciting Russians to emerge tremendous reach, keeping a lot of balls onto the tennis scene in 2004. She won _in play that other players might not.
Wimbledon that year and, later, the WTA She is one of many players for whom a tour championships. She was world glittering future is predicted. Sharapova's number one in mid-2005. longevity in the game will depend on her
Sharapova started playing tennis in continued fitness and competitive hunger
Russia at the age of four, and at seven - and perhaps memories of what she years old she and her father went to gave up to reach her current standing.
Properly qualified umpires help players keep score, can adjudicate on line calls, and control the players and crowd, although the majority of non-professional tennis is played without such help.
Tennis may look simple when you are watching a professional match, yet in fact it is a complex game with detailed rules.
The measurements and markings of a tennis court are universally standardised. They cater for singles games involving two players as well as doubles, for four players:
23.77m (78ft) long and 8.23m (27ft) wide for singles matches;
for a doubles match, the posts are 0.914m (3ft) outside the court on each side (the net is suspended on a cord between them);
@ the lines at the ends of the court are called baselines, and the lines at the side of the court are called sidelines (or tramlines);
@ the service lines are marked 6.40m (21ft) from the net and lie parallel to it;
The game starts with the serve. The choice of server or receiver is decided by a coin toss before the warm-up starts. If you win the toss you are entitled to one of the following privileges:
Once these decisions have been made, there is a maximum of five minutes in which to warm up, before the actual game begins.
The server must start with both feet behind the baseline, to the right of the centre mark. A good serve is one that crosses the net and
4 1 Centre mark iOne 10.97m (36ft) ~ a y Service line “
AM is th pa Ie ANG a Pea a ga ae
Court markings and dimensions.
lands in the diagonally opposite service box, provided you have served from the correct position and have not foot-faulted. The ball is still in if it touches any of the lines enclosing the service box.
The most common fault with the serve is the foot fault. Your serve is invalid if you:
Front foot — oe Baseline Back foot —
Centre. mark Baseline a! imaginary :Ta Front foot ae extension of o_ Back foot , extension centre mark of sideline
If you make any of these mistakes the umpire will call ‘foot fault:
The umpire will also call a fault if:
If you serve a fault you are allowed a second serve. If you fault again on your second serve, the point is lost.
A ‘let’ is called when your served ball — hits the net before hitting the ground, but still falls into the correct service box. A let can also be called if you serve to the receiver when they are not ready or if players are distracted, e.g. by a rolling oy or crowd noise.
When a let is called, the score does not change. If it is called on your first serve, you are allowed two more attempts, and — if it is called on your second serve you are allowed one more attempt.
Once the serve has been made, the game is all about the various ways in which you can win and lose points.
Here are some of the ways you can win points in tennis:
@ hitting the ball in such a way that it bounces twice in your opponent's court before your opponent can hit it;
if your opponent hits the ball before it passes over the net.
If the ball double bounces, the point is lost.
Unfortunately, there seem to be more ways to lose points than to win them:
@ the ball is allowed to bounce only once on the ground before it is returned over the net.
If you let the ball bounce twice, you lose the point immediately; e if the ball in play hits a permanent fixture, or another object outside the court, you lose the point; - if you volley the ball from behind the baseline and make a bad return, you lose the point, so try not to volley from behind the baseline (if you do and the ball is in then the point continues); e if you stand outside the baseline and touch the ball before it bounces, thinking the ball was out, you will lose the point. The ball must always bounce before an ‘out’ decision can be made;
if you, including your racket, whether in your hand or not, or anything that you are wearing or carrying touches any part of the net or your opponent's court at any
If the ball hits a ‘permanent fixture; the point is lost.
time while the ball is in play; you will lose the point;
If the ball is played before it crosses the net, the point is lost.
@ the ball is not allowed to touch you or anything you wear or carry except your racket — if it does you will lose the point;
There are some more obscure ways of losing a point, which may be called if you have an umpire:
There are several types of shot that, while you might expect them to be disallowed, are actually ‘good returns. These are: e if the ball touches the net, net posts/singles sticks, cord, metal cable, strap or band and passes over them and hits the ground in the correct court, then the ball is allowed to continue in play;
if you return the ball outside the net posts, either above or below the level of the top of the net, the return is allowed provided it lands in the court;
if the ball passes underneath the net cord (between the singles sticks and adjacent net post) without touching any part of the net itself, and lands in the correct court, it is allowed;
if your opponent leaves a ball lying on the court and you hit it with the ball in play, the rally may continue provided the correct ball is returned into play. However, if a ball rolls onto your court from another court during play then the point is replayed.
Scoring The tennis scoring system can be quite confusing if you are a beginner, because it does not follow a strictly logical pattern. The present system of scoring was derived from real tennis, where points now named fifteen, thirty and forty represented the minutes on a ‘scoring clock’.
Games A tennis match is composed of games, which in turn make up ‘sets! At the beginning of each game, the score stands at ‘love - all’ (0-0). The server's score is always called first.
The standard sequence of points is as follows: no point - ‘love’ first point - 5: second point - '30' third point - ‘40’ fourth point - ‘game’
The scoring system becomes more complicated when players reach equal scores. If both players are at ‘40’ then the score is ‘deuce’. After deuce, if you win the next point your score changes to ‘advantage’.
You then must win the next point in order to avoid returning to deuce. A player must win two points in a row to win the game after a deuce score has been reached.
Let's consider an imaginary game:
you win the first point so the score becomes 15 - 0 (‘fifteen — love’);
® you win the next point, so the score is 30 - 15 (‘thirty - fifteen’); .
There are two ways in which to win a set:
GETTING STARTED e ahead of your opponent: E.g., eight games to Six;
This variation is used in order to decide the winner of the set.
During the tie-break the points are scored: ‘zero’, ‘one’, ‘two’, ‘three’, etc. The first player to win seven points, with a margin of two points over their opponent, wins the game and set.
The player whose turn it is to serve does so for the first point in the tiebreak from the deuce court. Following this, players serve for two points at a time until the end of the game. After every six points players change ends.
At the end of the tie-break and therefore the set, the score is 7-6 so you then change ends, because the tie-break counts as one game. The person who received first in the tie-break then serves for the first game in the next set.
A match is usually the best of three sets
(the first player to gain two sets wins), although in Grand Slam events the men's singles matches are played as the best of five sets (the first player to gain three sets wins). Some matches involve a tie-break in all sets, whereas in others the final set is played as an advantage set.
Ensure you know what scoring system you are using before you begin a match.
At the end of the first game in a set, players should swap over to play from the opposite ends of the court. This end change occurs after every oddnumbered game of each set.
If the score at the end of the first set is 6-4, the players are entitled to a two-minute break, but they must return to the same end that they were playing from in the previous game. Players are allowed a maximum of 20 seconds in between each point played and 90 seconds at each change of ends. However, after the first game of each set and during a tie-break, play is continuous and players change ends without a break.
Players are allowed breaks to attend to injuries.
Tennis scoring means you may lose a battle
(game or set) but not the war. You are given several fresh starts in a match.
The competitive experience of tennis can be open tournament, where you will have the a little daunting, so start by getting involved — chance to play against different opposition with your local club tournament. If you are and on different types of court. Tournaments successful you can progress to a district or can follow various formats.
Kim Clijsters holds aloft the US Open championship trophy in 2005.
Traditional or knock-out draw ‘seeded’ and placed in predetermined places
This is the format used in all Grand Slam in the draw. If you lose you are ‘knocked out’ events. The highest-ranked players are of the tournament.
1 Roger Federer Roger Federer __2 [Fabrice Santoro } PiCGen Caceres
3. | Olivier Rochus {oles Rochus Roger Federer
4 | Albert Montanes 5 | Arnaud Clement [amave Clement Nicolas Kief 6 | Andrew Murra oe Roger Federer |
| 7 Nicolas Kiefer ‘}iicolas Kiefer 8 [Radek Stepanek 9 | David Nalbandian \pevi Nalbandian _} naUiNeieardona| 10 | Peter Wessels Se OM : ; 11 [Fernando Gonzalez Merman Gonzalez | David Nalbandian
Davide Sanguinetti i inetti |. . eer 5 3 oe Mo = ! |pavide Sanguinctsl | Davide Sanguinetti | Roger Federer
15 |Paradorn Srichaphan_|Paradom Srichaphan 16 |Nikolay Davydenko 17 [Lleyton Hewitt Lleyton Hewitt | F 5 18 [Jose Acasuso } Beytomibe Witte) 19 [Taylor Dent oes Dent | Lleyton Hewitt 20 | Nicolas Almagro 21 | David Ferrer es Ferrer 7 7 22 | Karol Kucera | Dominik:Hrbaty! Lleyton Hewitt 23 [Dominik Hrba i Hrbaty 24 | Michael Lammer 25 [Fernando Verdasco Fernando Verdasco 56 [raul Capdevile = aera remand Verdasco.) rae
| 27 | Novak Djokovic Novak Djokovic atkhs Nieminen 28 | Mario Ancic 29 | Max Mirnyi ae Mirnyi 3 es Roger Federer 30 | Florent Serra LEVOIC RIEL fi 31 [Jarkko Nieminen Jarkko Nieminen 32 | Bjorn Phau 33 | Guillermo Coria jouterme Corona A 7 34 [Vince Spadea sSuilleimosConlaaee 35 | Robin Soderling eer Soderling | Guillermo Coria 36 | Feliciano Lopez 37 [Nicolas Massu \aieols Massu Bis 38 [iri Novak w/o bola was Robby Ginepri]
39 [Stanislas Wawrinka Stanislas Wawrinka
41 [Richard Gasquet Richard Gasquet ) ,. 7 42 {Giorgio Galimberti } Hiciard:Gasquets) 43 [Ivan Ljubicic Ivan Ljubicic Robby Ginepri 44 [Cyril Saunier
| 45 | Tommy Haas Tommy Haas q care “ 46 | Rainer Schuettler [ReboyiGinepi amas foeenceen asia 47 {Robby Ginepri eee Ginepri 48 | Gilles Muller 2 49 | Andre Agassi jae Agassi AngreAgassi -
50 {Ivo Karlovic oo 4 51 [Tomas Berdych foe Berdych en PES) 52 [Ricardo Mello 53 | Mikhail Youzhn' Mikhail Youzhny) xavier Malisse 54 Wonas Bjorkman Andre Agassi 55 [Xavier Malisse pos Malisse 56 [Brian Baker 57 {Sebastien Grosjean oes Grosjean) Tommy Robredo 58 [Thomas Johansson era 59 [Tommy Robredo pe Robredo \ 60 [Gustavo Kuerten 61 [James Blake — Blake Warranes 62 | Igor Andreev 63 | Rafael Nadal oe Nadal 64 [Scoville Jenkins n the knock-out draw, top players are usually seeded and put in different parts of the draw. The ideal scenario is for the first and second seeded players to meet in the final. The names above are from the US Open of 2005; the round of
64 competitors is, in the US Open, called Round 2.
In a round robin, each player is placed in a group and plays against every other group member. The group winners and runners-up eventually play each other to determine the champion. This format ensures you will play a number of matches, but it will be tiring.
In the example below there are two groups of five players. The most common option would be to have the winner of group A play the runner-up of group B
(and vice versa) in two semi-finals. One winner would eventually be found. A third/fourth place match could also be played. Round robins can have any number of players and groups but are ideal for small numbers who all want to play more than one match or for younger players.
The round robin format is preferred when a small number of tennis players meet. They all get two or more matches before they are eliminated, depending on group size.
In this type of knock-out draw, players who are knocked out after their first match are entered into a ‘consolation’ or ‘plate’ event, guaranteeing every competitor at least two matches to play.
A two-way draw is normally played with
8 to 16 players. The format starts similar to the traditional knock-out draw. If you win your first match you progress to the right of the draw. If you lose your first match you move to
GETTING STARTED a the left of the draw. Every player then continues to compete and plays four matches
(if 16 in draw) whether they win or lose.
This type of draw is ideal for club competitions because it accommodates all standards of players and gives them close matches. Knock-out draws are played in sections, with player standards determining the section he or she is in. Where possible, you play somebody of your own standard in the first match.
In the two-way draw of 16 players, every player gets four matches regardless of whether they win or lose.
Major tournaments are played on a variety of surfaces. At the highest level are the four
Grand Slam events: e Australian Open is played on rebound ace; e French Open is played on clay; e Wimbledon is played on grass; e US Open is played on cement.
Each type of surface has its own playing characteristics.
Slow-paced surfaces: Clay Clay courts vary between the red clay in
Europe and the gray American clay - both have slightly different characteristics.
Clay has a rough surface, so there is more friction on the ball, which makes it bounce higher and more slowly than on other surfaces. Therefore you will have more time to reach the ball and, depending on how dry the clay is, it is possible to slide on the court surface.
You can apply more topspin to your shots when playing on clay. If you watch the experts you will see how they give the ball more height over the net, and utilise the length and width of the court to try and outmanoeuvre their opponent.
Rallies are longer on clay so you need to prepare yourself mentally for a long match and then use the time in between points as constructively as possible.
The best-known clay court tournament in the world is the French Open, which is held at Roland Garros in Paris.
Fast-paced surfaces: Grass or some indoor courts
Grass surfaces are very smooth - depending, of course, on the length of the grass and firmness of the ground. This generally means less ball friction and fast, low ball bounces.
To combat the added time pressure on fast surfaces, you will need to adapt certain elements of your play, such as length of backswing and reaction speed.
The rallies are generally shorter on grass courts because the ball moves faster and so it is harder to return.
Players who use power and speed in their serves and attacking shots tend to do well on the grass courts. If you are able to dominate your games using net play, this tactic will be particularly effective.
Wimbledon is the only major tournament still played on grass courts.
Medium-paced surfaces: Synthetic, indoor or hard cement courts
Medium-paced surfaces are smoother, with less ball friction than clay courts. The ball bounce is faster and medium in height, meaning a quicker pace of game than on the slow surfaces. Rallies can be of varying lengths, allowing the use of a wide variety of shots and court tactics.
You will need to use your footwork effectively on these surfaces and be mentally prepared for long or short rallies.
The US Open is played on a medium-paced, hard-court, cement surface.
Try to experience playing and competing on different surfaces. It is fun and will challenge your strategy and tactics.
As a beginner, you may start by borrowing equipment from a coach or friend. However, if you start to play regularly you will need to choose your own equipment. Here are some guidelines for choosing items to suit you.
This is the most important piece of equipment you will buy, so it is worth spending a little more time and money on it to ensure you select well. There are numerous racket manufacturers and a vast range from which to choose.
The standard length for an adult racket is
68cm (27in), although models are available as long as 73cm (29in).
If you are a young player or are buying for a child then you will need to look more carefully at the length of racket you choose.
Children’s rackets can range from 43cm
(17in) to 65cm (26in). Your choice will depend on the size and strength of the player.
There are a variety of lightweight and short rackets, as well as junior balls, for use by younger players.
The weight of a 68cm (27in) racket will vary from 260g (90z) to 340g (1202). The weight that suits you will depend on your strength, your style of play and your personal preference. It is a good idea to try a racket before buying it to see if the weight suits you. Many shops have demonstration rackets available for trial. Perhaps you could also experiment with rackets belonging to your club, coach or friends to help guide the decision.
As your grip is an important aspect of your technique, the grip size (circumference) of the racket handle is a key consideration when selecting a racket.
Grip sizes can vary from 10.25cm (4'4in) to 12.5cm (5in). When trying out different sizes, look out for a grip that enables you to grasp the racket firmly and comfortably. It should be just possible for your thumb and forefinger to touch each other around the racket grip.
f your grip size is too large, you may find it difficult to keep a firm hold of the racket.
If it is too small, you may have trouble altering your grip and directing the ball.
t is possible to replace the grip on your racket handle to alter the size and texture of the grip. A wide range of racket grips are available, of varying thicknesses and fabrics.
Grips can be adjusted to suit your preference. Having a clean and fresh grip certainly helps avoid any slipping of the racket in the hand.
You will find that rackets also vary in their head size. The area of the racket face can range from 613sq cm (95sq in) to 722sq cm (112sq in). Professional players tend to use the smaller head sizes, while club players or older players frequently opt for a larger racket face.
Two types of racket strings are available:
natural gut strings - made from animal intestine;
Natural gut strings are much more expensive than synthetic strings, but have the advantage of greater elasticity. Rackets can be strung at a higher tension when using these strings.
Synthetic strings have evolved over the years and are perfectly adequate for clublevel players. However, it is not possible to string a racket at very high tensions when using synthetic strings, because they will lose their elasticity.
Some modern rackets, such as the left- and right-hand rackets here, have a small device on the strings to prevent string vibration.
GETTING STARTED .
Stringing and restringing rackets
When you buy a racket you may want to choose your own strings. Many sports shops offer racket stringing as a service, or you may find a stringing contact through your coach or club. Most tennis rackets will come with guidelines for suitable stringing tension levels.
It is necessary to restring your racket at intervals (or if you break a string), depending on how frequently you play. A guideline is to restring your racket as many times per year as you play tennis per week. Professionals’ rackets are re-strung overnight during tournaments to maintain the preferred tension.
There is a range of tennis balls on the market, varying in quality, colour and cost.
The high-quality, more expensive balls are likely to be firmer and to last longer than cheaper ones. As you play and progress, you might prefer to play with new balls on a regular basis even though this would involve greater expense.
Although a variety of ball colours are available, club and match regulations will require that you play with yellow or white balls (although white balls are very rarely used).
If you are a beginner, you might want to practise using softer, low-compression balls.
Tournament balls are sealed in pressurised cans prior to use.
Choose shoes that feel comfortable, but also think about the surfaces you will be playing on.
Choosing an appropriate pair of shoes in which to play tennis is almost as important as selecting the right racket. Your shoes should be light and supple, fit properly and give you support in the right places.
As with any sports shoes, it is essential that your tennis shoes are correct for your feet. It is therefore a good idea to ask for help with fitting in the shop, because a well-fitting shoe can be surprisingly hard to judge.
It is important that your shoes give you adequate support around the ankle, because tennis involves regular and varied impact on this area.
Different styles of shoe sole are suitable for each type of court surface. Choose your shoes according to the court surface you play on most regularly:
regular slip-proof and hard-wearing shoes are suitable for most outdoor surfaces, such as clay or tarmac;
when playing indoors, regulations may require that you wear smooth-soled shoes.
If you are playing tennis regularly, it is a good idea to have two pairs of shoes so that you can leave one to air or dry. You may also need to have more than one type of shoe if you play on more than one surface.
Clothing Traditionally, tennis clothing is entirely white, and some clubs and tournaments will uphold this in their regulations. However, fashions change every year and some players do add colour to their outfits.
The basic items you will need are:
When going on court, it is useful to have a large bag for extra rackets, grips, clothing and refreshments.
The basic items you will need are:
Other clothing for players of both sexes
Further basic items that players will need are:
It is important to protect your racket with a cover or keep it in a bag. Racket bags come in various sizes. If you have more than one racket, use a larger bag. It is possible to find a bag that will carry as many as ten rackets!
Ultimately you should aim to feel confident in your court attire. Sweat bands are an additional item possibly worth having in your racket bag.
2 a pay 5s Bo Your racket bag is also useful for carrying extra pieces of equipment that might be needed on court, or before or after a game.
a drinks bottle and snack; rah first-aid equipment such as band-aids is for blisters; ae
Why tennis?
Tennis is a worthwhile sport to pick up at any age, for many reasons.
It is exciting to hit that slice serve out wide and watch your opponent struggle to return it, while you run into the net and hit the volley for a winner.
There is a wide range of technical and tactical skills to learn, understand and develop in the game.
Not only can you work on your own skills and confidence but you can also have the opportunity to test these against all sorts of competitors, on different courts and in diverse environments.
It is a sport you can play at any age - from three or four years through to your later years. Some people still play regularly in their 80s! The game can be adapted to
You can start learning to play tennis at any age...in fact, the sooner the better.
include players of all ages, so there are no limits on who you play the game with.
Tennis provides healthy exercise
The activity in the game works many of your larger muscle groups, of both the lower and upper body. You have to twist and turn, to run and jump, and really test your physical conditioning. Learning to play tennis provides a structure for developing your personal fitness.
People of all ages play tennis for the social opportunities it provides. Lessons, clubs, competitions and tennis holidays are all a great way to meet new people. This can also be an asset when travelling or moving to a new area.
While there is a range of equipment.
available, once you have your racket and ball there is no need to spend a fortune on expensive clothing, further equipment, overseas travel or accommodation to play the sport.
\f you want to start to play tennis as an adult one of the best ways to do so is to seek out a professional tennis coach and take a few lessons to see if you enjoy the game. Lessons can be given on an individual basis, in a pair or in a group. If you are concerned about how capable you are, you may find an individual lesson is the best way to start the learning process.
When searching for a tennis coach you will need to ensure that they are qualified and have some form of identification. There are various tennis qualifications depending on the country you are in but most are recognised universally.
Coaches charge different amounts - a lower-level coach is likely to be less expensive than a high-level performance one. A good coach will take an active interest in you as a person, will adapt to your needs, and alter his or her teaching methods to suit you, the individual.
Coaches can be placed into one of three categories.
These are qualified to teach those playing tennis for the first time. They specialise in helping you improve your basic skills, to reach a level where you play the game independently.
These specialise in teaching confident players, helping maintain and improve technical skills and style of game. A club coach will support you in competitive tennis as far up as he or she can, encouraging and developing your match play.
These will take the top players and aim to make the most of your achievements in tennis, guiding their careers and supporting ongoing training and development. Ensure you ask what qualification the coach has.
Developing a good relationship with a coach is very important.
Different coaches — different methods
Think carefully about what motivates you, so that you can find a coach who complements you as a person.
All coaches should have a high level of technical and tactical knowledge to help you improve your game. It is valuable to work with someone who has extensive experience of tennis, to inspire you and expand your knowledge of the game. The three main coaching styles are as follows.
Your coach will lay out plans and schedules for your development, and assess your progress within their own structure. He or she will work with little input from the player.
Your coach will work with you to develop a structure of learning, taking into account your preferences and adapting to your personal situation.
Your coach will adopt a more casual and fun approach, suiting players who are simply looking to enjoy the game of tennis.
Whether you begin getting coaching or not, if you want to play more tennis the best place to experience this is at a local club. Club sizes can range from a two-court outdoor club in a village to a larger, extensively equipped commercial one. Costs to join will depend on the facilities available.
There are many things to consider when choosing a club to join. Have a good look around and consider the following factors.
@ are there options provided for joint/family/child membership;
® which available facilities are included in the membership fee?
Modern clubs offer a range of facilities, and often have indoor courts allowing year-round guaranteed play.
are there any extra facilities, such as fitness equipment and changing rooms;
are there a variety of contacts or options;
js there an option for group learning?
@ will you benefit from an opportunity to take part in competitions; e does the club organise friendly competitions as well as internal leagues; e do club members take part in external league competitions?
Some large clubs in Europe are open to members and host major competitions - as here in Monte Carlo.
Guests e does the club accept guests;
is it possible to test out the facilities and meet the staff/coaches before you make the decision to join;
Once you have chosen a club, make an effort to get involved in social events and meet fellow members. You may find that you meet people in similar situations to yourself, with comparable aspirations and hesitations about playing the game of tennis.
You will often have to commit to a fixed length of membership when joining a club, so make sure you find out as much as you
You will need to decide exactly what you want from the game of tennis, but to achieve your full potential you will have to spend a great deal of time working on your fitness. The modern game of tennis requires high fitness levels - this is now an integral part of the game.
The game is demanding because the
‘fitness’ it requires means all-round athleticism. Speed, endurance, agility, handeye coordination, concentration and resistance to injury are all important.
Many top players, although possessing incredible all-round fitness, also have an extra dimension. Look, for example, at the athletic ability of Venus Williams, the strength of Andy Roddick, the power of Marat Safin, the flexibility of Maria
Sharapova, the stamina of Rafael Nadal, and the speed and grace of Roger Federer.
These players are highly tuned athletes who dedicate a lot of time to fitness. If you too want to reach your personal goals, you are well advised to work on all-round fitness
Kim Clijsters has strength and ‘stretch’ in perfect balance.
and try to develop your own ‘extra dimension’ It might be this aspect that helps you to overcome your opponents.
Also, you will need to remember that tennis is an ‘interval’ sport - there are short bursts of activity interspersed with rest periods. You should be aware of this and use it to your advantage. ;
Of course, top tennis players have the time and resources to take the fitness requirements of the game to new levels.
Players use the sport sciences to ensure that every detail of their physique is attended to and that their fitness programmes are optimal.
To get the most out of your development as a player, you have to devote the amount of time and energy that matches your own lifestyle. However, there are ‘windows of opportunity’ when different aspects of fitness should be worked on.
From an early age, it is important to work on the ‘ABCs’ of athleticism:
® coordination.
If you are serious about your tennis you will need to get fit to play the game, rather than use terinis as a means of getting in shape.
You should work on developing a fitness programme to suit your individual situation.
This may require the advice of your doctor and/or a fitness instructor. You should consult your doctor before starting any significant attempt to increase your levels of exercise.
Players aspiring to reach higher levels are tested in a variety of ways to see what their starting fitness levels are, carefully identifying areas that need attention. The type of fitness programme you will need will be totally specific to you. Your standard of fitness will depend on:
training and starting fitness; e diet; e illness and injury;
The basic principles of training
Keep these ideas in mind as you develop your training programme:
@ reversibility - ‘if you don't use it, you lose it' - it takes a long time to get to a good fitness level but only two weeks to lose it;
@ variation — ensure the training is fun and varied to keep your interest and motivation levels high. Ensure you have an easy session following a hard one. You will need rest and recovery periods;
Short bursts of activity followed by rest periods reflect the pace of the game;
The fitter the player, the better the performance. At the highest level the fitness of a player can make the difference between winning and — losing,a match. There are numerous _ benefits to having a good physical conditioning programme - fitness delays the onset of fatigue and promotes faster recovery after competition. It will help build : your confidence in match situations, : - knowing that you can get to every
~ ball and that you will not tire. It will benefit your technique, make you more powerful and reduce injuries. Above all, a soe level of fitness will improve your general health and wellbeing and help you to enjoy your tennis. For a serious player, the fitness programme will form an essential part of his or her annual plan. Often there will be a physical training block of four to six” weeks, which will then be tapered off “nearer to competition. During the competitive phase, fitness will be maintained. Most top players plan the year carefully so that they can “peak” for the most important tournaments.
_ It is important to take your fitness seriously—consult a professional such as os physical conditioning specialist who will help you with your overall programme.
The warm-up prepares you for activity to come. The main effect is to raise your body temperature - warm muscles are more efficient than cold ones. This will help reduce the risk of injury. A good warm-up is also good mental preparation for any physical activity.
Spend 10-15 minutes warming up. Start with five minutes of jogging, skipping or cycling followed by dynamic stretching, coordination work (younger players in particular) and some speed work.
This is an ideal way to raise the body temperature. Skip for five minutes on the spot using a variety of skipping types:
two feet together; e alternating feet; e side to side;
You might also skip in circuits, changing the type of skip every 20-30 jumps.
One warm-up technique is court skipping. Start in the tramlines. Skip:
Repeat three times and vary the skipping.
Dynamic stretching can be done across the court. You will need a variety of exercises to work the arms, shoulders, trunk and legs:
side skip across the court with your arms swinging across your body and then repeat moving back;
Tennis involves many lunging movements so it is important to warm up the muscles in your groin: e keep your back straight and your head up; e looking forward, lift your right leg and lunge forward, ensuring the knee does not go over the toe; e lift the left leg up and lunge forward;
This exercise involves balance, so keep your stomach muscles tight. A variation is to stretch your gluteus muscles, as follows: e lift your right knee high and grasp it to your chest with your hands;
@ repeat with the left leg and move across the court.
A forward lunge.
Cones are a fantastic way to practise a variety of footwork and coordination exercises, for both children and adults.
With younger children the cones exercises can be done in teams or as races, but ensure that the quality of the exercise is maintained and not rushed. In order to make these exercises more tennis related, carry a racket in your hand while doing the drills.
The following exercise will improve the lateral movement in your body:
@ set out a series of cones (minimum of six) evenly spaced apart;
Cone drill for better lateral movement.
A typical stretch sequence commences with an upright stretch, first on a flat foot then on the toes followed by a lunge.
There are numerous other exercises that you can do using cones. Try some of the following drills:
Cones and court movement These exercises can be done with a partner.
Cone drills allow you to practise more tennis-specific movement. The key here is to use the crossover step as the first step on the recovery, followed by side steps:
@ the player starts near the centre mark, while the coach or partner stands on the service line with a basket of balls and throws a ball near the forehand singles sideline;
Using a ladder is one of the best ways to work on footwork, coordination, speed and agility and can be used by players of all ages. There are numerous exercises that you can do with a ladder. For example: e run through the ladder with one foot in each space;
run through it with two feet in each space; e run through it with high knees and working the arms;
@ run through it with heel flicks;
jump with two feet through the ladder; e do high jumps into every second space;
This is a simple cone run with the player stretching down to touch the cone at each point of the triangle.
Although not always sensible, try to carry a racket for most of the speed exercises.
Here are two ladder drill exercises, but do experiment and try some out for yourself.
This exercise is for footwork, speed and agility. Start this off slowly until you have the footwork pattern and then speed it up:
@ place both feet to the side of the ladder;
put your right foot into the middle and then your left foot next to it;
move your right foot to the outside, then put your left foot into the middle of the next rung up. Follow with the right foot;
@ take the left foot outside, and move the right foot to the middle of the next rung up.
Variations to this exercise are:
Do this exercise carrying a racket. Always concentrate on keeping in your ‘ready position’ throughout the drill: e start facing sideways to the ladder and lift the leg nearest the rung up and over the rung into the next space. Bring the other foot up next to it;
Sideways through the ladder drill
The use of hurdles for movement and plyometrics (developing speed and power) can be both fun and hard work.
In this drill, which can be done on or off the court, blocks of three hurdles are set up with space for about three steps between each hurdle. Keep your head still, and when you sidestep across the court adopt a low ready position as you would do in the game:
Fitness is now a vital part of tennis and can be hard work, but it can also be made fun, particularly in a group environment. |
All variations of this exercise can be done with a racket in your hand. For a great workout, do the following exercises for three circuits:
put two feet in between each hurdle; e jump over each hurdle with two feet;
Speed is one of the key fitness components in tennis. When doing speed work it is important you have a work-to-rest ratio of
1:5. You should rest before repeating the drill. The aim of speed work is to give
100 percent effort and get maximum speed so you will need full recovery between repetitions. Also, try to make speed training tennis-specific by ensuring the distances used are related to the game.
This fun drill is just one of many. It should be done on the court with a racket and ball, and with your coach or a partner: e start on the tramline A on the opposite side of the court to your coach or partner, who will be positioned near the net;
@ ask your coach or partner to feed a wide ball to your forehand, to B (if right handed);
® run across and hit a forehand down the line to target 1 (T1); e ask for the next ball to be a drop shot tore: e chase this and reply with a drop shot to target 2 (T2).
Resistance running One of the best ways to improve your speed is to work against some resistance. In this drill your partner or coach holds a piece of elastic, which is attached to your waist. Your partner provides resistance by holding you back slightly so that you have to work harder:
@ run as fast as you can over 10-15m (30-50ft), moving side to:side;
rest after each run and repeat five times.
@ run very fast to catch the ball before it bounces twice;
A variation is to start with your back to your partner, then on his or her signal turn and catch the ball. You could also repeat the exercise holding your racket, trying to catch the ball on the racket strings.
The medicine ball is a tremendous way to work on your strength and power. Such a ball can be used from a young age provided you use the correct weight. Children can start by using a basketball or football and then progress to a 1kg (2.2Ib) medicine ball.
For adults, a 2-4kg (4.4-8.81b) ball will provide a good workout.
Here are a few throwing exercises that will work on both the upper and lower body.
Below: The value of many exercises is that they mimic parts of your tennis game. In this case a simple sideways medicine ball throw is similar to a forehand shot.
stand with your feet shoulder width apart;
Overhead throws kneeling e kneel on one knee, ensuring the leg is bent at a right angle;
Backward overhead throws This exercise will work your arms as well as your legs:
stand with your back to your partner holding the ball in both hands in front of your body;
Dumb-bells are an easy way to start with some basic weight training and can be used at home. Begin with bells of 1kg (2.2Ibs) or 2kg (4:4lbs), then increase their weight as appropriate to your strength and physique:
Dumb-bells exercise - lateral raise e Junge forward on your right foot, maintaining balance and posture, and keeping your back straight;
Another dumb-bell exercise Is to:
hold the dumb-bells in each hand and stand erect with feet shoulder-width apart;
@ raise the right hand up and above your head with a pumping action, and then do so with your left hand (don't lock your elbows);
Plyometrics Plyometrics involves the lengthening of the muscle group, followed by an immediate contraction, over a short period of time. This causes a forceful movement and is one of the best ways to develop more power.
Skipping is a basic form of plyometrics and double-jump skipping is an excellent way to train, as is the hexagon drill: e stand outside a marked hexagon; e jump with two feet in and out each side as fast as you can; = repeat three times in a row, and time how long this takes you.
Another simple plyometric exercise is:
repeat five times and then rest.
It is important to strengthen your abdominal area, because core stability is essential to a tennis player. The ‘Swiss ball’ or stability ball is an excellent tool for this:
@ sit on the ball with your back straight and knees and feet together;
@ hold your stomach muscles in;
FIT FOR TENNIS a 7 ENJOYING FITNESS i) =
Training should be fun. Although it Physical training also helps with is important to work players hard, at your psychological approach to the every level, you should never lose game; a fit body frees up the mind to sight of the fact that tennis is a allow you to concentrate on skills, great ‘game’ and should be enjoyed. techniques, and tactics. The old adage
Even if you lose a match you have — applied to many sports - is still true: still gained from the exercise a bad day on the court is better than a and recreation. good day in the office!
These exercises and drills are a small sample of what can be included in an overall fitness program. Each one of these drills can be adapted and made harder or easier.
The forehand is a crucial match- and pointwinning shot. Although the forehand is probably the most fundamental shot in tennis, and the one you learn first, it is not necessarily simple. Advances in technology and the use of lighter rackets have enabled players to add detail to the shot such as topspin and more accurate direction. You need only look at the forehand shots of top players such as Roger Federer and Maria Sharapova to see how powerful and effective this shot has become.
You are well advised to try different grips (pages 60-63) and then match your play to the grip that suits you best (pages 64-69). If you have a coach he or she will assist you.
Andre Agassi uses an aggressive forehand to return a serve.
With the eastern grip, the hand position is behind the racket handle.
As with all the shots in tennis, there are a variety of ways to play a forehand. The main differences lie in the grip you use.
This grip - also known as the shake-hands grip - is the most common at club-level tennis and is often an ideal starting point.
With it, you will tend to hit flat or with slight topspin.
You can use the eastern grip with any forehand stance, semi-closed to fully open.
For this grip, the palm of your hand is placed on the side of the handle, as if you are shaking hands with the racket. The contact point should be lower and farther from the body than with the semi-western or western grip. One advantage of the eastern grip is that it is easier to adapt strokes to net play than with the more extreme grips. The drawback, though, is that you may lose efficiency on clay surfaces because of reduced topspin on the ball.
This grip is the one that most top players will use most of the time. It allows for a great variety of shots to be played and increases the ability to put spin on the ball.
With the semi-western grip, the hand should be held slightly farther round the racket handle, with the palm starting to come underneath the racket. This positioning enables maximum transfer of force and spin into the shot. It also enables
- you to lay back your wrist while playing a forehand, giving more flexibility to the movement of the racket face.
You would normally play with a semiopen or open stance when using the semiwestern grip. The contact point should be higher (approaching shoulder height) and closer to your body; it should also be more frontal (in front of your body) than for the eastern forehand.
The main disadvantage of this grip is that you may find it hard to deal with lowbouncing balls, and that you will need to alter your grip when playing at the net.
With the semi-western grip, the hand is farther around the handle.
Diverse grips suit different players and are also adapted to match your stance.
The stance can vary from fully open to square and then to closed.
This grip should be held even farther around, with the hand below the handle. The western grip allows a wide ‘throwing action’, facilitating topspin, and is used by pure baseline players and clay court specialists. It will lead to an even more pronounced laying back of your wrist and more closed racket face during the swing than with the semiwestern grip. Your contact point should be even higher, closer to your body and farther in front than the semi-western grip.
The western grip is not recommended for young players in today's game, because it has several disadvantages: injury with extreme grips.
In the pages concerning your choice of grip you will notice that different shots are recommended for different grips. Initially it is a good idea to find a grip that is comfortable, then slowly try to perfect different grips for each of your shots. —
In a match situation you will soon find that you are changing your grip automatically, without thinking about it.
Adapting a good ready position oS | with both hands on the racket fe = a GRIP AND SHOT ) : “ d makes it easier to change grip. _
You may find you prefer to use two hands on the forehand.
A classic two-handed grip.
It is difficult to deal with high-bouncing balls with this grip, which is also known as the chopper grip. Most players will use this grip for serving, volleying, and smashing and also touch shots (drop shots). If you use the
The continental grip is rarely used for standard forehand shots but it does have some special uses.
Place your dominant hand at the bottom of the handle with an eastern or semiwestern forehand grip. If you use this grip you need to be extremely quick to make up for lack of reach.
The two-handed grip for a left-handed player.
continental grip you tend to play the ball ‘later’, and it is more difficult to achieve as much power as with the semi-western grip.
You may, however, use the continental grip for a sliced forehand or for a blocked return of serve. (Also see page 88.)
The continental grip.
‘Try to master the semi-western grip. It is most effective for power and spin - to take — the ball early and on the rise. Be modern!
The eastern forehand is most popular in club and recreational tennis. However, there are some advantages to this style. If you use the eastern forehand grip, you will tend to hold the racket more upright; this makes it easier to have a loop to the take back.
start in the ready position;
..contact point and follow through.
Forward swing and contact point
The backswing and forward swing need to be continuous in a back-to-front action or a basic low-to-high swing: e initially, as you prepare for the shot, your weight is on your back foot and then it is transferred onto your front foot to help generate power;
@ with the eastern grip you are more likely to step down the court in a semi-closed or if using the square stance, ensure that you step with one foot in front of the other
- the front and back legs should be perpendicular to the net. This stance is good for balance and for hitting a controlled shot.
It will also help young players achieve good weight transfer;
® ball contact point should occur at the side and over the front foot.
The eastern grip forehand, backswing...
after impact the racket head will move in the direction of the ball and the follow through will pass across the body (and allow recovery for the next shot);
If you use the eastern grip and step down the court, there will tend to be more linear momentum than angular momentum.
Russian Svetlana Kuznetsova attacks the ball with her forehand. Her momentum can take her forward if she wishes to move to the-net.
THE FOREHAND be differences between men and women as well as variations according to the style of play and the type of shot you are going for; e a good follow through will allow you to continue the racket head acceleration through impact - reducing the possibility of injury - and to be balanced after impact and so ready for the next shot.
Try to avoid a ‘closed’ stance, where your front foot steps across your back foot, because this will restrict rotation of the trunk and hips.
Using the semi-western forehand
As we have seen, the modern forehand is most commonly played with the semiwestern grip by professionals.
start from an athletic stance or the ‘ready position’;
@ hold the racket in front of you with two hands. Your shoulders should remain parallel to the net;
Jennifer Capriati plays her one-handed forehand from the baseline.
The path of the backswing will vary with different players, but almost all modern players will use a looped preparation. This allows for a more fluent swing and also for the racket head to accelerate over a greater distance before it reaches the ball:
@ as the ball is hit by your opponent, pivot the foot that is closest to the ball outwards; e lift your eloow and begin to turn your shoulders simultaneously;
® use your non-hitting hand to guide the racket back, so the racket face is slightly closed. This will aid rotation of the shoulders;
With the semi-western forehand, you should be comfortable but alert in your ready position.
@ use the non-hitting arm to act as a counterbalance to the movement of the racket arm throughout the action.
@ as you start the forward swing, drop your racket head and extend your bent knees to facilitate the upward movement in your Shot;
with the semi-western grip, keep your eloow close to your body in the early stages of the forward swing to ensure the stroke's stability;
The backswing initiates momentum for the forward swing. It is guided by the movement of the elbow.
THE FOREHAND [i e rotate your trunk and keep it flexible;
keep your head still to maintain balance throughout the stroke; e extend your elbow in the early stages of the forward swing to ‘flatten out’ the forehand stroke; e with the semi-western grip, keep your racket face closed during the forward swing until the contact position;
@ ensure the path of your racket in the forward swing is from low to high;
keep your balance throughout the shot, with your head still and your eyes focussed on the hitting area;
make contact in the open stance;
@ extend your knees and turn the right hip so that your weight is transferred along the racket head trajectory of the swing both prior to and on contact; e allow your racket head to be slightly below your wrist on contact;
The semi-western forward swing...
Follow through e always extend through the ball on the follow through so that you continue the acceleration of the racket through contact. If you anticipate the racket stopping, you will decrease the speed of your shot;
It will depend on your style and the shot you play, the grip you use, and also on your tactical intention. If you use a semiwestern grip, your follow through will tend to be up and around your neck or higher. If you use a western grip, your follow through is likely to be shorter and lower.
..at contact...
..and with follow through.
If you adopt the western forehand grip then you will tend to have a steep racket head trajectory, and the racket head speed is very fast on contact. You can still play the shot from an open stance, however.
Although few players use the western forehand, you must choose the style that is best for you. Here the shot is shown at contact...
Leyton Hewitt hits with an open stance and has a follow through that does not take him forward in the shot.
Your contact point should be higher and closer to your body than for the semiwestern grip. With a western grip, your forearm and wrist action should be more exaggerated and the follow through more pronounced, often being shorter and lower.
..and with follow through.
A good follow through will reduce the possibility of injury by allowing normal deceleration of the racket.
One of the best ways to improve your shots is to watch and learn from professionals. When watching top players execute the forehand, try to break down the shot into separate parts and note how each part serves a purpose.
As we have described on the previous pages, there is no one ideal technique for the forehand but there is an ‘optimum’ technique for each individual player. You will need to find yours.
Roger Federer is here preparing to play a forehand drive.
Open stance Notice how many top players play their forehand with an open stance. They set up with their feet virtually facing the net. ee arm Notice how the oe arm is used to assist in trunk and shoulder rotation. When the racket is taken back, observe how the shoulders are turned away from the court more than the hips, thus creating an angle of separation. This enables
Clijsters) use the semiwestern grip. This fee grip a generated.
the forward swing to store energy and be more oy i of the take >» back This will vary with different players. Leyton
Hewitt, for example, has a larger take back than others players. If your take back is too large, however, the chances are you will be late on the ball, unless you enables the wrist to be laid back more and will enable the racket to travel over a greater distance to generate more power. When you try to lay the racket head back, be careful that you do not end up a at the ball! J
Belgian Justine Henin-Hardenne at contact on an attacking forehand.
_ Swing path Players will vary how they take the racket back. Some do a simple unit turn, some have a shallow loop, while
‘up swing - don't confuse _ style with function.
Use of the legs Notice the position of the legs in the preparation, and then the back leg drive.
THE FOREHAND hos and eyes Notice how still the head is at contact and how focussed the eyes are. The head is the heaviest part of your body and needs to be still for you to maintain balance. Head movement is a common fault with young players and YC in lack of ball control.
ho through This oO vary depending on your style of play, the shot you are executing, and the grip you use, but in all cases the elbow will end up high and pointing in the direction the ball is going. Women players may have a longer follow through over the shoulder because they do not have the power of the men. With male players the racket may finish more in front of the body particularly when the player is trying to hit with ae topspin. 4
Watch live or recorded tennis as much as possible and observe the variations between players. The difference between males and females is due to their diverse strengths and physiques.
The backhand can be played with one or two hands. In the modern game, many of the top female players use both hands. In the men’s game there are more single-handed backhand players.
Both the one-handed and the twohanded shots have their advantages. For example, the one-handed backhand can provide much greater reach, which is beneficial in a fast-moving game. However, the two-handed player can achieve greater power with the extra hand. The advantage of using one or two hands will depend on your personal strengths and the style of game you are playing.
One of the main tactics to adopt is variation of spin, and this can be enhanced by the grip you choose.
As with the forehand, the way you play a backhand depends on the grip you use.
This grip is the easiest one to use if you choose a one-handed backhand. For the eastern backhand grip, the knuckle of your first finger should be on top of your racket, thereby ensuring that the racket face is vertical at contact point. As you progress, you should aim for more topspin in your shot. This will involve a more extreme grip, turning your hand farther round.
Many top players use this extreme grip, especially when playing on clay surfaces. It is easier to hit a high-bouncing ball, take the ball on the rise and impart topspin onto the ball. The main disadvantage of this grip is when playing lower balls and returning hard serves on a fast surface.
As you may have noted in the forehand section, the continental grip is mainly used for serving, volleying and smashing. It is difficult to execute topspin with this grip, which is a major limitation when playing a backhand. However, the continental grip does have advantages when playing a slice
2 6.
Roger Federer is a one-handed backhand exponent.
With the eastern grip, the knuckle of the first finger is on top of the racket.
shot. If you use this grip to hit a flat or topspin backhand you will need to have a strong wrist and excellent timing.
The simplest solution for beginners is to add the second hand to the forehand grip, thereby using two forehand grips to hold the racket.
Use a continental grip for the lower hand and an eastern forehand or semi-western forehand for the upper hand.
Use an eastern backhand grip for the lower hand and an eastern forehand for the upper hand.
The two-handed backhand grip Two-handed backhands are popular and are valuable shots to possess in your tennis repertoire. There are a variety of ways to combine grips for a twohanded backhand.
It is generally recommended that a righthanded player use a continental grip with the right hand and an eastern forehand or semi-western grip with the left hand. This
Use an eastern backhand for the lower hand on the racket and an eastern forehand or semi-western forehand for the upper hand.
will allow greater flexibility and variety with shots, and will make it easier to adjust for a one-handed slice shot.
A two-handed grip is quite individual to the player. Men tend to have the lower hand slightly farther round toward the eastern backhand than the women do, especially if playing on slow clay surfaces. They have more strength in the wrists, so it is more straightforward to hit with topspin.
A strong backhand will increase power and consistency while rallying, enabling you to pass down the line and to create severe cross-court angles to challenge your opponent. The backhand may seem like a tricky shot to a beginner, but it can be learned relatively easily and, with practice, Your shoulders should rotate as you take the racket back in a one-handed backhand. You can use your left hand on the racket as a support in the take back.
Left: Justine Henin-Hardenne plays a onehanded backhand as a return of serve. Note the extreme grip she has used here.
THE BACKHAND x improved quite quickly. In the more advanced game the topspin backhand has become an important weapon.
As with all shots in tennis, before you develop your tactics it is important to master the fundamentals of the shot. You will be well advised to walk before you can run with this particular shot.
Preparation and backswing e start from your ‘athletic position’ or ready stance;
— as you take your racket back. If you are in the early stages of perfecting your backhand, use the eastern backhand grip. If you are proficient with the backhand and wanting more topspin, then use a more extreme backhand grip;
as you take the racket back (using your non-racket hand), rotate your shoulders. This should be a single ‘unit’ motion;
There are two ways to get the racket back in this position: e turn your shoulder, take the hand back, then lift the racket to shoulder height; or turn the shoulder and immediately lift the hand into position, then have a loop to your take back. For the beginner a simple unit turn with slight loop is the simplest.
Pane HINT EE, There is a temptation to ‘run around’ a backhand to make it a forehand shot. Try to avoid this (although it can be a useful skill) and make your backhand as strong a shot as your forehand. x 4
The one-handed swing...
Forward swing and contact point e make the backswing and forward swing in a continuous action in order to increase the racket head speed; e having taken the racket back, step down the court with your right foot (if right handed) toward the ball, in order to play the shot in a square stance;
..and with follow through.
..at contact...
e as you start the forward swing, the head of the racket will drop below the height of the oncoming tennis ball;
the contact point should be to the side and in front of your body. At impact, hit the ball in front of the front foot; e usually extend your elbow joint so your arm is almost straight on impact, thus increasing racket-head speed.
move the path of the racket head from low down to high up; -
® use your non-racket hand asa counterbalance, it will move slightly behind you;
® bring your back foot round after the initial part of the follow through, in order for your racket and body to decelerate slowly.
The single-handed backhand is mostly played You should avoid ‘closing’ your stance by stepping with a square stance. across the tennis court - this will restrict your follow through.
Some top players hit a single-handed trunk and wrist. It is considerably easier backhand from an open stance, but this to achieve effective weight transfer by oo a great deal of strength in the stepping forward and into the shot. y
Kim Clijsters executes a tremendously powerful backhand. Despite the energy that goes into this shot her head remains still and her eyes focussed.
Always keep your head still and over the ball, aiming to maintain balance as you strike the ball.
The two-handed backhand explosion really came about with US star Chris Evert in the
1970s. Once she had won Wimbledon, she was a great role model for this shot. To quote her father, Jimmy Evert: ‘| didn't teach the two-hander to her. She started that way because she was too small and weak to swing the backhand with one hand. | hoped she'd change—but how can | argue with this success?’ The key point was that she felt
‘too small and weak’ to manage a singlehanded shot. The two-hander certainly provides the possibility of more power.
The great role models in the men's game were Jimmy Connors and Bjorn Borg. When
Frenchman Arnaud Clement looks well positioned and comfortable with his two-handed backhand.
he won Wimbledon - five times - Borg dispelled the myth that a two-handed player could not win on fast surfaces such as grass!
The two-handed backhand has many advantages for a player: e it is easier for young players because two hands provide more strength;
you have to place the other hand on the racket only in the initial stages, without worrying about grips;
it is easier to hit the higher-bouncing balls with aggression;
® start from your ‘athletic’ position or ready stance, and keep mentally alert;
Ready stance...
THE BACKHAND [i racket straight back, while others move the racket back high, and yet others low;
the distance your arms are from your body on the take back will vary with different players. Young players tend to have their arms closer to their bodies. As they get stronger (especially the men) their arms straighten more on the take back and the contact point is therefore farther away.
..take back for the two-handed backhand...
..shoulder turn...
..forward swing... ..contact point...
@ hit through the ball and follow through up and over your shoulder, allowing recovery for movement to the next shot;
..and follow through.
Many two-handed backhands are now You need to be quite strong to control played with an open stance (above). This the ball with an open stance. For young usually occurs when returning a wider ball, or novice players, it is best to stick to when the player is trying to hold his or her —_ a square stance (above) when making ground on the baseline and not be taken your shot. This will generate more off the court. It is also used frequently on power by transferring body weight a return of a hard first serve. into the shot. J
Belgian Xavier Malisse watches the result of his two-handed backhand. He keeps his head still, his eyes on the ball, and his hands (for this particular shot) a little distance apart.
On your follow through, extend through the ball and lift the elbows high so that they are pointing down the court.
Roger Federer has one of the best oneorder for your backhand to be consistent, so handed backhands in world tennis, and he is you can make repeated strokes without errors, an excellent role model for this shot. you will need to hit the ball consistently
Here Federer is in the optimum hitting in this zone. Here Federer has positioned zone on his backhand side - meaning that himself a comfortable distance from the ball he is at an ideal distance from the ball. In so that he can freely execute the shot.
Roger Federer gets down low to play his one-handed backhand. 84
Steady head Federer's head is still and over the ball with his
| eyes clearly focussed on the ball :
| This helps to maintain excellent |
. balance as he plays the sh :
Weight transfer As Federer steps down the court he moves his weight forward.
Arm angle The arm is virtually straight when he is about to hit the ball and his grip is firm. Leg position As |
Federer gets down to the ball, he is bending at the knees as well as_| the waist. Notice the — : definition in the right —
_ evidence of the great | lower body strength | hehasgained. —S_i
Swing path The racket head is slightly below the height of the ball because the swing path is in an upward direction, so Federer can impart topspin onto the ball.
Extreme grip Federer uses an extreme backhand grip this will enable him to hit with more topspin.
he moves his weight forward and onto it.
Focus on finding your optimum hitting zone and then consistently hit the ball in that area.
There are slight differences between the top female and top male players on the twohanded backhand. These are mainly due to differences in physique and strength.
Here we can see how Serena Williams is playing this backhand from an open stance, thereby revealing her tremendous strength.
She has lined her back (left) leg up close to the flight of the ball with her front leg farther away. Use of the open stance will help Williams to recover quicker and save her half a step. Also notice how much upper body rotation she achieves with her shoulder
These two photos reveal minor differences - notably how straight the arms are — but there are also many similarities in technique.
Serena Williams puts everything into her backhand return.
turn. On contact the racket head was close to her body and below the height of the ball. As the shot was played, Williams also straightened her wrists as the last stage in the coordination chain (see page
89). This provides her with greater pace on the ball.
Although her weight started on the back foot, it is ready to be transferred forward and into the shot.
This top player boasts one of the most economical and effective backhands in the game. His routine is to have a simple take back with a slight loop to the swing.
Ideally Andre Agassi likes to prepare early, taking the racket up slightly. He also has good shoulder rotation - the shoulder rotation is used to take the racket back and his weight is on the back foot. He uses a wide, stable stance. From this position Agassi can either play the shot from a semiopen stance or step down the court in more of a square stance - in both cases transferring his weight into the shot.
The main difference on the take back between Agassi and Serena Williams is how close their arms and rackets are to their bodies. Because men have greater strength in their arms and wrists, they tend to straighten their arms more than women and as a result will make contact with the ball slightly farther away from the body.
The distance Agassi's arms are from his body will ensure he can then make contact with the ball in a comfortable hitting zone.
His arms are fully extended, having driven the racket forward to make contact. The racket head is raised slightly at the back, creating a longer lever for added speed on the ball.
In the photograph you can see that
Agassi has good upper body rotation but his head is still facing the ball and is still. His eyes are focussed on the ball.
Andre Agassi watches his two-handed return. HINT
Whatever your style of take back, ensure you master good shoulder rotation and early preparation.
The serve is the most important shot in the game of tennis. It is the starting point of every game, and the first opportunity to dominate the point being played. If you can hold your serve consistently, you can defend your game right up to a tie-break. While the serve can be your winning strength it can also be a liability.
The keys to a good serve are a combination of consistency, accuracy, variety, power, and disguise. Although there is no single technique and players will
8 INTRODUCTION AND GRIP develop their own style, there are certain important factors that form the basis of the serve sequence:
As a beginner you may want to start with the eastern forehand, or shakehands, grip. This is relatively easy to master and will give a confident hold of the racket and enable you to get the ball into court.
The eastern grip is the most common grip for the forehand shot. When beginning the serve you can use this grip.
Once you have mastered the basic throwing action, try to develop your own serve by progressing to the continental grip. It may be difficult to break the habit “ i THE GRIP }
The more advanced and optimum grip for the serve is known as the continental, or chopper, grip. This grip will enable you to hit with greater controlled power and to impart spin more easily. (Also see page 63.)
The continental grip is ideal for the serve. Hold the racket as if chopping wood; the ‘V' of the thumb and forefinger is slightly to the left of the shaft.
of the simple eastern forehand grip, but it is a necessary step in order to achieve a competitive serve and one that you can develop satisfactorily.
Although individuals may vary, central to every player's serve is the principle known as the body's ‘coordination chain’ This is the passage of power through the body and into the shot.
There are many movements within a serve during which the body acts as a chain of links, transferring the force generated in one body part to the next in the.chain.
For an optimum technique, the coordination chain must occur in the correct sequence; through the legs, hips, trunk, shoulder, arm, elbow, then wrist. This will enhance power and control, delay fatigue, and help prevent injury.
The success of many top players, such as
John McEnroe (left), Pete Sampras, Roger
Federer, Venus Williams, and Maria Sharapova has been largely due to the power and effectiveness of their serves.
The serve should gain momentum as force is transferred up through the body.
You can develop your own variations on the continental grip. Gripping slightly farther to | the backhand side can aid spin techniques. | If you have a strong wrist, a grip more to | the forehand will help with power.
In order to make the serve effective, there are some fundamentals in technique that must to be adhered to. Let's look at the key features of a powerful serve.
A steady and consistent set-up aids serving, so don't be rushed. Play each serve with full concentration.
® position your feet roughly shoulder width apart behind the baseline, with the front foot pointing slightly towards the net and the back foot parallel with the baseline;
Sharapova, above) or on your front foot;
@ initially, hold the ball and racket together, pointing toward the targeted service box; e for a beginner the movement of the racket and ball placement arms should be synchronised so there is a smooth rhythm to the serve; e keep your weight on your back foot as you begin the ball placement;
hold the ball with your fingertips, with the palm of the hand facing upward. Release it from a straight arm at about shoulder height;
Some players will have a slight circular motion to their ball toss, whereas others use a Straight vertical toss.
..Start of ball toss...
FS v Preparation...
...ball toss...
if you are a beginner, toss the ball slightly forward and to the right (toward your expected contact point). As you become more confident, this may vary; e aim to toss the ball higher than the reach of your arm, because usually the ball is hit when it has just begun to fall;
Many players will develop small rituals - such as how they hold the ball and racket - to help their concentration.
...loading position with the left arm higher than the right arm...
..throwing action...
make contact with the ball when it is at its highest point, using a shoulder-overshoulder trunk action;
® pull the left arm (ball-tossing arm) down and tuck it into the stomach and chest. This helps to slow the trunk down and in turn creates the ‘whip’ at the top of the action.
..contact point...
after making contact with the ball, continue the internal rotation of the upper arm and pronation of your forearm; the racket side of the body before it moves across to the opposite side of the body, to allow you to move forward into the court;
..and follow through.
Everybody has their own style, but the great servers all have good rhythm. Focus on achieving a reliable and comfortable rhythm in your own serve.
Russian Marat Safin is a great exponent of the topspin serve.
The reality is that advanced players will rarely hit a straight, flat serve. Mostly, the ball will have some degree of spin on it. The two basic variations on the serve are the topspin and the slice.
This type of serve will give you a wider margin for error than a flat serve. It crosses higher over the net before the spin brings the ball down, causing it to bounce higher after hitting the ground. The rougher the x aa surface, the higher the ball will bounce, so \ Er _.
this shot is particularly effective when used on clay.
The topspin serve is used more in the The topspin serve stance...
men's game than the women's. Women do not have the same physical strength as the Preparation
The ball's trajectory in a well-executed topspin serve (B) is much higher than in a flat serve (A).
...l0ading position...
..contact point...
@ the swing of your racket head to contact the ball should be from behind and to the left of your head;
move your racket from left to right - upwards, across, and over the ball (for a right-handed player).
..and follow through.
Slice serve expert Marat Safin.
The slice serve stance...
This type of serve forces your opponent to move out of the court area in order to return the ball, because the spin takes the ball to the side.
The slice serve is very effective on fairly smooth surfaces, such as indoor courts and grass, where the impact of the sidespin is more pronounced.
With the slice serve, the ball's trajectory has a leftward curl (to point B), whereas after the flat serve it would travel in a straight line (to point A).
The slice serve can be effective in moving your opponent to beyond the court lines, as well as in swinging the ball into the body of your opponent, and so ‘jamming’ him or her to force a weak return. The slice serve is not only used as a first serve, but also often as a second serve in the women's game.
..loading position...
_ through.
Follow through e allow your upper body to follow the path of the Contact point ball in the direction of
Loading position motion, across the ball. This turn the upper body with your flat serve.
slightly sideways and HINT backwards, to get good shoulder rotation. Once you have mastered the topspin and slice serves, work on disguise.
Can you hit either flat, topspin, or slice from the same ball toss?
Pete Sampras is renowned for the power but Sampras’ great strength allows him a of his serve. Although he has incredible deep knee bend. This enables him to push reliability, power and disguise in his serve, ‘into’ the ground, using it as a springboard the platform of his success lies in his to propel his throw. Power comes from the excellent loading position - or optimal ground in the form of ground reaction force.
throwing position. This is the basis of The knee bend and push (flexion and his coordination chain. extension) have to be coordinated. (This is
The degree of knee bend in the loading often difficult in young players and should position will be individual to every player, not be introduced too early.)
[ ) Body position The Left arm Notice how straight angle of the body is the arm is on the ball toss. This key to a good loading is essential in achieving an position, because the accurate ball placement. It also leading arm follows helps to ‘pull’ him up to the ball. the ball toss and ‘pulls’ the serving arm up after it.
Left elbow This is held away from the body and the shoulders are aligned diagonally, so that the left shoulder is higher than the right. This provides the optimum throwing position. . The racket face is closed.
Rotation Sampras’ hip rotation and trunk rotation are the next stages after legs in the serve coordination chain.
Knee bend This facilitates extra spring in the serve.
A good strong loading position
Left: One of the keys to Pete Sampras’ consistent serves is can often be found by his excellent loading position. In this stance he has good staggering the arms on the take knee flexion and rotation of the hips and shoulders. back. Think: ‘left arm, then Sampras uses the foot-back technique, so his back foot e right arm’ (if right handed). s remains behind the front one until the shot is played.
Maria Sharapova uses the foot-up technique and will land on her left foot inside the baseline.
The racket will then follow through, across the body, and decelerate. Sharapova will then recover and retain balance for the next shot.
Maria Sharapova relies on an efficient coordination chain to make maximum use of the force generated in her serve - making it one of the most powerful in women’s tennis.
Her explosion up to the ball, using the ground reaction force, helps her reach full extension of her legs.
In the left photo, Sharapova is still in a slightly sideways position to the net, her right hip has not yet followed round.
Beginners often bring the hip through too early, resulting in a loss of balance and a serve that is too low.
aE.
Sharapova keeps the racket quite close to her back, which enables her to achieve the
‘power loop’ or circular throwing motion. The upper arm internally rotates at high speed before the elbow is extended to make contact with the ball. At this stage, having released the ball and started the upward drive, the left arm is pulled down and tucked into the stomach and chest. This helps to slow the movement of the trunk, saving this force for the ‘whip’ at the top of the action. Momentum has been transferred from the larger body parts to the smaller muscles of the arm.
Sharapova actually lands a little inside the baseline with this serve. Her face demonstrates the concentration and exertion used on a powerful serve.
Notice the kick back with the right leg.
Good servers keep their ball-tossing arm very straight, and hold this arm up longer — watch the professionals. If the ball-tossing arm drops early, the player often collapses on the serve and the coordination chain goes out of sequence.
In any match approximately half the points The basic action of the return is similar are lost or won at the return of serve. If to your normal forehand and backhand, but the serve is the most important shot in the the playing situation is very different. Your game, the return of serve is a close second. opponent has complete control of the serve
You need an ability to ‘read’ the flight of the = and is aiming to put you under as much ball early and to execute control by using pressure as possible. Returns of serve can simple but reliable strokes. be described as defensive or offensive.
Russian Vera Douchevina hits a forceful return of serve. Many returns are played from less-thanideal positions.
The defensive return is played when the goal is just to get the ball into play. It can be used equally against a hard, powerful first serve or a wide-angled second serve. The aim is to get the ball back into court, deep if your opponent stays back or at his or her feet if he or she comes into the net.
The offensive, or attacking, return is played when you are trying to take control of the point from this shot onward. It can be used against a weaker first or second serve, when you are in a position to put your
Returning serve from the deuce court.
start from your ready position. Your position on the court will depend on the position of the server; aim to vary your court position — in order to confuse your opponent and to adapt to his or her strengths and weaknesses. If the serve is very strong, you can alter your position and stand farther back to give yourself more time;
Opponent under pressure. You may take the ball early or may even have time to run around your backhand and hit an aggressive forehand return, either down the line or cross-court.
Tactically, there are several advantages to playing the return aggressively and taking the ball early:
you will generate pace; e you will have more time to get to the net;
Returning serve from the advantage court.
You do not need to be passive when receiving serve. Try to influence your opponent by where you stand on the court or by your body language.
Ready position e start with the grip you prefer but be prepared to change it as you decide what shot you need to play.
Preparation and backswing e get active and ready for the return when your opponent tosses the ball to serve. He or she will be looking up at the ball as he tosses it, so will not notice what you are doing;
Land from your split-step in a wide stance and keep a relatively low body position.
When you begin your ‘unit’ turn (upper and lower body working together), use your non-hitting hand to support the take back of the racket. Look straight down the court at the oncoming ball to maintain balance and posture.
When you get into your loading position you should be in an open stance. Your knees should be bent and your hips, back and shoulders poised for the shot. Keep your centre of gravity low to maintain balance.
Forward swing and contact e when hitting a defensive return, the forward swing will be similar to that of a volley (from low to high or a straight path from back to forward). Make the point of contact slightly farther in front of your body.
Keep the swing compact and the grip firm;
@ when hitting an offensive return, try and have a forward swing similar to your topspin forehand. Your point of contact may be higher than for your normal forehand, because the second serve is likely to bounce higher (if a topspin serve). In the illustrations you can see how the player has used numerous body parts in her coordination chain to get speed on the ball.
When returning a fast serve, the take back needs to be much more compact than for your usual forehand. The energy in your shot will mostly come from the energy stored by your loading position. Your forward swing should be from low to high. Even if you spring off the ground, your solid loading position will enable you to stay well balanced.
depending on the pace of the serve, the follow through with the defensive return is likely to be similar to that for a blocked volley, that is, short and compact.
Ensure your weight is shifting forward as you follow through. Your body should uncoil quickly so that the racket can wrap around the body as you finish the stroke. You will then be balanced and ready to recover for the next shot.
If returning a powerful first serve, prepare early and keep your take back short. Think aggressively on the return of the second serve. co g
This shot can be made with one or two hands.
The one-handed backhand return of serve
You must be ready. Watch your opponent carefully, and where possible take the shot early and attack the ball. If there is time, you can run around your backhand and make the return into a forehand.
On the return of serve you may also have to make an important decision: should you play the shot that you feel most comfortable with; or should you play the shot that you think might be most effective but which might involve a higher level of risk?
If you feel comfortable with a singlehanded backhand return of serve, play it with confidence. However, you may wish to develop a two-handed shot.
The two-handed backhand return of serve
One of the greatest advances in the return of serve has been the two-handed backhand. As we have seen, the second hand provides added strength, which is very useful for young players. It also makes the all-important compact take back
(small loop swing) and the open stance more achievable.
Andre Agassi powers a two-handed return of serve.
While landing from your split-step, note the direction of the ball. If it is coming to your backhand, immediately begin to move the racket back on your backhand side.
Keep your head still and focussed and keep your centre of gravity low with your wide stance.
Try to step forward when you are about to contact the ball. Your hips and shoulders should remain synchronised with the rotation of your body, to give added strength to the movement.
Take the racket back with your preferred backhand grip. In order to keep your open stance, shift your weight onto your left foot.
With a quick turn of your shoulders, take the racket straight back with no loop.
If you are strong enough, you should be able to play an extended shot and follow through the hitting zone even if you are reaching for a wide ball.
Make sure you keep your eyes on the oncoming ball as your upper body rotates. Continue to keep your weight on your left foot so that you can drive from this position.
Continue to use your left hand to drive the racket through after making contact with the ball.
Although many players are reluctant to use the volley, this is one of the easiest shots to learn because the action required is very compact. The volley is the shot you play when you hit the ball before the bounce. It is the perfect answer to the passing shot.
Before thinking about variations, you should try to perfect the basic forehand and backhand volleys and the drive volley. The drive volley is used more in the women's game, and it has recently been favoured by many top players as an attacking, pointwinning shot.
The basic grip for the volley is the continental grip. In order to have one grip for net play, you can use this grip for the forehand and backhand volley as well as for the smash shot.
Andrei Kirilenko plays a volley from mid-court.
When thinking about so many other factors in your game, it is easy to neglect your grip. The continental grip is the basic grip for the volley.
When preparing to volley, position your elbows in front of your body and adopt a Step forward with your opposing foot as you wide stance. move in to volley.
The forehand volley made with the ball. This will ensure that hold the racket head up in front of your through are compact; body. A good tip is to concentrate on having e make the path of the racket on the your elbows in front of your body for forward swing down and forward, with a flexibility of movement; slightly open racket face. This will impart
@ the key to hitting a successful volley is « HINT to move in on the ball, contacting it at a comfortable distance to the side of and in It is important to get used to a compact front of your body; : take back and follow through when playing the foot down until after contact has been
British player Tim Henman plays a backhand volley at the net.
The backhand volley is generally played with one hand, with the exception of the drive volley variation, which we will look at in the next section. Many of the most successful players use a one-handed backhand volley because this allows them greater reach:
jn the ready position, start with your continental grip and your racket held out in front of you;
use the split-step movement as your opponent is about to strike the ball;
use your free hand to guide the racket back, rotating your shoulders slightly;
This hand acts as a counterbalance;
@ ensure that your take back and follow through are compact;
Make contact with the ball at a comfortable distance, to the side of and well out in front of your body.
The non-hitting hand acts as a counterbalance to the movement in the shot. It should move out behind you as you move onto the ball.
This volley is an important shot to learn because it is widely used — particularly in the women's game, where it is often more popular than the basic volley. The drive volley is an attacking shot and is usually played from mid-court against a slow, high-looping ball: e select your preferred forehand or backhand grip;
play the shot at shoulder height — the drive volley is hit on the move;
make your follow through long;
@ when you have played the drive volley, move into the net to be in a dominant position in case your opponent gets the ball back.
The low volley is one of the hardest volleys to play. Your opponent is directing the ball to your feet, forcing you to play the ball upward. This is generally a defensive volley, but you can turn it into an attacking shot if you can play it deep, to the baseline.
@ use the same continental grip as for your basic volley;
The drive volley - forehand and backhand - is a combination of a ground stroke drive and a basic volley.
make contact with the ball when it is well out in front of your body, and with a slightly open racket face. Keep your wrist firm but flexible;
the forward swing will be from low to high, so impart some backspin on the ball to ensure you do not hit it out of the court. This shot requires good touch and careful control of the ball:
® recover quickly to your ready position.
The key to a good low volley is to maintain your balance while you bend down to the ball. Try to keep your head still, because this will aid your balance.
You should concentrate more on control and placement of the ball than on power.
When playing the low volley, bent knees, not a bent back, are important for correct technique.
If you have ever struggled to advance to the net in time to play a shot, you may have played the half volley, that is, making contact with the ball just as it leaves the ground from the bounce.
The half volley can also be played from the back of the court, particularly if you are trying to take the ball early to raise the pace of the rally:
@ play the half volley slightly sideways on, in more of a square stance. Your take back should be reduced;
If you make the effort to bend the knees and get down low, you will have much greater control.
As the name suggests, the lob volley is a combination of a lob and a volley. It can be used very effectively, particularly in a doubles situation when all four players are at the net. However, you must be careful not to set your opponent up with an easy smash! In singles, the lob volley can be used after a drop shot has been played if you follow your shot into the net:
select your typical volley grip;
keep your wrist firm and play the shot with some backspin;
make your follow through travel from low to high;
make contact with the ball in front of your body, at about ankle height;
The half volley, on the backhand, prior to contact.
The lob volley needs good touch and a feel for the ball on the racket.
You should play a drop volley when the ball is net height or below. This gentle, tactical shot requires great touch and control:
@ use the same grip as for your volleys;
hardly move your racket head back before contact with the ball;
The cushioning effect enables you to hit the ball just the other side of the net.
This is often played in response to a higher and harder ball when you are close to the net. As the word ‘stop’ suggests, this volley acts to control the ball and absorb its power and speed: e jimit your take back, because you are likely to have little time against a fast ball. This shot has more of a ‘blocking’ action than a swing-and-hit action;
The closer you are to the net the less time you will have to respond to the ball, so you must be on your toes and have the racket head held ready.
The key to playing any type of volley is watching the ball onto the racket.
The smash is the answer to the lob shot and is your chance to win the point outright. You will need good tracking skills so that you can position yourself to execute the shot effectively. In men's tennis the smash can be devastating.
The shot is generally played in the air, although there are times when you may let the ball bounce and then smash it, for example, if: e the sun is in your eyes; e it is very windy;
@ the lob is exceptionally deep;
The smash action is similar to the serve in that it is a ‘throwing’ action. However, in the serve you have control of the ball placement, whereas with the smash the ball trajectory is dictated by your opponent. This means you will have to move your body to achieve the positioning you need.
if the ball is not very deep, use small adjusting steps (if it is very deep you will need to run back more for the smash);
ensure the contact point is in front of your head, with your arm fully extended upward;
..eyes on the ball and ready to play at the maximum height...
..contact point in front of your body...
THE ALL-ROUND GAME .
make your racket follow through slightly across the body to help you to recover for the next shot;
..the racket curving slightly across the body in the follow through.
The key to a good smash is having quick footwork so you get back and underneath the ball in time.
There are several variations to the basic smash. Among these are the jump smash, the backhand smash and the bounce smash.
If you are faced with a very deep lob then you may want to try the jump smash, but it does need a lot of coordination. You will find that your follow through is not as long as for the basic smash:
Andre Agassi plays a jump smash from near the back of the court.
e move to the ball very quickly, using a crossover or running action; get into position to take off from the ground with the rear leg. Make a ‘scissors’ movement in the air with your legs to keep balanced;
then get into position for the next shot.
The key to a successful smash shot is where you hit it to. Your tactics should respond to the shot your opponent has played. If the lob played to you is short, you should angle your smash away from your opponent, directing it toward the opposite corner of the court (T1) or bounce it high over the opponent and fence (T2).
Most opponents will try and lob to your backhand side, which is generally the weaker one. If you have time, you should move around the ball and play a normal forehand smash, but if you are forced into the backhand smash do it using your backhand grip or continental grip. This shot is great fun to practise:
If the lob played to you is deep, aim your smash cross court and toward the middle (T), for the best margin of error. You should then close in on the net to be ina powerful position should your opponent manage to return the ball.
Finally there is the bounce smash. If you wait for a lobbed ball to bounce, remember that it will not bounce straight up — you will need to move back behind the ball:
Although pace is important, it is the direction of the smash that wins points.
Think carefully about your placement. Se s S as = : $y
The drop shot is often referred to as a
‘touch’ shot, because it requires soft hands and careful control of the ball. Tactically, you should use this shot to force your opponent forwards towards the net. It is especially effective on clay or other slow courts, although it can also be useful on grass.
The drop shot is most effective when you have pushed your opponent well behind the baseline, and played off a slightly shorter ball although at the top level, players with good ‘touch’ play from further back in the court. Often it is the surprise element of using this shot that wins the point, rather than the placement of the ball.
You will need to get a feel for how much force to apply with the racket, and for how to absorb the pace of the oncoming ball so that you can hit a drop shot.
When executing this shot your aim should be for the second ball bounce to eo eee be as near to the net as possible. This Russian Marat Safin has here been forced to charge requires backspin or sidespin on the ball. forward in an effort to reach a drop shot.
The backspin, or underspin, on the ball means that it will spin in the opposite direction to when it was coming to you.
When the ball bounces, it will grip the court and rebound at a sharp angle. This is particularly useful against a player who relies on all-court attacking forehands, is slow to move forward, slow to read the ball, or who does not like volleying. Use of the drop shot can break up his or her rhythm and therefore the strength of his or her game.
t is useful to work on your drop shot early in the development of your game, because it will develop your feel for the ball and how to control it. You will also become more aware of touch and timing.
The ability to disguise your intended shot is important, so your opponent may be misled into thinking you are about to play a standard shot.
To play a successful drop shot, it is crucial to relax the muscle tension in your forearm and hand at the point of contact. A fun way to practise this is by playing the ‘game of touch’ close to the net - playing only drop shots, angles and drop volleys in the service box.
~ you can play this shot with your normal forehand or backhand grip you will retain the surprise element of the shot.
‘Soft’ hands ahd racket face under the ball are key to a good drop shot.
generally, play the drop shot from inside the court so the ball has less far to travel. This will give your opponent less time to get to the ball.
Forward swing and contact e use a similar forward swing to that for your forehand or backhand;
Follow through e keep your follow through short, finishing at approximately waist height;
Having played your shot you need to recover quickly in case your opponent can make a return.
The drop shot should not be overused. It is best delivered when your opponent is not expecting it. If you can disguise your drop shot too, then so much the better! aa
The lob is played both as a defensive shot can force an awkward stretch for an and an attacking one. In defence, this shot opponent playing at the net, or result in a allows you to buy some time if you are in an very high-bouncing ball that will be difficult awkward position. In attack, the topspin lob for your opponent to retrieve or control.
American Anne White plays a defensive lob from the back of the court at the Wimbledon championships.
White caused a stir with this one-piece outfit - the style didn't catch on.
The basic, defensive lob is generally played when you are out of position and you need to buy time to recover. Tactically, you aim to give your opponent a high, deep smash.
You may also use the lob to vary the pace
A low-to-high swing and slightly open racket face are essential in a defensive lob.
THE ALL-ROUND GAME 7 of the game when playing from the baseline.
A lob shot will take the pace off the ball and put pressure on your opponent to break up his or her standard baseline game. This may encourage a forced shot and produce an error.
Follow through e make the path of the racket on the basic lob from low to high. You may exaggerate the follow through upwards, to give the ball height over the net; try to finish with the racket above your head height.
If you are playing the lob defensively, hit with more slice and give the ball a lot of height. The defensive lob is similar to your slice forehand or backhand. If under extreme pressure, open the racket face more and hit a very high lob to allow yourself time to recover and to read your opponent's reaction.
The defensive lob is a great opportunity to buy time if you are in a vulnerable position on the court and need to recover. J
The attacking lob should be played with topspin. Topspin helps to bring the ball down from the lob, reducing your chances of hitting the ball out. After contact with the ground, the spin will help the ball travel forward so the net player then has farther to run to retrieve the ball.
The topspin makes it more difficult for your opponent to smash, because it is harder to time the ball as it drops.
Moroccan Hicham Arazi at the Australian Open, running to the back of the court to try to retrieve an attacking lob. Modern players not only place the ball over their opponent's head but play the shot with topspin so it bounces fiercely away on impact with the surface.
Forward swing and contact try and bring the racket head up from below the ball with a brisk upward action.
You need to accelerate the racket head up and through the ball;
at contact, ensure your racket face is almost perpendicular to the ground;
keep your wrist loose and relaxed so you can achieve good racket-head speed.
The forward swing on the attacking lob... ..just prior to contact point... ..and follow through.
If your opponent's (A) lob pushes you deep or wide off the court, play a high defensive lob to the largest area of the court to give yourself time to recover.
If your opponent (A) approaches to your backhand (1), hit past him or her low and down the line (2). If your opponent volleys to the open court (3) and then closes in on the net, hit an attacking topspin lob cross court to the largest space in the court (4).
As a tennis player you will often hear the word ‘pace’, but do you know what is meant by it? Does it refer to the pace of the ball (a slow ball, a skidding ball, a high ball, a kicking ball), the pace of the court or a combination of these?
As we have seen, on different surfaces the ball will behave differently in two ways:
speed of bounce; e direction of bounce.
As a player, you need to recognise these elements of pace in various situations, so that you can be prepared:
Different surfaces provide different bounce and pace.
The faster, grass court shot, will bounce lower than the slower, clay court shot.
In the game of tennis, you can make the most of these characteristics. By using what you know about the various surfaces, you can enhance techniques that you use on the ball — such as spin.
As you become a more proficient tennis player you will learn to apply spin to shots. In order to impart spin on the ball, you must accelerate the racket head on contact, to brush the back side of the ball and cause it to spin in the desired direction. The main types of spin are topspin and slice.
Topspin involves brushing the ball in an upward direction, causing the ball to rotate forward as it travels through the air. This will cause the ball to dip - meaning you can hit the ball hard but keep it in court.
The ball will bounce fast and upward, making it difficult for your opponent to return.
With topspin the air moves under and over the ball.
In order to perfect the topspin in a ground stroke, you should:
You may notice that a lot of the top players who hit with heavy topspin on slow courts follow through in front of their body, using their wrists as the last link in the coordination chain. Rafael Nadal does this to great effect.
On the backhand side, if you are a onehanded player you may find it easier to put greater topspin on the ball by using a more pronounced backhand grip. This will also make it easier to hit higher-bouncing balls, where topspin is a useful weapon.
If playing a two-handed backhand with topspin, it may be more convenient to adopt a more pronounced eastern backhand grip.
Slice Slicing a shot involves brushing downward on the backside of the ball, causing it to rotate backward as it travels. Slice (or the underspin shot) is used more often for control, although it can also be utilised to give an awkward bounce to the ball.
Normally you would use slice on the backhand side to try and keep the ball low over the net and get the ball to stay low on bouncing:
® prepare with your racket held higher than for your usual forehand or backhand;
® on contact, strike the back side of the ball in a downward movement;
as you follow through, move your racket from high to low.
The downward chop on the back of the ball produces the slice.
Keep the racket high during preparation.
Tactically, if you can vary the spin that you put on the ball, you will then be able to prevent your opponent from developing a rhythm to his or her shots. Alternatively, you can use spin to disrupt the rhythm or pace of a rally.
If you play against an opponent who favours speed, then you will need to vary your shots to prevent him or her from dominating the pace. Conversely, if you play against a slow and steady player, you may need to generate the pace yourself!
eee |) USING’SPIN AND PACE EFFECTIVELY ) EEE SS eeeSe
You can also use spin to open up the court. Move your opponent around by giving unexpected direction to the ball.
You can bring your opponent forward from the baseline using a short slice shot, then play your next shot back behind him or her.
This tactic can also be applied in the serve. If you slice or topspin the serve out wide, you will drive your opponent off the court. He or she will then struggle to reach a shot played into the open space.
Jennifer Capriati volleying. When you volley you will need to put some backspin on the ball, which will help to keep it low.
When playing tennis, you will often find yourself in a situation in which you have to compromise or improvise the shot you play.
Have you ever marvelled at how the professionals chase a seemingly hopeless cause on the lob, then manage to hit the ball from between their legs?
Here we will explore a few ways to practise being versatile.
This shot, if played well, will give you a chance to stay in the point following a very wide ball hit to your forehand side - when you are on the run and playing under extreme pressure.
Preparation for the SS , squash shot...
In order to play the squash shot:
You can practice the squash shot by drop-hitting some balls yourself:
stand deep in the forehand corner;
drop-feed the ball and stretch out with your right leg (if right handed);
hit down and through the ball as if doing a slice forehand.
You will need to use your arm and wrist to generate power. Try to direct the ball low over the net and deep into the court. Once you have gained confidence with this shot, ask a partner or your coach to feed you some balls from the other side of the net, wide and deep to your forehand side.
..the contact point (with eyes on the ball)...
and follow through.
This is always a crowd-pleasing shot - and it is sometimes played only for show! Often, however, this shot is an option when you do not have enough time to get into the correct position to play another shot properly. If you are forced into an improvised shot you might as well play it effectively.
You will need to get into a position that allows the ball to pass between your legs. If you watch professionals do this, you will see that they run directly at the ball, then overrun it so it is right between the legs on contact: e lift the racket above your head, using a more flexible continental or eastern backhand grip;
bring the racket head downward to the contact zone;
@ hit the ball at shin or ankle height before it bounces twice;
follow through with a short, upward movement between your legs. Often you will jump up slightly as you contact the ball.
If you follow through with a slight lowto-high action, you can drive the ball. If you
Argentinian David Nalbandian surprises his snap more severely upward, you will produce opponent, and delights the crowd, with this more of a defensive lob. Practise these between-the-legs return. variations by drop-hitting a ball in between your legs, then try running back for the ball and playing the shot.
With the between-the-legs shot, the back leg comes off the ground to allow more space for the stroke.
Playing backwards to the side of the body
You may need to play backwards if you have to run back to a deep ball:
@ bring the racket down in a pendulum movement and contact the ball at knee height, before it bounces twice;
keep your wrist loose as you follow through with an upward movement.
Practise this by standing with your back to the net, dropping the ball to your forehand side and attempting the shot.
Once you have mastered this drill, ask a partner or your coach to lob the ball over your head so that you can run back and try the shot in play.
Some professional players use this shot to play a high backhand. Instead of moving their feet to get into a better position, they jump off the ground to hit the ball.
Some players like to copy this, because it is impressive to watch, but the technical advantages are questionable. You may find you can get more power into the shot from a higher angle: e play the shot on the move, with the ball level with your shoulders; e jump off with your front leg while lifting your back leg; e start your swing as you come off the ground and then contact the ball at the top of your jump;
while you are in the air, complete your stroke with a fully extended follow through before landing and recovering.
The jump backhand is great for punching away winners with limited backswing.
Sometimes a very high lob requires an extreme manoeuvre in order to return the ball. If you are fairly athletic, instead of moving backward you might decide to jump off the ground to intercept the ball, with a dramatic smash. This can take your opponent by surprise - and also looks very impressive! Pete Sampras perfected his slam dunk and so became known for this shot.
In order to play the slam dunk well you
_ must have the time to jump. The racket swing is the same as for your regular smash, but you will also need to get off the ground at the right time so that you are fully extended as you hit the ball. The shot itself needs to be a powerful flick action, because the ball must be angled down farther than usual. When you are in a position to hit the ball, pronate your forearm and really snap your wrist over so that you can slam dunk the ball into the court. You can practise this shot easily by tossing balls for yourself and then leaping to hit them. The Sampras slam dunk.
Australian Pat Cash dives to make a volley return. Dives are more sensible on grass than = — Ne ee HINT ;
Timing is crucial with any of these improvised shots. Try to get used to timing your running on clay or other hard courts.
| and jumping toward extreme balls.
Most points are won through errors — whether unforced or forced - rather than by hitting winners. Some errors are caused by poor technique, others by wrong shot selection. Yet more errors might be triggered by poor movement (physical) and through being too tense (mental).
Here we will look at some common errors, mainly technical, and discuss some ways to overcome your problems. Your coach can help you with this; alternatively, if you can get a friend to video you, you can observe your shots yourself.
Confidence springs from having a good serve. A good serve will immediately put your opponent on the defensive. If you can hold your serve, that is, win your service games, you will be very hard to beat.
Indeed you can only lose on a tie-break.
So, if your serve is letting you down, get to work on it quickly.
If you are hitting the serve into the net e try concentrating on keeping your head up and still;
@ make sure you are not bringing your hip and back foot forward too early. If this is he case, the chances are that you will put he serve in the net.
Video tape your shots that are causing a problem. Play them in slow motion and get the coach to help analyse them. The video does not lie!
If you are hitting the serve long
Try bending at the knees and then really driving upward;
Practise with a racket-head cover on your foot to stop it moving; e if foot-faulting with the back foot, try and concentrate on keeping this foot still. Again, you could put something on your foot to prevent it moving. If the back foot is coming round the side, then practise bringing it up behind the front foot.
If you have difficulty with the ball toss hold the ball in your fingertips and thumb and release it at roughly shoulder height;
® try not to flick the ball out of your fingers.
Curing problems is all about getting back to doing the right things. You will need to remember what you have learned, and what works for you.
One technique is to imagine a very good shot and think about one or two simple things only. Don't clutter your
A >», mind with dozens of bits of advice; deal with one thing at a time. Visualise your service and focus on just two points that you think are important, for example: e the kind of serve that is needed at this stage of the game;
Good loading <———_ position for start of coordination chain
Trouble with your return of serve
Now that you are getting more serves in court, the next most important shot is the return. If you can blunt your opponent's attack with good returns, then you will quickly win a psychological advantage.
If your return keeps going wide
® you may be contacting the ball late.
Try to get a comfortable distance from the ball and move your contact point farther forward;
If your return goes into the net your racket face is probably too open on contact. Try hitting with a little topspin;
@ ensure your back swing is not too large.
try to adopt a more alert ready position; e develop a routine, so that you start your feet moving as soon as your opponent tosses the ball up. Move forward and then do a split-step movement as he or she is about to strike the ball:
focus on the ball at all times.
If you get caught with the wrong grip the other side you only have to make one grip change;
Now you can get more serves in and your return has improved, we will look at your ground strokes. You will need to feel confident with your game, particularly on slow courts, if you are to sustain pressure in rallies.
If you lack consistency from the baseline
@ try giving the ball more height when hitting it over the net;
try to give yourself more margin for error by aiming within the lines on the court, rather than to them; :
@ check that you are preparing early enough.
Often late preparation will mean a late hit;
If you are hitting too many balls into the net
@ check your swing path and ensure it is from low to high. If you close the racket face too much, the ball will go downward.
If you tend to end up too close to the ball
@ use small and accurate adjusting steps around the ball, rather than very large ones;
@ remember the routine of doing a split-step each time your opponent is about to strike the ball. This will help your balance and give you plenty of moving time.
If you are frequently lunging for the ball
@ perhaps you did not recover quickly enough from the last shot and have been caught out of position. Concentrate on reacting quickly after each shot; e avoid leaning to the side too much. This will affect your balance and therefore slow you down.
Tennis is a game of the mind and body. Simply trying harder is not always the answer to problems. Generally you will need to return to basics and feel in control of your game. You can then be focussed and fuelled by adrenalin not by agitation or tension.
Trouble with your all-round game
Having mastered the baseline game you now need to be able to play your other shots from all round the court, but these can let you down. What can go wrong? And what can you do to fix the problem?
If you keep hitting the easy volley too long, wide, or in the net
@ try shortening your take back and have a short, blocking action rather than a swinging one; e try a split-step movement as your opponent hits the ball so that you are more alert and ready for the volley; e try adopting a more alert and lower ready position;
@ make sure you are keeping your wrist and grip firm on contact with the ball, and are relaxing this grip between hits; e keep your eyes on the ball more. Watch the ball very carefully as it approaches the racket.
!f your volley goes into the net or is short try to move onto the ball more so your weight is travelling forward;
if you are struggling with a low volley, concentrate on bending more at the knees and keeping your racket face open.
If you are hitting the volley late
If you are confident when at the net, but struggle when approaching
@ check your movement to the approach shot. Are you facing the net too much?
Are you running through the ball and then contacting it late?
Sometimes with volleys there is a temptation to be lazy, playing the shot from the wrong position. In the long term this will cause problems. Wherever possible, get yourself into the correct position and play the classic shot.
If you miss an easy smash completely keep your eye on the ball and keep your head and chin up;
® concentrate on getting comfortable with the timing of your racket throw;
If your smash keeps going into the net e keep your eye on the ball at all times; e throw the racket head upward at the ball more, trying to hit it when at the highest point;
Experiment with contacting the ball more directly above your body.
If your smash keeps going long
If you don't seem to get in the right place for the smash
@ check how you are moving back for the ball. If it is an easy smash, then move back with side skips. If it is a deep smash, then run back for the ball while at the same time keeping your eyes on the ball. If you are trying to move backwards, this may be affecting your balance;
Here we have looked at some of the common errors with the basic shots. You may come across all sorts of difficulties specific to you, in which case you should consult your coach, who can work with you directly. As you progress, the errors may become more tactical then technical and perhaps even mental.
If you have worked on your fitness, you will be confident that you can get to every ball!
Even Andre Agassi needs coaching.
Slovakian Daniela Hantuchova enjoying practice prior to the Wimbledon Championships in 2005.
Once you have established the basics of tennis, the quickest way to improve your skills is through practice.
Here are a few suggestions on how to get the most out of your practice sessions:
® practise how you aim to play. Be as motivated and focussed in your practice as you are in a match;
plan your practice and set goals for yourself;
add variety to your practice;
Also try some new ones.
Choosing your practice partner
Many players feel they have to practise with somebody better than themselves. This is not the case. There are many ways you can learn a lot from different practice partners: e if playing with somebody below your level, practise on your weaknesses, try different patterns of play, and practise moving into the net;
if playing with somebody of your level, focus on your competitive skills and work on relaxing under pressure;
if playing with somebody better than you, ensure you keep the ball in play and play to your strengths.”
Try to vary your practice partners so that you experience different styles of play and diverse situations. If you always play with somebody better than you, you will get a complex about losing and forget how to win! Also remember that your partner wants to get something out of the practice too.
You can work as a team to practise skills and talk about your difficulties.
No matter what you intend to practise, you should always take the trouble to warm up.
It's not worth straining a muscle when just a few minutes warm-up could prevent this.
Here are some tips on how to make your warm-up valuable: e if you use the service box to warm up, then make sure you hit with ‘quality’;
A fun game to play is ‘touch’ tennis, in which you play out points only in the service box. You are allowed to play only drop shots, angles, drop volleys and touch shots. The first to seven points is the winner.
‘Planned practice makes perfect:
The drills on the next few pages take you through the different aspects of the game of tennis. It is up to you to prepare your practice regimes with your coach - if you have one - or your partners. Always aim for variety and, although you will want to focus on different aspects in each session, try to cover your whole game.
Plastic markers are good for all drills. They are better than using chalk, because they can be removed later!
This set up is for ground strokes.
The serve is the one shot you have complete control over and the one shot you can practise by yourself. You just need a few balls and a court.
You can practise both your first and your second serve in this way:
have two serves at each target, a first serve and a second serve;
15-love, but if you miss both serves then the score is love-15;
Serving for length and accuracy Aim for specific targets (see diagram opposite) and award a different number of points depending on which you manage to reach:
three points if the ball lands in the designated area and the second bounce is past the baseline;
10 serves from the left box and see what score you can reach. You can vary the scoring to suit your needs.
With this simple serving A, B and C are serving targets. Each is marked on court with cones or lines and is worth a different number of points. Keep score, and game, you try to serve to one half of the box (A) then the other (B).
make sure you win!
Attack the weaker second serve by hitting your return down the line.
When practicing serving for length or accuracy, award yourself the following: one point if the ball lands in the service box; two points if it is in the target areas; three points if the second bounce is over the baseline; four points if the second bounce is over the power line.
Attack the weaker serve cross court by running round your backhand and playing an
‘inside-out’ forehand.
Ask your partner to serve ten balls to each service box. See how many you can get back into court. This will help your consistency.
Drill for returning powerful serves
Get your partner to serve from the service line or just behind the service line and then try to return. You will need quick reactions.
Practise attacking the weaker second serve. Get your partner to hit second serves only.
Move forward and practise attacking these down the line in the right court. In the left court (if you are right handed), run round the ball and play an inside-out forehand cross court, or attack the ball down the line.
When returning hard serves, the server (A) can serve from on or near the service line for this drill.
Practising your ground strokes
When you play from the baseline there are five main areas to work on: consistency, length, accuracy, use of spin and change of pace. We will look at each of these in turn and show a practice drill for each.
try to do a rally of five and then build this to 10, then 15, then 20 and so on;
Obviously if you make fewer mistakes you will increase your score and also if you raise the rally tempo.
Length drills e rally past the service line. How many balls can you get past the service line in two minutes;
B to rally into the shaded area between the service line and the baseline, or behind the red markers for more advanced players.
Accuracy drills e rally cross court to a target area. Challenge yourself by ensuring that you recover just off-centre in between hits. This will keep you on the move;
® to vary this drill, hit each shot with topspin and alter the pace so that no two balls in a row travel with the same pace.
Get players to rally cross court to a special target area.
When practising your ground strokes you -need to vary the depth, angle, height, speed and bounce of your shots, and:to do this you need to impart spin on the ball. The best way to practise this is to use target areas on the court (top left diagram opposite). If you hit each ball flat, it is difficult to hit to all of these areas on the court. Try these drills:
in order to hit to the short corner T2, practise both forehand and backhand with topspin and then hit some cross-court slice backhands to 12; ;
You can conveniently mark out target areas on the court using bright plastic markers or cones.
Another good drill to help you use spin on the ball is to decide an order of targets to aim for (diagram below):
hit a cross-court forehand with topspin to
T1 and then hit the next ball deep down the line to 12;
Try to hit a cross-court forehand to T1 and then hit the ball to T2. Play out the point against your partner or coach.
Try to hit a slice backhand to T1 or a shorter ball to T2.
@ initially try this with your partner, feeding two separate balls. Then try and build a rally, hitting balls to each of the targets in the previously decided order;
This drill can be varied to practise on the backhand side (top right diagram):
@ hit a slice backhand cross court to T1, then on the shorter next ball hit a deep topspin to T3; e as a variation, aim to hit a slice backhand with angle to T2, followed by a deep shot down the line to T3.
There is nothing more annoying than playing against an opponent who prevents you from getting into any rhythm by varying the pace of the ball. Therefore you will need to practise achieving this advantage yourself!
Using spin will help you alter the pace of a rally, but you will also need to focus on varying the height of the shots you play.
Practise a drill in which you ‘loop’ one ball and then hit the next ball flatter: e hit the first ball with looping topspin high over the net;
Also practise varying the pace on your backhand shots: e start a rally using slice backhands cross court to your partner until you get a slightly shorter ball: e then aim for a winning shot down the line with topspin.
To practise your approach and first volley: e ask your partner to hit you a short midcourt ball;
to start with, aim for the approach shot to land past the service line. As you improve you might put down a target, half way between the service line and the baseline.
Once you have mastered the movement into the net, practise playing conditioned points out on your volley: e rally until your partner plays a shorter ball, then move in to volley.
Practise your smash .
Practise beating your opponent when he or she is at the net
The two key shots here are the passing shot and lob. The former will put the ball beyond your opponent's reach and can be an outright winner. The latter can have the same result, especially if played positively and well.
The passing shot e hit a short ball, inviting your partner to approach the net; e play the first ball to his or her feet so he or she can return it easily;
@ hit the first ball to your partner who volleys the ball back deep;
@ try to lob on the next ball;
Vary the drill by trying to use the topspin lob. Remember to lob over the backhand side.
A high backhand volley is harder to play than a smash if your lob is a little short.
Varying the height of the ball over the net is one way to change the pace of a rally and prevent your opponent from getting into a rhythm.
CONDITIONED POINTS z “ ur backhand: ast the service ee ry bali has to and between —
_ awareness. There will be three options Conditioned points make practice both valuable each time the ball is played. For and competitive. In this example the ball is hit example, if the ball lands deep in zone into zone two. Player A then has the option to — two, you can: defend cross court deep to hit to zone five, zone six or zone seven. If hit zone five; hit deep down the line to zone _to zone eight you are asking your opponent to
| six: or hit an angle to zone seven. hit a winner!
Don't forget that you don't need to practise with somebody better than you. It can help your motivation to construct drills that help both players in a practice.
The game of tennis consists of four combined areas: e technical skills - involving the key skills of the game of tennis;
physical attributes - involving power, speed, agility and endurance;
mental focus - involving your competitive mindset and confidence in your own ability;
Once you have your grounding in technical skills, physical conditioning and mental focus, the remaining key component of competitive tennis is your tactical awareness. In this section we will explore
Singles is perhaps the purest form of tennis—one player is in direct competition with an opponent.
There is no hiding place.
some basic singles tactics ‘of the game, and how they form the styles of more advanced players.
There are five basic tactics in the game of tennis for all players:
® accuracy — move your opponent around using your directional skills;
play to your own strengths - use your best shots whenever possible;
play to your opponent's weaknesses this could be a technical weakness or perhaps a movement issue;
Ge See 7K THE STATE 0 F PLAY ee Fe N
All tactics must be applied to the main playing situations in the game:
when both players are on the baseline;
Each basic tactic can be applied to each main playing situation. As an example, we will explore moving your opponent around
When serving Serve wide (1) to take your opponent off court and then hit the second shot (3) into in the various situations. the open court.
Accuracy drill when serving, from the right or left court.
Player A serves wide (1). The return is cross court (2) and player A then hits it down the line (3).
Don't underestimate the importance of footwork and recovery in between shots. The best players have great footwork and recover to a good ready position after each
| shot. Be ready, be alert and don't forget the split-step!
Move your opponent when returning Return deep (2) and cross court (when returning a wide serve).
Accuracy drill when returning from the left court.
Movement when both players are on the baselines
Rally cross court and, when you (player A) get a short ball (2), move your opponent (B)
Accuracy drill when both players are on the baselines, from the left court.
Accuracy drill when returning from the right court.
around by attacking the short ball down the line (3). A strong shot will enable you to move to the net if you want to.
Accuracy drill when both players are on the baselines, from the right court.
Moving your opponent when you are approaching or at the net You (player A) should approach down the line (1) and then hit the volley cross court (3). Ideally you need a ball above net height for this volley.
Try to be accurate when you are approaching or at the net. Aim for target areas (1).
Moving your opponent when he or she is approaching or at the net
In this situation use a lob. If your opponent (B) approaches to your backhand (1), hit a passing shot (2) down the line. If he or she volleys into the open court (3), hit a topspin lob (4) over the backhand side, forcing your opponent to turn to retrieve the ball.
Accuracy drill when your opponent is approaching or at the net.
Some 85 percent of points in tennis are lost as the result of an error, which means only
15 percent are genuine winning shots. Admittedly some of these errors might be forced errors!
The key to success is not only working on your real attack but also on reducing the number of errors you make and trying to force your opponent to make more. Unforced errors usually arise because of poor shot selection, faulty technique or your bad positioning in relation to the ball.
You can develop your own tactics for reducing personal errors, bearing in mind your strengths and weaknesses. Here are some hints to help you.
Thinking about your game is a key starting point: e how often do you play matches when the net continually ‘gets in the way’? There is so much space above the net, and it is only 90cm (3ft) high in the centre, surely it is easier to hit it into the larger area above the net? Therefore make sure you clear the net.
If you and your opponent are on the baseline, hit the ball 90-150cm (3-5ft) above the net. This will also help you to get better length on your shots;
how often do you go for that outrageous running forehand when under pressure, only to see the ball go out? When in trouble, play a defensive shot and buy yourself some time.
Aim the shot high, deep and cross court to give yourself a chance to recover;
It will take time to learn the game style that is right for you. Then you can develop your tactics and patterns of play around this.
e are you the first person in the rally to change the direction of the ball? If you have hit two or three balls in a row cross court, are you inclined to hit the next one down the line? It is generally safer to hit the ball in the direction it has come from rather than changing the angle. For example, if your opponent has hit the ball cross court, the easiest return is to play it back cross court. Only change the direction when you have time and are in a good position to control the ball fully;
Once you can get'the ball over the net and into play consistently then you need to master ways of forcing your opponent into making errors. You can:
@ hit to the open court - it is impossible for your opponent to cover all the court-so there will always be openings and spaces into which you can aim the ball. As soon as you hit the ball out of the reach of your
Opponent you will start to force him or her to run and retrieve balls and put him or her in uncomfortable positions; the ball so you challenge your opponent with every ball that you hit. It is very frustrating if you cannot get into any rhythm with your shots. Don't forget to use the length of the court as well as the width.
You can force your opponent back deep behind the baseline with a high loopy shot and then play a shorter ball or drop shot to force them to move forwards;
Remember, always try to play to your own strengths first and then exploit your opponent's weaknesses.
( DEVELOPING A GAME STYLE , he ‘ As you start out, you may look to professional players as role models, and try to imitate their style of game.
However, it is important to develop your own game style, based on your own technical, mental and physical characteristics. This style will then dictate the tactics you use. There are four main game styles.
The net rusher/serve and volleyer
These players are generally tall, have a powerful serve, like to volley, have a strong smash and move forward well.
They like to challenge their opponent to get the ball past them. Using speed and power-based shots, these players are more effective on fast surfaces. However, in today's game, the technical advances in the passing shot and techniques on the lob mean that not many players dare to adopt this style.
Aggressive baseliner These players stay close to the baseline and take the ball early, using powerful ground strokes. Baseline players will often rely on at least one weapon or strength, usually the forehand and will try and dominate the rally from the baseline using this attribute.
Counterpuncher These players are mostly defensive, baseline players who react to their opponent. Their strengths are in reliable S
> return of the ball, adopting a ‘neversay-die’ attitude. Counterpunchers will play slightly farther behind the baseline than the aggressive baseliners, mixing up the rally with varied spin on their shots. These players are generally more effective on slow courts - winning rallies through a combination of endurance and determination.
All-court player All-court players rely on versatility, adapting to any pace and style of game, readily switching from defence to offense, and playing confidently in any area of the court. This is a strong style of play on any surface.
Leyton Hewitt is a great example of a successful counterpuncher. 4
The Australian pairing of Mark Woodforde and Todd Woodbridge - the Woodies - was perhaps the most successful in the modern game. Although neither of them had major success as singles players, they did win five successive
Wimbledon doubles titles and Olympic gold medals among a host of career victories.
The game of doubles is fast moving and requires smart thinking. Developing a partnership where you know what to expect from your partner in terms of fitness, power and support is a challenge. When choosing a doubles partner, you should bear in mind your own weaknesses so that you can benefit from your partner's strengths.
Good singles players do not necessarily make good doubles players. The key components to a successful doubles.
thinking ahead.
The most common starting positions for a doubles team is with one player at the back and one player at the net. However, there are alternatives.
Both-back position This is a very defensive position. You may have a better chance of returning powerful shots hit straight at you, and your opponents will struggle to find a vulnerable space on the court. If your team are struggling to break serve and the net player is being targeted, this is a wise choice of formation.
If you, as the server, are struggling to volley the cross court return, try the Australian formation. Your partner starts on the same side of the court as your serve, so he or she is in a good position to intercept the returned ball as a volley. This tactic also Standard doubles set up causes indecision in your opponents as to S = server R = returner where to hit the ball. : SP = server's partner RP = returner's partner
In the both-back position, the returner and returner's In the Australian formation, you should hit your shots partner start on the baseline. to whichever opponent is deeper in the court. If they close in on the net, then use the lob.
In this formation your partner crouches down on the centre service line, close to the net. Prior to your serve you have told your partner where you are serving to and have an agreed plan. Your partner knows whether he or she will move to the right or the left, and you will cover the other half of the court after the serve. Again, this formation makes it difficult for your opponents to choose a direction of return.
There are various tactical options that you can choose from in each element of the game.
Serve options Always talk to your partner or use hand signals so he or she knows where you are going to serve to and can cover the appropriate area of the court:
@ serve wide to take your opponent off the court (but be aware of the angle of return or the return down the line);
Return options e return cross court to your opponent's feet if he or she is serving and volleying; e return cross court and deep if your opponent stays back; lob over the server's partner (aim over the backhand side). This is more effective if the opposing team is trying to serve and then attempt a volley;
The I-formation is chosen for tactical reasons and needs accuracy of serve.
During play e use the tactic of hitting down the middle between your opponents. This causes confusion as to who will take the ball.
If the players then crowd the middle, the sides are open for you to play a winner; e job out of trouble. In doubles, this can cause confusion and frustration in the opposing team, because they are prevented from getting into an attacking rhythm;
use an element of surprise by ‘poaching’ your partner's shots. This simply means encroaching on the area expected to be covered by your partner, usually by intercepting the ball at the net. Poaching needs practice, and you need confidence to do this, but once you have established a pattern in your opponents’ play then you can try it. Often you will see top players use hand signals before the serve to communicate where the serve is going, and whether they are going to poach or not;
it is easiest to win points from the net in doubles, so adopting the tactic of serve and
The server's partner will point his finger to the side he would like the serve to be hit to.
volleying will enable you to take the net position quickly. Serve to your opponent's weaker side, move in quickly, split-step as
He will then indicate that he is going to poach with his hand open, or close his fist if he is going to stay.
they strike the ball, and generally play the first volley deep. You should then move in for the second volley.
= 6 e try to get to the net before your opponents. If you are serving, then serve and volley so you can get to the net quickly. If you are returning, look to chip and charge and get into the net off the return of serve;
® aim to get a high percentage of first serves into play. If you serve down the middle, you will reduce the angles of return possible for your opponents;
There are no substitutes for knowing your partner's strengths and weaknesses, and encouraging and supporting him or her.
Although it is important to practise your winning shots, it is not realistic to play perfect attacking shots all the time!
‘Percentage tennis’ is all about compromising your shots to limit unforced errors, by playing the easiest and most efficient shot in any given situation.
James Blake plays forcefully from the baseline, keeping the pressure on his opponent.
A strong game depends on your shot selection. You should choose shots that will maximise your strengths and minimise your weaknesses. Shot selection will differ depending on the skill level of the player - a safe shot for one player may be a risky shot for another!
— y iG THE FOUR DIFFERENT TYPES OF SHOT .
There are four basic types of shot that you can play, but you only have a split second in which to decide.
Here you are trying to hit an outright winner or a shot that will really challenge your opponent. You need to be in a good position on the court with sufficient time to prepare. The shot must be at the right height and pace.
This is a shot where you are building or setting up to control the point within Ye next couple of shots. It may be the oN first shot within a pattern that you plan to use in a particular game.
You will need to use this when trying to neutralise a strong shot from your opponent. You are aiming to take back the advantage he or she has gained.
You will require this when you are under pressure and trying to stay in the rally.
Perhaps your opponent has you on the run, so that you are forced to hit a defensive lob to buy some recovery time if at all possible. oy
Playing percentage tennis that will reduce the risk in your game and encourage you to adapt to all variations of playing situation.
There are some basic principles of percentage play:
Playing the percentages can readily reduce unforced errors, and many a match has been won by using this strategy. Don't try to play shots that you do not possess!
Let's look at some examples of percentage play in a variety of game situations.
Hit your first serve at 70-80 percent of your maximum pace, rather than aiming for an ace every time. Try to dominate the game with a reliable serve, not always to end it.
If the ball is served wide, return it cross court to the server's side. In singles, if the serve is central, return it to the opposite side to the server. In each case the ball will cross the lowest part of the net, giving you more chance of getting it into court.
When percentage returning, hit cross court if the ball is served wide.
If the ball is served down the centre line, the easiest return shot is to your opponent's backhand side. In this example, the server is right handed so the return has been made to the server's left side.
When both players are on the baseline
Rally cross court, hitting the ball deep with reasonable pace and good net clearance. Only change the direction of the ball when the ball is short and you are in a good position to attack it down the line.
If the ball lands in the middle of the court
Run around the ball to position yourself for a forehand, then hit to your opponent's backhand side. This pattern is adopted extensively by professionals, who try to use their strong forehand as much as possible.
If you have the opportunity, you can run around your backhand to play a safer and possibly more penetrating forehand shot
(3) to your opponent's backhand serve.
The general rule is to approach the net down the line and then look to put the volley away with a sideways angle. If you approach the net cross court, you often leave too much undefended space. This makes it easy for your opponent to hit the ball past you. Your shot selection will depend on the height, pace, and spin on the mid-court ball.
If the ball is low, go for more control and depth. If the ball is high, you can hit a more
-_ forceful shot.
If the ball is above the net height, drive it down the line (1) and then put the volley away (3) to target area T.
If the ball is below the net, use a slice approach down the line for control and depth.
Now you have an understanding of percentage play, try to develop some basic patterns of play that can help you win matches as the professionals do. You need to build these patterns around your strengths, so if your forehand is your best shot, set up patterns so you play into your forehand. If your backhand is a weakness ensure the pattern does not include a lot of backhands.
Try to master a few patterns well, rather than learn a lot only averagely.
Perfect certain patterns of play that you feel comfortable with and then incorporate these into your game.
One of the most valuable tactical skills in tennis is to judge how and when to change the direction of the ball. Think about the principles of percentage play to develop a good understanding of how this can benefit your own game.
You need to play every game to your strengths, but you will often find that you have to adapt to variations in your playing situation. The main factors to consider are:
Adjusting to different surfaces: Clay
As we have seen, clay surfaces mean higher bouncing balls and longer rallies. Therefore, one of the most important tactics to use is to increase the margin of error on your shots. Don't forget most of your points will be won from your opponent's errors rather than from your own winning shots.
Give variety to your serves on a slow surface
A serve that relies on speed will struggle to be effective on a slow surface. You will need to develop a secure, heavy serve with topspin rather than rely solely on trying
Clay courts slow the ball down a little and tend to favour the players who can rally consistently from the baseline. Stamina and concentration are essential for success.
to hit with power. Introduce a variety of spins and angles on your serve.
When returning serve, you will find you have more time on a clay court so you can be more aggressive with the return. If you hit high and deep, this will force your opponent back behind the baseline.
It is difficult to serve and volley on clay, because your opponent has a lot more time to pass you. Your footing is not as secure, and it is more difficult to change direction.
If your opponent does come into the net, then try and use the two-ball pass, in which you hit the first ball with dipping topspin to his or her feet and then pass or lob on the following ball.
If you watch clay-court professionals, you will see how high they hit the ball over the net. The main advantages of giving the ball more height are to gain more depth on your shots, to reduce the risk of the ball going in the net, and to give yourself time to recover for the next shot.
Expect longer rallies from the baseline Generally, you should hit with more topspin on clay, to force your opponent farther behind the baseline. The topspin will make the ball bounce up high on your opponent, - making it difficult for him or her to hit winners off the shoulder-high balls. You then need to look for any shorter ball that you can flatten out and try to put away.
Look to ‘wrong foot’ your opponent, by hitting behind him or her.
Make your opponent run forward
Another tactic regularly employed on clay is to use the long baseline shots to push your opponent back, and then bring in a drop shot to force a sprint forward. The ball will ‘die’ quickly on a soft clay court, so it will be hard for your opponent to reach.
When rallies are as long as on clay, it is essential to open the court up with angled shots, short balls and drop shots.
In the mid-court you need to look to hit well-angled shots and perhaps use the drive volley to be able to put the ball away.
You could hit high looping balls to your opponent's backhand and then sneak in and play the drive volley.
Rally cross court if your opponent is quick at recovering towards the centre.
You can wrong foot him or her by playing the ball behind them.
Adjusting to different surfaces: Mediumpaced indoor or hard cement courts
On hard surfaces, the ball rebounds at a lower angle and travels at a medium speed.
Fast serves will be more effective on hard courts, but you will still need to use some spin to keep your opponent guessing as to your tactics. Servers often aim the ball at the receiver's body, giving him or her little time to move into a position to return.
Concentrate on defensive returns of serve
When returning you may have to block the harder serves, then look to attack anything weaker. Be prepared for that serve directed at your body.
Medium-paced courts tend to be favoured by players with an all-court game because they can rally from the baseline and then look for anything shorter to try and come to the net.
When coming into the net, look to put the ball into the open court, using short angled volleys and aggressive smashes. You will need to use a combination of shots hit with different spins and heights to outmanoeuvre your opponent.
Hit the ball harder and flatter
Clay surfaces suit most game styles. You will have to be ready for rallies of any duration.
Hard, flat returns keep up the pressure.
From the baseline, hit a high looping ball to your opponent's backhand (1). Then sneak in and play a drive volley (3).
On fast-paced surfaces, slice the serve out wide (1)
(if right handed) to the deuce court to take your opponent (B) off the court.
Then hit the next shot into the open space (3) or back behind your opponent if he or she recovers quickly.
Adjusting to different surfaces: Grass and fast indoor courts
On fast-paced surfaces, the ball rebounds at a lower angle and travels at high speed. You should make shot selections that make the most of these characteristics.
Use the hard, flat serve and the angled slice serve
Practise the slice serve, aimed out wide in the right court (if right handed). This will take your opponent off court, so that you can then hit the next shot into the open space or back behind your opponent.
If returning against the hard serve, shorten your take back and try playing percentage returns to give you the best chance to get the ball back. If your opponent stays back after the serve, then try to return deep. If he or she serves and then moves in to volley, try to return to his or her feet and look for the two-ball pass.
You should try to take control of the point from the first strike. If you are serving you will need to hit an aggressive serve and then perhaps look for the forehand attack off the third ball. If you are returning, try to hit an attacking return that puts your opponent under pressure.
In the two-ball pass, if your opponent (A) hits a moderate approach down the line (1), on your first shot you should drive hard and low down the line (2) to force a weak volley (3) and then pass him or her on your second shot cross court (4).
If you play from the back on a fast court, the rallies are often short and the balls are hit fast and flatter. Look for any short balls and try to attack these, and then close into the net and put the ball away. If the court is really fast, then you want to think of trying to get forwards and to the net as quickly as possible, so the ball does not bounce. If you are trying to pass your opponent, try to use a variety of spins and lobs to get him or her out of position.
Adjusting to different opponents
The biggest challenge in tennis is to find your opponent's various strengths and — weaknesses and nullify their style of play.
Observe each shot your opponent plays, and take note of weaknesses or common mistakes. Perhaps he or she reveals a poor backhand, in which case you should aim to take advantage of this. The warm-up is an opportunity to look at your opponent's strengths and weaknesses.
If your opponent tends to dominate on particular shots, try to avoid giving him or her the chance to play them. For example, you may aim to hit around your opponent's powerful forehand or you may concentrate on defensive returns of hard, fast serves.
You are likely to play against opponents of varying fitness and endurance. Observe how quickly your opponent tires when moving around the court, and any difficulty he or she has in stretching to wide balls. Perhaps moving your opponent from side to side will stretch his or her endurance. If he or she is particularly alert in moving around the court, but weak on power, concentrate on challenging him or her with speed.
Less experienced opponents may be slower to read your shots, in which case using varied spin and pace will really challenge them.
If your opponent seems to predict your shots well, don't take too many risks with your tactical play.
Mental Although this might be difficult to judge, you might notice if your opponent is timid in playing powerful ground strokes or in approaching the net. You can take advantage of these insecurities by exaggerating your attacking forehand or by playing tactical, shorter balls.
Adjusting to different weather conditions
Unfortunately, the weather is something that we cannot predict. However, it is possible that your tactics during a game of tennis will be influenced by factors such as wind, visibility and temperature.
Wind Wind is hard to adapt to because it regularly changes direction. You will need to adapt each time you change ends and use your technical skills to keep the ball under control. If you are playing with the wind behind you, use your topspin to control the ball. If the wind is against you, you must use more power and follow through, aiming higher and deeper than usual.
It is possible to use the wind to your advantage in the game, as long as you don't let it affect your confidence.
If visibility is poor, it is likely that you and your opponent will be equally affected. You could aim to use disguised spin, because these shots will be even more difficult to read in the circumstances.
If the sun is very bright, it will be in your eyes only from one end of the court. When the sun is in your opponent's eyes, challenge him or her with lobs and high, loopy balls.
The heat can force you to alter your tactics
- both you and your opponent will tire more quickly. If you are struggling with the heat you may try to shorten the rallies.
Conversely, move your opponent around to tire them more. Take time in between points and at change of ends, and when possible stand in the shade. Drink water to avoid dehydration and loss of concentration.
Be prepared for everything. Here the heat has taken its toll on Anna Kournikova.
Don't be reluctant to play in situations that you are not used to. Every experience you have will improve your awareness of the game as well as your tactical repertoire.
The very nature of the game of tennis ensures that it is mentally extremely tough.
It is, in particular, a game of choices. As soon as you step up to the line to serve, you will need to decide where to serve to, what spin to put on the ball, how hard to hit the ball and whether to aim for placement or power. Also if you hit to a certain direction, you will need to think about what type of return you might get - and you haven't even hit the ball yet! Tennis is a game of decisions. In addition, as tennis is an individual sport (except when playing doubles) there is nowhere to hide if you are playing badly. There are normally no time limits - you cannot play for time as in football, and you cannot bring on a substitute.
However, despite all this, there is the advantage of regular ‘thinking time’ during a tennis match. Between points you have
20 seconds, and then 90 seconds at change of ends. It is essential that you take advantage of this time, using it positively and constructively.
Mentally tough players have great belief in their own ability. They present a strong, confident image on court and display positive body language and high energy, regardless of how they are feeling inside.
They have good concentration levels and do not let their minds wander into the future or dwell on previous mistakes. They are focussed and alert, enjoy the battle and have a great desire to win.
There are four elements to a strong mental state in tennis:
The serve is a good point to take stock. Don't rush it.
Russian Elena Dementieva exhibits control and focus as she eyes the ball prior to her serve.
Staying mentally fit in a tennis match means focussing on the elements of the game that you can control. You cannot control how well your opponent plays on the day, the weather, the net cords, or a bad line call.
What you can keep in check is your own reactions to all of these. This kind of discipline is the secret of successful players, and needs to be learned and worked in the same way as fitness, technique and tactics.
You may find that you are more concerned about winning the match than how well you perform. However, psychologically it is important not to let positive aspects of your game go unnoticed if you end up losing a match. It is possible to play the best game of your life but still lose to a more advanced player — but even a lost match can be used constructively in terms of self-appraisal. One of the key mental tools to use here is goal setting. There are two types of goal.
Before a match write down some performance goals for that match and
Outcome goals are concerned with winning or losing a match. For example, you may set yourself a goal to win at least three rounds in a tournament, or simply to win in every match you play. These are targets that are not under your control and are largely dependent on your opponent, so you must try not to focus on these.
Performance goals are concerned with your personal skills and achievements within the game and are unaffected by whether you win or lose. For example, if you aim to increase the number of first serves you get into play by 10 percent, you can still achieve this goal even if you do not win the match.
Performance goals are under your control and can be used to boost selfawareness and confidence, and to transform even lost matches into positive playing experiences.
have a pre-match plan, which will keep you focussed. You might devise a chart.
oe ‘Achieved rating Score | 75 percent 10/10 |
6/10 | ) about 60 percent SS SS |
Comments on match e | thought | played well and my first serve was going very well, but | felt
| served too many balls out wide and my opponent took advantage of this; e when | did follow the mid-court ball to the net | was successful, but | did not have enough confidence to do this all the time; e | tried to attack my opponent's second
. . . { serve but his topspin was causing mea few | problems.
@ practice following the mid-court ball in more; e work on returning high-kicking serves.
Another way to help you stay calm in your game is to have routines. These provide rhythm, focus your concentration, minimise your distractions and negative thoughts, increase your feelings of self-confidence and control and ensure that you are fully prepared for each element of a match.
Pre-match routines are particularly important and cover aspects such as sleep, nutrition and warm-up. We will look at these more closely in the next section.
You might observe that most top players behave in the same way in between each point they play - whether the point is won or lost. Most will include a physica response, then a relaxation response, some form of preparation, and then a ritual (for the serve or return) before the next point
Towelling down and adjusting racket strings are two common rituals to keep players focussed on the game.
starts. This is a great way to remove yourself from any negativity associated with the previous point, and to treat each point as a new opportunity.
If you practise a routine regularly, it will become automatic. For example, at the end of the point turn your back on the ball, transfer your racket into your non-playing hand and relax your playing arm, look at the strings, walk positively back and behind the baseline, and then as soon as you turn round focus on the next point.
You have 90 seconds at the change of ends and 120 seconds at the end of each set. This down time can be invaluable if it is used really constructively:
The changeover time (at every odd game, 1, 3, 5, etc.)
can usefully be spent in reclaiming mental and physical strength.
® you will either need to relax yourself or activate yourself - find some key phrases that are helpful to say to yourself;
Try to stick to your routine. This is one element of the game that can remain constant and unaffected by the way the match is going. Avoid putting unrealistic pressure on yourself or rushing if things aren't going well.
During play, you will find that you will respond emotionally in one of four ways:
@ tank - you withdraw effort and commitment so that you experience less stress. In this situation you make excuses for not trying; for example: ‘The courts are so bad | cannot play’, ‘| cannot play in the wind - what's the point’;
Try to be aware of these reactions and consider them after your matches. This will help you to explain any stress or negativity that you are experiencing and to learn to control your reactions to your own advantage.
To be successful with your tennis, concentration is the most important mental skill you will need. Many factors can affect your concentration, especially if you are nervous:
We have seen how goal-setting and applying routines can help refresh your focus and your self-control at various points in the match. Here are a few more techniques that may help you maintain concentration while you are playing:
evaluate shots positively to keep your attention focussed on play;
You can also practise various drills, in practice as well as in the match, to strengthen your concentration:
@ say ‘bounce, hit’ to yourself each time you or your opponent hits the ball. If you do this, you cannot be thinking about anything else;
breathe out at contact point and whisper a long ‘yes’ as you hit the ball;
You will be amazed at how well you keep the ball in court;
In the last section we looked at how routines — especially before a match - are invaluable to alleviate stress and to exert a feeling of control and confidence.
Your routine behaviour prior to a match should attend to aspects such as sleep, nutrition, organisation and physical and mental preparation. The following factors can be included in your pre-match routine, to give you complete peace of mind to concentrate on your game:
EFORE AND AFTER THE MATCH e plan for a good night of sleep; e check the practice court time and arrange a practice partner;
@ check who you are following onto court, and keep checking his or her score;
plan what time you will need to eat prior to your match;
Stretching on the court prior to a match may help you prepare physically as well as familiarise yourself with the court.
tactics. Focus on your performance rather than the outcome of the match; e allow time to stretch prior to the match.
Work out a stretch routine to carry out before a match. A coach or fitness instructor can help you with this;
@ allow some quiet time before the match so that you are not distracted. This may include time to use visualisation techniques.
The greatest weapon you can take onto the court is confidence. This is something that comes from your expectations of success and failures and something you develop based on
THE MIND GAME your achievements and your awareness of your own strengths and weaknesses.
You will notice that all successful players come across as strong and confident in their game. This ensures that they play to their best ability.
Confidence is about knowing that you can keep the ball in play, time after time. It can be built by a good conditioning process of practice and self-belief. You have to build positive habits of thought in your mind and your actions. You also have to believe in your shots and know that you can hit them well at all times. This is why it is so important to practise and develop confidence
| level of performance ns level of = confidence
Maintaining a high level of self-confidence will help you play to the higher end of your ability.
Start to change all those negative thoughts |
| you have about your tennis into positive ones
| - believe in yourself.
Your body language on court may help your opponent - or worry him! Two British players - Tim Henman (left) and
Andy Murray (right) - react differently while under the pressure of playing at Wimbledon.
in your own strokes. A self-confident person is a believer. He or she is positive about him - or herself - but also realistic.
You can work on your confidence in the same way as you do your technique, tactics, fitness and in-match routines.
Here are a few things you can do or consider before a match in order to boost your self-confidence:
Walk tall with your head up and shoulders held well back;
think about how hard you have trained, and have pride in your ability;
@ set realistic and achievable performance goals before the match; :
Many factors can have a negative effect on your confidence. You need to understand these things so that you do not allow them to influence your perception of your own ability. It is inevitable that you will make mistakes during a game, such as missing too many shots, losing against players rated below you, missing the easy balls or double faulting. You must remember to evaluate these instances in a positive and constructive way. Confidence does not only come from winning matches!
It is just as important to work out a postmatch routine as it is to develop routines before and during a match. This will put you in a good frame of mind to evaluate your performance in an objective and useful way:
Analysing your game with your coach — both before and after a match - is key to long-term development.
review your goals to see if you have achieved them. Focus on your own performance in the match, not on the overall outcome;
@ review the match from a positive perspective and write down what you have learned from it as well as how you can improve and move your game forward; e if you are talking to your coach, you may find it is best to do this an hour or even longer after the match, when you can think calmly and construct your thoughts without being emotional.
Remember that you only have one opponent in a game of tennis (unless you are playing doubles). Work on your preparation and your confidence so that you are not battling with yourself!
Tennis is based on official rules that determine the structure of the games and the scoring system. However, there are many unofficial ‘rules’ or traditions that you should respect as a tennis player. These relate to things such as your attire, your organisation of play and the interaction between you and your opponent and/or umpire. If you are known as a sporting player you will enjoy your tennis more. It is not true that you can’t be competitive, successful and well-liked. Here are some rules for you to consider.
Attending or organising a friendly match e if you make arrangements to play with a fellow club member, friend or someone from another club, make sure you respect your opponent's time and be punctual and organised in your arrangements;
Remember, the winner can elect to serve, receive, choose an end or ask his or her opponent to select one.
Ball management e start with two balls near you, either one in your hand and one in your pocket, or one in your hand and one in your ball shorts; e if the server needs a ball, the person nearest to the ball should retrieve it and pass it to the server;
If you are fortunate enough to have line judges you must respect their decisions.
@ respect the line calls of your opponent and do not argue with them; e if there is any degree of doubt, then a let should be played. This should not occur if only certain calls are made;
if the match has an umpire, line-call decisions will lie with them. The decision of the umpire is always final, so arguing will only cause an awkward atmosphere;
@ when playing doubles, you may find that it is easier for your non-serving partner to call the service line. It is best not to undermine your partner's calls.
if you have booked a court but the previous players have not quite finished, stay clear of the court until your allotted time arrives. Remember that you would be annoyed if other players distracted you at the end of a match;
@ never walk behind another court when a point is in play. Wait until the end of the point and then cross quickly; e if standing or waiting near a court, talk quietly so you do not disturb the players; e if a ball comes across from a neighbouring court, wait until the end of the point before passing it back.
Tennis, with its element of both individual and team competition, offers great opportunities to turn rivalries into hopefully longlasting friendships.
avoid making exaggerated gestures when you win or lose a point;
Playing as part of a team e if you are involved in a team tournament it is expected that you are supportive and respectful toward your team members even if you disagree with them at times;
when playing with a doubles partner, be supportive and encouraging. Never criticise after all, you are on the same side.
HINT =.
The unofficial rules of tennis are as important as the official rules, and if the game is played in the right spirit it will be enjoyed by all. You will also have many more practice partners.
To become a professional tennis player is very different from enjoying tennis as a hobby or social sport. It is a long journey, and there will be many ups and downs along the way.
There will be times when everything is going well, when you are making good progress and winning matches. There will also be times when you have setbacks because of injury, or loss of form or confidence.
According to research into sporting excellence by Istvan Balyi (expert in longterm athlete development and training plans), it takes about 10,000 hours of training from starting the game to making the grade at professional level. You will need to be strict about your dedication to practice.
Players should be training for 12 hours per week. This would be broken down to: e 4.5 hours technical and tactical training;
Training should be increased to 18 hours per week, composed of: e 7.5 hours technical and tactical training; e 2 hours coordination; e 2.5 hours speed work; e 1 hour strength;
.5 hours flexibility; e 2.5 hours other sports and some mental training built into all the activities.
Fourteen-year-old females or fifteen-yearold males
Training should be increased to about
24 hours per week. These training hours would include tennis, practice matches, physical work and other sports: e 12 hours technical and tactical training;
Fifteen-year-old females or sixteen-yearold males Training hours should be increased to about
27 hours. The breakdown would include: e 14 hours technical and tactical training; e 1 hour coordination; e 2.5 hours speed work; e 4 hours strength; e 2 hours endurance; e 2 hours flexibility; e 1.5 hours other sports.
Sixteen-year-old females or seventeen-yearold males
Training hours should be increased to about
30 hours per week. This would include: e 17 hours technical and tactical training;
® 1 hour coordination; e 2 hours speed work; e 3.5 hours strength; e 2.5 hours endurance; e 2 hours flexibility; e 2 hours other sports.
The top players at this stage will be travelling around the world playing
Federation (ITF) ones.
Players should be aiming for the ‘$10,000 events’ and satellite tournaments. In reality, particularly in the female game, many players reach this ‘mini-professional’ stage by the age of 14 years old. Females tend to mature earlier in their game, whereas males seem to emerge later in their teens.
If you were to reach professional level and play full time, you would design your own annual plan. This would revolve around preparation, competitive phases (when you have key tournaments) and periods of rest.
For the majority of us, the most we will aspire to is a good club, or county, district, or perhaps national level.
Still, in order to do this, not only do you need to want to work and be prepared to spend hours practising, but you will also require the advice and guidance of a coach to assist you on your
Journey. Your coach will help you to plan long term, will set goals that you can achieve along the way, monitor and reevaluate these goals, then set new ones.
He or she will help you with ranking targets and a planned tournament program. He or she will look at your technical, tactical, physical and mental goals and how these fit into the phases of the annual programme - preparation, ‘S
The author, Sue Rich, working with a young tennis player in Cambridge, UK.
competition and rest. Without planning, you will not have any direction or focus, valuable time may be lost, the programme may not be specific to you, and you may get bored and lose interest in the game.
This phase involves general preparation and specific preparation, and in total would last 4-12 weeks. During the general phase you may do technical changes and work hard on the physical aspects of tennis, while in the specific preparation you concentrate on the taetics and mental skills needed for matches.
These are the optimum parts of your tennis year, where you aim to be at your peak of fitness and ability to succeed in your target events. For the top players, the key competitive phases would cover the four
Grand Slam events: the Australian Open, the
French Open, Wimbledon and the US Open.
For an emerging player, competitive phases would consist of the qualifying matches for such tournaments.
Periods of rest After a competitive phase is over, it is ideal to have a period of rest and reflection before working toward your next competitive phase.
The rewards, for a few, are enormous. Multimillionaire
Roger Federer holds aloft the US Open trophy.
Seek advice from a good coach to guide you along your journey to fulfil your potential - whatever that may be.
By now you should have a good understanding of the elements that will make up your tennis game: e skills of the game;
Now that you have this grounding, tennis can offer you many bonuses throughout the whole of your life.
Tennis is a fantastic sport for young children to get involved in:
Tour has created fun for spectators as well as a new lease of life for some older stars. Here
Bjorn Borg, John McEnroe and Jimmy
Connors prepare to resume old rivalries.
If you are a slightly older individual, looking to begin playing in your 30s or 40s, tennis also has many advantages: e keeping active is not only important for children but also for adults, and playing
Tennis is fun at any age.
tennis is a fun and accessible way to maintain a healthy level of fitness, even as part of a busy schedule;
@ involvement in club tennis is a great way to meet people - particularly if you start higher education, move away from home, follow employment to a new place or simply want to make more friends;
all sports are a great way to increase your confidence by setting yourself goals and improving your self-awareness;
Although it takes time to develop your skills, it is never too late to start playing:
The pace of tennis may change with age, but not the fun or competitiveness.
® many people find themselves looking for a new hobby as they get older, and also when approaching retirement. It is possible to take up tennis at any age and still enjoy its active and social advantages;
as an informal game, tennis can be adapted to suit anyone's pace, meaning that you can work within your own capabilities;
People all over the world have had lifelong enjoyment from the game of tennis - so if you haven't already tried it, start today!
‘The only possible regret | have is the feeling that | will die without having played enough tennis’ - Jean Borotra, who continued to play and take lessons into his 90s.
Ace: a serve that wins a point outright and that the returner cannot even touch with his racket
Advantage: the point score after deuce; advantage is awarded to the player winning the point after the deuce score
Approach: the type of shot that allows a player to move from the back of the court to the front of the court
ATP: the Association of Tennis Professionals, the body that organises professional tennis for men around the world
Australian formation: a specific type of doubles court positioning in which the server and net player are on the same side of the court
Backhand: any stroke played to the left of the body (if right handed)
Backhand slice: a backhand stroke played with the racket across the body, with a high to low action imparting spin on the ball
Backhand smash: a variation of the smash played over the head or shoulder from the backhand side
Backswing: the take back of the racket prior to the forward movement and eventual contact with the ball
Baseline: the line at the back of the court
Blocked return: a return of serve using a shortened action instead of a full swing
Bounce smash: a smash played after the ball has bounced
Building shot: a type of shot played in a rally to help the eventual winning of the point; it will be a tactical shot and not necessarily the shot immediately prior to a winner
Changeover time: the time allowed at the change of ends
Chip and charge: another form of approach where a chipped shot is followed by a rapid advance to the net putting the opponent under pressure
Choking: a term used when a player gets tight and nervous and misses easy shots and gives away points too easily
Chopper (grip): a type of grip used on the serve and, usually, when at the net
Closed racket face: when the racket face is pointing downwards slightly
Closed stance: a type of stance used normally on ground strokes when a player puts one foot in front of the other
Consolation event: when a player loses his or her first match in a tournament he or she can enter another event for players who have done the same (also know as plate event)
Continental (grip): another term for the chopper grip
Core stability: a term to explain the stability of the abdominal area which is valuable in playing good tennis shots
Counterpuncher: a style of player usually a defensive baseliner who reacts to their opponent's style of play
Cross court: the direction of the ball angled from one side across to the other; the opposite of down the line
Cyclops: the nickname for a device used to monitor whether the serve is in or out on the service line; it ‘beeps’ when it identifies that a ball is out
Davis Cup: an international team event for men which is played each year, first in zones and then with a head to head final
Deuce: the score when both players have each won three points in a game
Double fault: the term used when a player has made an error on both his first and second serve, resulting in loss of the point
Down time: time in between points and at change of ends, when no active play is in progress
Down the line: the direction of the ball hit from one side of the court to the same side in the opponent's court; the opposite of cross court
Drive volley: a ball that is hit before the bounce, normally played mid-court and is a combination of a ground stroke and volley
Drive: the general term for a shot hit after the bounce (a bounce smash and chip shots, although hit after a bounce are not referred to as ‘drives')
Drop shot: a delicate shot that is played to bounce very close to the net, normally played with spin
Drop volley: similar in intention to a drop shot (that is played to bounce very close to the net) but that is played before the ball bounces
Eastern (grip): the major forehand grip
End change: or ‘change of ends’ when players change ends after the allotted number of games be
Fault: and point-losing error but normally used when the server makes an error, hitting the ball wide, long or into the net
Federation Cup: known often as the ‘Fed
Cup’ it is the major international team event for women, played annually with a head-tohead final
Follow through: the continuation of the stroke after hitting the ball
Foot fault: a point, or serve, losing error when the server's foot touches the baseline or the imaginary extension of the centre mark before hitting the ball
Forced: a term normally referring to an error when the player tries too hard to hit a good shot and ‘forces’ it
Forehand: any stroke played to the right of the body (if right handed)
Games: collections of points; a collection of games becomes a set
Go long: to ‘go long’ implies a player has hit the ball beyond the baseline; it can apply to a serve going over the service line
Good return: a successful return over the net and into court
Grand Slam: the name given to four major annual tournaments: the Australian Open, French Open, Wimbledon Championships and
Ground stroke: any forehand or backhand drive (not volley)
Half volley: a shot played just after the ball has bounced, struck immediately as it begins to rise from the surface
Hitting zone: the area of contact with the ball at the point during the swing in which the racket strings are facing where the player wants the ball to go (not to be confused with target zone or area)
Holding serve: when a player is able to win his or her own service games
|-formation: a specific formation in doubles where the net player is on the centre line
ITF: the International Tennis Federation is the world governing body of tennis that aims to develop the game at all levels at all ages for both able-bodied and disabled men and women
Jump smash: a smash when the player has jumped off the ground to play it
Kick-back: the movement of the trailing leg as it is thrust into the air behind a player, normally on the serve
Knock-out draw: a type of tournament format where winners proceed and losers have no further part to play
Knock-up: the warm-up time prior to the start of the match when players knock balls back and forth to each other
Let serve: a service in which the ball touches the top of the net and then lands in the correct service box; it is not a fault and the server is then allowed another serve
Loading position: the power position on the serve when the left shoulder is higher
J AND.
i} i: Gi} than the right (if right-handed) prior to contact
Lob volley: a combination of a lob and volley when the ball is hit high into the air, played prior to bouncing
Lob: a ball which is hit high into the air
Looped preparation: refers to the take back of the racket in a 'C’ shape
Love: scoring term used to describe when a player has no points
Net cords: when the ball hits the tape on the top of the net
Net rusher: a player who tries to get to the net at the earliest opportunity
Neutralising shot: a shot that makes it hard for an opponent to attack
On the rise: shots are taken ‘on the rise’ when they take the ball on the way up after the bounce
Open Era: the period after 1968 when the game went ‘open’: equally accessible to professionals and amateurs
Open racket face: the strings of the racket are facing slightly upwards
Open stance: a position adopted by the feet to hit a shot with the player's feet facing towards the net more than to the side of the court
Outright winner: a point-winning shot that an opponent does not get his or her racket to; an ‘ace’ is an outright winner from the serve
Out: when the ball makes its first bounce outside the boundaries of the court
Passing shot: the ground stroke used to hit the ball away from an opponent at or near the net, played with the intention of passing them
Percentage tennis: playing the easiest or safest shot with the greatest margin for error in the hope that, eventually, your opponent will make errors
Plyometrics: a system of training that helps develop power, particularly useful in tennis where short-term explosive power is valuable
Poaching: when a player in doubles comes across the net and intercepts a ball that his or her partner could have hit
Progressive draw: a type of competition allowing players to move to parts of the draw where they largely play opponents of a similar standard
Rally: a sequence of shots played back and forth over the net
Ready position: the stance from which a player starts, prior to moving to the ball or contact
Real tennis: a traditional game (the forerunner of modern tennis) that is still played competitively on an indoor court with wooden rackets and a hard ball
Return: when the ball is hit back over the net, normally used to refer to returning the serve
Round robin: competition format when players are in groups and play everybody else in the group; winners progress to knock-out matches
Second serve: the second delivery of the serve, used when the first serve has been a fault
Seeding: a system of artificially placing higher-ranked players in a competition in such a place that they will only meet other ‘seeded’ players towards the end of the competition
Semi-closed stance: when one foot is not completely in front of the other foot
Semi-western (grip): when the palm of the hand on the forehand is slightly under the racket
Serve-and-volley: a game style when the player serves and then immediately (or as soon as possible) follows the ball into the net in an attempt to play a volley
Serve: the act of striking the ball to start the play
Service box: the area into which the serve is directed
Service line: the line that forms the back of the service box
Sets: when a player has accumulated a certain number of games
Sidelines: sometimes referred to as ‘tram lines', these are the lines to the side of the court that form the boundaries of the singles and doubles courts
Slam-dunk smash: a specific type of smash when the player gets off the ground and tries to hit the ball down, hard into the ground
Slice: spin put on the ball that takes it laterally after the bounce
Smash: shot used to counteract the lob, generally hit hard with a powerful throwing action
Soft hands: describes a player's ability to play touch shots that require deftness and skill
Speed gun: a piece of equipment used to measure the speed of the ball, normally on the serve
Spin: the way a ball rotates in the air
Split-step: from the ready position a player will do a small jump in the air and land on two feet as his or her opponent strikes the ball; from here the player can readily move in any direction
Square stance: the position of the feet when you step with one foot in front of the other
(not to be confused with stepping across)
Squash shot: a forehand drive, hit like a squash shot, with a slicing action
Stop volley: a ball hit before the bounce so that the pace is taken off the ball and it stops dead
Swiss ball: a large, training ball used to help core stability
Take back: how the racket is taken back after it has made contact with the ball
Taking the ball early: when the ball is hit on the rise, soon after or at the top of the bounce
Tie-break: scoring system used to end the set when it is six games all
Topspin: method of making the ball.
Touch shot: a delicate or soft shot played around the net
Tramline: lines (sidelines) at the side of the court
Two-handed backhand: stroke played with the racket across the body with two hands gripping the racket
Two-way draw: type of tournament format where losers are able to continue playing more rounds
Unforced (error): an error made when not under any pressure and which should have been a routine shot
Volley: a shot that is played before the ball bounces
Volleyer: the name given to a person hitting the volley
Warm-up: period used prior to a match to prepare, both physically and mentally
Western (grip): type of grip when the palm of the hand is underneath the racket
Wrong foot: type of play when a player hits the ball in such a way that the opponent has to switch from running one way to play the ball in the direction they have just come from
WTA: the Women's Tennis Association, the governing body of the women's game
All England Croquet Club 9 approach shot 103, 136, 144, 159, 178 ATP (Association of Tennis Professionals) 12, VE NES
Australian formation 153, 178 Australian Open 9 ,11, 16, 40, 181
B backhand 74-87, 106-107, 108, 110-111, 117, 125-126, 143-144, 178, 187 backspin 118 backswing 64, 66, 77, 104, 107, 112, 119, 121-122, 136, 178 bags 45 ball toss 90-91, 101, 132 balls 12, 14, 43 baseline 178 beginners 46-47, 139 body language 17
Borg, Bjorn 15, 24-25, 80 breaks and changing ends 35
C chip-and-charge 179 clothing 44-45 coaches and coaching 47-49, 171, 177 competitions and tournaments 9, 16-17, 36-39 concentration 167 confidence 164-166, 170 contact point backhand 78, 82 drop shot 119 forehand 68, 69 lob shot 121, 123 return of serve 105, 107 serve 88, 92, 95, 97, 132 smash shot 115-117, 137 squash shot 128 volley 110, 111
Cooper, Charlotte 10 coordination chain 89, 101, 132 court, dimensions of 31
Davis Cup 11-12, 17, 179 deuce 34, 179
Doherty, Laurie 10 double fault 32, 179 doubles 152-155 drills 54-59, 130, 140-145 drive volley 180 drop shot 113, 118-119, 180
Emerson, Roy 21 equipment 14-15, 42-43 errors 150, 187 etiquette 172-173
Evert, Chris 23, 80 o faults 31, 180
Federation Cup, The 12, 17, 180
Federer, Roger 28, 60, 70, 74, 84, 89 : fitness 12, 44, 50-59 follow through backhand 78, 82 l-formation 154, 181 drop shot 119 improvised shots 128-131 forehand 65, 68, 73 International Tennis Federation (ITF) 14, 181 lob shot 121, 123 return of serve 105, 107 serve 93, 95, 97, 100 smash shot 115, 116 J spin 125, 123 squash shot 128 volley 110, 111 jump smash 116, 131, 181 foot fault 31-32, 132, 180 footwork 92, 100 forehand 60-73, 103, 108, 111, 143, 150, 180 K forward swing 64, 67, 78, 82, 105, 109, 111, 115, 119, 121, 123 French Open 9, 11, 16, 40, 181 kick-back 93, 101, 182
King, Billie Jean 22 knock-out draw 37, 39, 182 knock-up 172, 182 G Kramer, Jack 12 game styles 151, 157 goals 165 L
Grand Slams 9, 11-12, 16, 37, 40, 181 Laver, Rod 21-22 grip Lenglen, Suzanne 10-11, 19 backhand 74, 75, 88, 89, 107, 132, 133 essons 47 drop shot 119 ets2 182 forehand 60, 63, 64-65, 66-68, 71 ine calls 172 lob shot 121, 122 oading position 95, 97, 99, serve 88, 89, 132, 133 132-133, 182 smash shot 114 ob 112, 120-123, 144, 154, 182 spin 125 ooped take back 182 squash shot 128 ove 34, 182 volley 107, 136
Masters’ Series, The 12 half volley 112, 181 matches 35, 168-172 hitting zone 84, 181 McEnroe, John 15, 25, 89
INDEX mental focus 164-171 on grass courts 41, 62 Moran, Gertrude (Gussy) 11 on hard courts 41, 161 ready position see stance real tennis 8, 14, 184
Renshaw, William 9 N return of service 102-107, 134, 141, 161 returns 34, 154, 158, 159 Roddick, Andy 12 Navratilova, Martina 24 Roland Garros 11, 16 net cord 34, 182 round robin 38, 184
Newcombe, John 23 routines 166-168 rules and scoring 30-35, 172
Open Era 12, 183 Sampras, Pete 26-27, 89, 98-99, 131 origins 8-9 scoring 34-35 out 183 seeds and seeding 37, 184 Seles, Monica 12
Seniors’ Tour 176 serve and serving 12, 31, 41, 88-101, 2 132, 140, 147, 158-162, 184 serve-and-volley 151, 184 sets 35, 184 pace and spin 124-127 Sharapova, Maria 29, 60, 89-90, passing shot 77, 144, 183 100-101 patterns of play 159 shoes 44 percentage tennis/play 156-159, 183 sidespin 118
Perry, Fred 20 singles 146-151
Pillic, Nikki 12 slam-dunk 131, 184 playing conditions 160-163 slice 96-97, 126-128, 143, plyometrics 58, 183 162, 184 position see stance smash 114-117, 137, 144, 186 practice 138-145 speed training and running 56 problems 132-137 spin and pace 124-127, 132, 142, professional, turning 174-175 144, 160-161, 186 progressive draw 39, 183 split-step 104, 107, 109-110, 134-136, 139, 186 stance backhand 77-79, 81-85 R drop shot 119 : forehand 60, 61, 64-66, 68, 69, 71 return of serve 104, 134 rackets 12, 14-15, 42-43 serve 88, 90, 94, 96, 99 rallies smash shot 113 on clay courts 40, 160, 161 volley 109, 112 strength training 57 surfaces 16-17, 40-41, 74, 124, 128, 160-162 swing path 135
~ tactics for different opponents 162 on different surfaces 16-161 in different weather 163 for doubles matches 153, 154-155 for singles matches 146, 147, 150 take back backhand 77, 82, 87 forehand 64, 66, 71 lob shot 121 return of serve 106, 107, 134 serve 91 smash shot 114, 137 squash shot 114 volley 109, 110, 112, 113, 136
Tennis Masters Cup, The 17 terms and definitions 178-188 thinking time 164 tie-break 12, 35, 88, 186
Tinling, Teddy 11 topspin 40, 94, 97, 111, 120, 122, 125, 134, 142-144, 149, 160, 186 tournaments see competitions training 56-58, 174 two-way draw 39, 187
US Open 9, 11, 16-17, 40-41, 181
Van Allen, Jimmy 12 volley 105, 108-113, 136, 144, 154, 159, 161, 182, 186-187
W warming-up 31, 52-53, 139, 187 weather conditions 163 weight training 58
Williams, Serena 12-13, 27-28, 86
Williams, Venus 27-28, 89 Wills-Moody, Helen 10, 19-20
Wimbledon 9, 11, 16-17, 40-41, 80, 181 WTA (Women's Tennis Association) 12, 187
All the photographs of leading players, venues and competitions in
The instructional photography is by Reeve Photography. The models are Paddy May, Oliver Haldenby, Melissa Berry and Karis Layne.
Illustrations are by GCI (artist Pat Murray) and Tim Oliver.
Editorial, layout and project management by Hart McLeod, Cambridge.
The author would also like to thank Sophie Crewdson for her help with the project and the Hills Road Tennis Centre, Cambridge.
From one of the world's top tennis instructors comes The Tennis Handbook, an indispensable guide for enthusiasts of all skill levels. From the basics of the game for beginners to techniques and tactics for more advanced players, Sue Rich gives readers the tools to get the most out of their time on the court.
Both comprehensive and accessible, with more than 350 full-colour photographs and easy-to-understand diagrams, The Tennis Handbook combines step-by-step exercises and practice programmes to explore all aspects of the game. Topics include:
Thorough tutorials on the basic forehand and backhand stances and shots, as well as more advanced techniques like the volley, the smash, the drop shot and the lob
With tips on tennis etiquette as well as stories about the history of the game and some of its great players, all in a handy, user-friendly format, The Tennis Handbook is truly the only book that covers everything you need to get in touch with your inner
Agassi or Kournikova. ; .
has been a leading English Lawn
Tennis Association tennis coach for more than
20 years. Although she has worked at all levels, she is best known for her work with young and emerging players. She lives in the United Kingdom.