Themes for Short Training Sessions

Rowden Fullen (1990s)

FOREHAND DEVELOPMENT.

• Look generally at the modern ready position in detail, width factor, right foot depth, body position, flexion of legs, balance and position of bat and free arm.
• Look individually at the player, how he or she stands, moves in or out to the serve, whether he or she has a specialized style (defence for example), which may require a different ready position.
• From a static position, consider the stroke technique and the basic areas of expertise, control, accuracy, consistency and feeling.
• From a static position, consider variety in timing, early, ’peak’ and late.
• From a static position, consider pace variation, slow, medium and fast.
• From a static position, consider variation in length, short, mid-table and long.
• From a static position, consider variation in placement, to the forehand, the body and crossover and to the backhand and the adjustments this may require.
• From a static position, consider short, over-the-table forehand play.
• From a static position, consider ’deep’ play, back from the table.
• In a moving situation, consider the stroke played from the backhand, middle and the forehand, while maintaining the technique.
• Consider the stroke played from the middle then out to the forehand.
• Consider the stroke played from the backhand then out to the forehand.
• Consider the stroke played short on the forehand, out deep to the forehand and then back in short.
• Consider variation in power and in spin.
• Consider specialties and how these can be developed. (Sidespin, early ball or slow loop, ‘stop’ or chop blocking etc.)

BACKHAND DEVELOPMENT

• Look generally at the modern ready position in detail, width factor, right foot depth, body position, flexion of legs and position of bat and free arm. Pay particular attention to the right foot and balance during backhand play.
• Look individually at the player, how he or she stands, moves in or out to the serve, whether he or she has a specialized style (defence for example), which may require a different ready position.
• From a static position, consider the stroke technique and the basic areas of expertise, control, accuracy, consistency and feeling.
• From a static position, consider variety in timing, early, ’peak’ and late.
• From a static position, consider pace variation, slow, medium and fast.
• From a static position, consider variation in length, short, mid-table and long.
• From a static position, consider variation in placement, to the forehand, the body and crossover and to the backhand and the adjustments this may require.
• From a static position, consider short, over-the-table backhand play.
• From a static position, consider ’deep’ play, back from the table.
• In a moving situation, consider the stroke played from the backhand and the middle, while maintaining the technique. Consider also the player’s style and whether the forehand should be used more from the middle and exactly where the ‘cut-off’ point should be.
• Consider the stroke played from the middle then out to the backhand.
• Consider the stroke played from the backhand then back to the middle, while bearing in mind the backhand or forehand split to be used by each individual player.
• Consider the stroke played short on the backhand, out deep to the backhand and then back in short.
• Consider variation in power and in spin.
• Consider specialties and how these can be developed. (Chop and ‘stop’ blocks, spin or drive and changing from a specialty to normal play or vice versa.) Consider also the possible use of differing rubber combinations and materials, especially in the women’s game.

MOVEMENT

• Re-emphasize the ready position and especially from the point of view of recovery, both of the body and of the racket. The player must at all times have good balance and be ready to play the next ball.
• Does the player have a specialized style which may affect the movement patterns or which may require them to be modified in any way?
• Consider movement to the short ball on the forehand side or in the middle.
• Consider movement to the short ball on the backhand side.
• Consider short sidestep movement to the forehand wing.
• Consider short sidestep movement to the backhand wing.
• Consider the playing of the forehand from the backhand corner.
• Consider wide movement to the forehand wing.
• Consider wide movement to the backhand wing, or back to the backhand wing after having played a ball wide on the forehand.
• Consider movement backwards on the forehand side.
• Consider movement backwards on the backhand side.
• Consider in and out movement on the diagonal.
• For a right-hander explain the importance of the right foot in the movement patterns. Look at the movement ‘circle’ as a whole.
• Consider the change of stance required in playing at differing distances from the table and any changes needed due to a personal or specialized playing style.

OPENING (FROM A PUSHING SITUATION)

• Consider first the differing types of pushes, their uses and how to push to make openings. Look at the preparation to attack and how this differs depending on the type of attacking stroke you intend to use.
• Look at the different ways to open, slow spin, fast spin, sidespin, drive play, punch or slow roll. Examine the effectiveness of these attacking methods in differing situations and against differing balls.
• Opening on the backhand against the short ball.
• Opening on the forehand against the short ball.
• Opening on the backhand against the half-long ball.
• Opening on the forehand against the half-long ball.
• Opening on the backhand against the long ball.
• Opening on the forehand against the long ball.
• Opening with the forehand from the backhand corner against half-long or long balls.
• Consider the timing of the first opening ball.
• Consider the importance of the first opening ball and methods of making it most effective.
• Consider the advantages of more or less power in differing situations.
• Once you have completed the first attack consider whether and how you will change to another form of attack to maintain pressure on the opponent or to win the point.

THE USE OF TOPSPIN

• Consider the differing types of topspin, fast and slow loop (with or without an element of sidespin), drive or topspin block and slow roll.
• Consider the differing preparation, which each type of attacking stroke may require.
• Are you using elastic energy to its fullest effect?
• Have you control of the bat-swing and are you using it to full effect?
• Consider the different timing points that should or may be used in executing each attacking stroke.
• Consider if you are making contact with the ball on the right part of the racket.
• Consider whether it’s best to continue with the first type of attacking stroke or whether it’s usually more effective to follow the first opening ball with a different type of stroke. (From spin into drive for example).
• Consider which type of topspin it’s best to use against which type of incoming ball. (Against backspin, block or topspin for example). Which is most effective?
• Consider whether it’s best to use backhand or forehand from the backhand corner and when.
• Consider the importance of length when playing spin.
• Consider the importance of placement to gain maximum effect when attacking.

SHORT LECTURE SUBJECTS

• Control of midfield.
• Types of forehand and backhand loop and their execution.
• Beat the block.
• Variation in pace and timing.
• The backhand, a lever to open up the game and a weapon against the left-hander.
• Playing against defenders.
• Playing against material.
• Service and how to gain advantage.
• Receive tactics.
• The first four balls.