🎾 7 - The Serve¶
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Tóm tắt nội dung (trích từ tài liệu gốc): Revolutionary Tennis Tennis Instruction That Makes Sense Step 12 The Serve Part 3: 3 t's: TOSS, TROPHY, & TWIST � Mark Papas mark@revolutionarytennis.com First things first: the arms indeed go down together and up together during the serve. "Down together, up together" occurs. No one says "up together evenly." Both arms don't rise up at the same clip or reach the same height at the same time, duh, but they begin in sync going down and in sync they start going up. If not the back elbow stays too low and/or you bend the racket arm too soon. The arms are like two trains that leave the train stati
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Revolutionary Tennis
Tennis Instruction That Makes Sense
Step 12
The Serve
Part 3: 3 t's: TOSS, TROPHY, & TWIST
� Mark Papas
mark@revolutionarytennis.com
First things first: the arms indeed go down together and up together during the serve. "Down
together, up together" occurs. No one says "up together evenly." Both arms don't rise up at the
same clip or reach the same height at the same time, duh, but they begin in sync going down and
in sync they start going up. If not the back elbow stays too low and/or you bend the racket arm
too soon. The arms are like two trains that leave the train station at the same time, branch off in
their different ways at the same time and then travel at different speeds because they are not
identically outfitted. To say "up together" does not occur is to say one arm hangs down at 6
o'clock motionless while the other rises. Poppycock.
THE TOSS ARM
Just how does the toss arm work? Down straight and up straight? Down and back toward the
racket arm and then up and forward to the net making a circular motion?
The toss arm works like a hand lever on a water
pump, it simply goes straight down and then straight
up retracing the same path in both directions.
Straight down, straight up. Simple. Boring. The toss
arm is bent holding the ball to begin with, then lowers
to straighten itself before lifting up straight as a whole
unit. [Here the arm unbends to straighten for
execution, unlike the backhand where the mantra for
the stroke arm is not to straighten when it
bends/unbends, or folds/unfolds.]
Tennis personalities Vic Braden and Jack Groppel claim "proper" shoulder rotation for the serve
is achieved by dropping the toss arm down and swinging it across the front of your body back
toward the racket arm and then swinging it back up and forward to toss the ball, creating a
roundabout circular motion. There is no evidence shoulder rotation is lost without a roundabout
circular motion, just look at Pete Sampras, Gonzalez, or virtually any other great server. The fact
the ball arcs on the toss back to the server or forward is no proof of a backward, roundabout
circular motion of the tossing arm. "Proper" shoulder rotation accounts for why the toss arm
moves like it does and it's not the other way around. Stefan Edberg is the one notable exception,
his toss arm really does go back, but one example does not make the rule. Revolutionary Tennis
shows how proper shoulder rotation is achieved without the confusing roundabout circular
tossing motion, simplyfying your efforts, and Vic's attempt to invoke a baseball player's
fielding/throwing motion to "prove" his point is sophistic.
How do you hold the ball? I was taught to hold it like holding a triangular paper cup where the
ball pops up from between your index finger and thumb, but any old way
seems to work nowadays and you'll find ample info on this elsewhere. But
to add, the hand does not throw the ball up, you open the fingers and the
ball is released. The momentum of the toss arm going up and of your
body moving is how you "toss" the ball.
The toss arm itself works as a whole. There must be continuity, f
luidity, and completion. A simple toss drill instills this in you.
You've heard the most efficient way to move an object is to move the
center of the object. The middle of the toss arm is roughly the elbow, and
I always picture my toss arm being pulled up from the inside of my elbow
by a string like a marionette. In this way my arm is relaxed, straight, and
lifting from the larger mass, the upper arm/biceps. Or you can imagine
there is a hand cupping your toss arm elbow from beneath and it lifts the
toss arm from that point.
Too often you will lift the toss arm from the hand and wrist as if someone from above had lassoed
your wrist and was pulling it up. This can send your toss awry because the toss arm breaks, or
bends, on the way up.
THE TOSS FOLLOW-THROUGH
Did you know after releasing the ball your toss arm still needs to keep going up? Let me repeat
that. The arm/hand keeps rising after you release the ball. Mucho importante.
The ball leaves your hand and the arm/hand
keeps going up as both part of the lifting process
and to prepare itself as the upper limb on your
Bow. You don't let go of the ball and stop the
arm/hand, you let it go and follow through up
and you're gonna hold it like that before you
swing at the ball. You've heard the term "toss
arm up," right? Sure, for balance, direction,
control, timing. But there's more, it's to set up
the Bow. The more you keep it up there to
work in conjunction with your lower body the
better your serve could be. Just how it works to
do that I'll explain in the very last section for the serve.
Yes, you may quick-toss the ball and not really keep raising the arm for a follow through but if
you want to improve you need to either lift the toss arm higher or at least toss the ball higher to
satisfy one of the original key demands: (more) time between the toss and the hit.
You (a right hander) toss the ball to the right of the service box into which you are serving.
Using the net post on the same side is a good reference, tossing at one o'clock is good too, where
� Mark Papas Step 12-3,Toss, p.2 /8
12 o'clock is the backhand corner of the service box into which you're serving. Point is, it's off
the side a bit so you can swing around a bit instead of literally from behind your head. Of course
you can toss the ball behind you and off to the other side and make it work to some degree or
other but if you want to improve your serve just keep it simple.
You may find it helpful to your toss if you imagine a spring between your toss arm and the side of
your body. This imagery I'm sure is found elsewhere. When you slowly drop the toss arm down
to your front leg the spring is compressed and its release allows your toss arm to "bounce" up and
rise faster than it dropped, in effect accelerating upward. Once you have started the toss
sequence, that is once the toss arm begins to drop there is no turning back, there is no more
thinking, there is no more caution or carefulness. The horse is out of the barn. Drop the toss arm
fully and lift it right away because the deal is you're putting the ball up in the air to strike it, it's
not about "how" the toss arm goes down and up (which explains why there are so many different
looks in the pros with their toss arms).
You're not Pete Sampras, you don't have the attitude he has going into the serve so don't toss like
him. Learn to toss how you're gonna toss. If you want to be like Sampras you'll have to grow
into the form like just like he did, you can't start out that way. If you're a young junior hopefully
you'll have a teacher who knows how to open new doors for you to stimulate your serve's growth.
If you're an adult you know the value of working your way up to a certain proficiency, the time it
takes, and the roles genetics and luck play. "A man's got to know his limitations," Clint Eastwood
said as the character Dirty Harry in the movie by the same name. I think he was talking about his
boss's obsession with trying to improve his tennis serve.
I've described the literal action of the toss arm, but since the serve is a symphony of body parts
there is more involved to stabilize the toss.
First, look up in the direction of your toss, do not look at the ball in your hand and follow/look at
the ball down as the toss arm goes down and then follow it up.
Second, focus on your stomach before you start the process, you're going to use the stomach
muscles more than any other muscle group for your serve. While you will focus on your body
center (groin) and move it to be efficient and balanced it will be your abs in particular which form
the foundation for the serve. Unlike groundstrokes your body center on a serve works to keep
you balanced statically since you are not taking steps, this leaves you free to concentrate more
exclusively on the stroke itself (unlike groundies where you have to focus more on approaching
the ball, balancing actively, adjusting the stroke for timing).
Third, move larger muscle groups to control the smaller muscle group
which is your toss arm. Moving your body head to toe first (using abs
and groin muscles) will help you control the toss arm to a great
degree. It's not like you're standing still pitching horseshoes. You're
going to shift your body weight and go into your toss motion. It's
very hard to stabilize the toss by isolating the toss arm by itself, we
don't toss and then shift the weight. The toss arm works with, and off
of, the moving body. I've been noticing how advice on the toss goes
something like this: from tennisone.com: "Both players (Roddick and
Federer) release the ball with their weight on the back foot..." [photo
from tennisone.com]
� Mark Papas Step 12-3,Toss, p.3 /8
On the near right, from the
USTA High-Performance
Coaching, Vol. 7, No. 1/2005:
"Picture 1: Here we see all three
players beginning their service
motion with their weight being
transferred to the back foot and
the tossing arm moving upward
to the right side of the body."
On the far right, from the USTA
High-Performance Coaching,
Vol. 4, No. 1/2002: "As the
players start their action and toss
the ball up, their weight is
primarily on the back foot."
They all say you move the arm
upward or release the ball with
the body weight on the back
foot.
Hello! Reality check! The body weight is going forward for the
most part when the toss arm starts going down and at the very
least when it starts going up. You don't release the ball with
your weight 100% ON the back foot - yikes! - the weight is
being transferred forward onto the front foot during this process
as you see Ivanisevic on the right displaying, his front toe that
was up is going down. The analysis in Ivanisevic's second photo
above opines as he "toss(es) the ball up" his "weight is primarily
on the back foot" is directly contradicted by the larger sequence
beneath.
Some pros, like Tim Henman, for example, continue shifting their weight forward after the ball's
release, but does this mean the body weight is on the back foot at the release point since the body
weight is not transferred 100% onto the front foot by that time? No se�or. Do you say a horse is
floating in the air because all four hooves are off the ground in a single photo? No se�or. And of
a photo of a human in mid stride, do you say humans walk on one leg at a time? Ay se�or.
ADVANCED
The toss arm lifts and becomes the front limb of the bow, where the bottom limb is the front leg.
Together their rigidity as a whole will empower the slingshot effect of the bowstring (racket arm),
i.e. keep the toss arm up. Obviously the arm's muscle group isn't as strong and thick as the front
leg's, so it has to work a little more to allow the racket arm to gain benefit from the tension as it
"pulls" the racket back. Keeping the toss arm up is not a passive thing to do for balance and
direction, it helps you to swing faster and lift you up to the ball. More on this in my last section.
� Mark Papas Step 12-3,Toss, p.4 /8
TROPHY
No matter if you have a low toss or a high toss you reach a point
during the sequence that's called the "trophy serve": the front toss
arm is up and the back arm is lower, racket held up. You can see
this in the montage on the right, with Henin-Hardenne, Pancho
Gonzalez, Federer, Sampras, Ivanisevic.
Vic Braden, in an August, 1989, TENNIS magazine cover piece
on the serve, "Braden Shatters Serving Myths," tries his best to
make us believe the trophy serve is a "myth" (Vic small photo
right). He says we all incorrectly mimic this look on our serve
that "destroys the continuous swing that you seek on the serve."
He claims the tennis trophy sculptor "wanted a certain look, he
had the server raise the toss arm while dropping the elbow of his
racquet arm."
Of course Vic exaggerates when trying to prove his point, as seen
in his photo with his elbow dropped really low. A real tennis
trophy he rails against does not look that way at all. And some of
the pros in the montage above right have their elbow low and
their toss arm up...? Hmm. Maybe he's saying the tennis trophy
is wrong since there's a ball in the toss hand and not in a player's
hand when the toss arm is up. Wait, that's the second ball...
For Vic the trophy serve is a no-no, along with the high toss. A high
toss indicates a player needs more time to hit it because of "hitches in
their service motions that delay their swing."
Vic invokes John Newcombe as an example
of a proper serve, but the photo on the left
shows Newk in a trophy serve. And his
back elbow will drop from this point before
striking, just like with Rafter or Roddick.
The trophy serve is inescapable, even for
Vic, whose form from the same article I
also include on the right: his tossing arm is
raised above the level of his racket arm, the
back elbow is dropped.
Vic opines the trophy serve leads to
dropping the racket arm elbow and
destroys the continuous motion. Oh, the uninitiated. Your elbow
drops precipitously if you bend your racket arm too soon out of
the gate, that is you must let the ball rise a good bit first while continuing to lift the racket before
cocking the arm. Down together, up together, you see. You can't blame a low elbow or a lack of
a continuous motion or hitches on the trophy serve, it doesn't add up if you look at the pros.
Calling the trophy serve a "myth" and that it has "ruined more serves" is to do all students a
� Mark Papas Step 12-3,Toss, p.5 /8
disservice and hurts the game.
The question is how much time do you need
between the ball release and contact. Do you toss
to the height of the outstretched racket and hit the
ball after it has dropped a few inches, or do you toss
it higher than that before hitting it? Considering
one arm drops and lifts straight up to release the
ball in front of you, which takes little time, while the
other drops and goes back and lifts up and bends
and unbends and reaches up and forward to meet
the ball , which takes more time, I think the answer
is obvious. Toss it higher than the reach of your
outstretched racket.
I was taught to hit the ball at the apex of the toss
but I don't think I really do that. I know if I hit it
while it's descending I get more action on it. Jimmy
Connors comes to mind of a pro with a low toss,
and a couple of others, but I found a good clip on
tennisone.com to calculate his ball toss height. From slightly above but looking parallel across the
court we see his ball<<< rise (photo right) above the head of a seated adult male spectator in the
near background to the left with the white baseball cap and the ball drops to below his chin at
contact. My guess is 12 to 18 inches of drop.
A low toss means it's barely high enough and your swing has to catch up to the timing forced
upon it. Rushing is not a good idea when it comes to tennis' most difficult stroke, the swing itself
needs time to develop because it has more to do than the tossing arm. If you're like most players
you really aren't hitting the ball as well as you'd like to because your toss is on the low side, every
student always begins with a toss that is too low and teachers have to work them into tossing
higher. Hence the toss can't be "low" if you want to improve your serve, toss higher.
If you toss the ball too high there will be a pause at the trophy serve position, the racket actually
stops, something you see occasionally in the pros. This doesn't mean it's a bad thing to do, pros
are successful with it, but it's more difficult to work with. Is it better to toss it too high? Nope.
Is it better to toss it low? Nope. Is it better to toss it high? Yup.
Vic's science fact against a high toss says that a ball tossed 6 feet above the impact spot
accelerates down through the timing window at 4 times the speed of a racket-high low toss and
thus makes it harder to hit. While technically accurate in the real world it's specious. Who asks a
student to toss 6 feet higher than the contact spot? And though the ball spends less time within
the timing window from any toss higher than an outstretched racket it gives you more time to hit
it. Take the time, but don't dillydally.
It's not toss height that counts but the time between the release of the ball and contact, the time
your swing and body need to develop. Hey, if you've got a quick strike then go for the lower
toss, you'll be the exception. But if you want to go faster than the equivalent of 40 mph on the
freeway, you will need more time between the toss and the hit.
� Mark Papas Step 12-3,Toss, p.6 /8
TWIST
Come on baby, let's do the twist. Come on ba-aby... Wrong twist.
Big secret here, but it's an easy one. You toss
the ball, the toss arm goes down and up; the
racket arm drops and rises. You know this.
Now turn the back shoulder sideways more --
and keep that toss arm out in front where it's
supposed to be. Voila, you now have "proper"
shoulder rotation being set up and you didn't
have to start out convoluted and take the toss
arm back, down, and up.
The hips do not turn sideways more, just the
shoulders, as shown by Boris Becker on the
right. The hips hold their position while the
shoulders "wind-up" above them, and by holding their position you
allow the shoulders to release their wind-up best. No hip rotation here,
their contribution is more vertical. The hips are all about aggression,
not rotation.
If you start with the Simple Service Stance the neutral position of your
shoulders means they are already turned to match the rest of your body
which is turned to the side. But the shoulders will not be turned to
begin with if you start from the Stance In-Conflict, they will be open,
and this means you have to get them back (re-turn them) to a neutral
position before tossing. All that extra stuff makes your serve harder to
do.
At every level the shoulders should close, or turn, in the sideways
direction, during the toss, but it's not about moving both shoulders, or
about swinging the toss arm back to help you "turn." It's the back shoulder that closes more.
Sure, you can think about closing both shoulders, but this can lead to your toss arm going awry
too easily, even though it will when you first practice closing the back shoulder. Opposite
directions here, toss arm one way, racket arm and back shoulder another. This is the beginning of
the Spread across the pecs, which others have talked about and is right-on.
Think toss the ball ahead of you with a simple down and straight up motion of the toss arm while
at the same time you close/turn the back shoulder more. Easily achieved from the Simple Service
Stance.
SEESAW
Simply stated, since the front arm goes up higher and sooner than the back arm you adopt a
seesaw effect in the shoulders where the back shoulder is lower than the front. The seesaw goes
the other way when the racket arm delivers the racket up to the ball - but just the shoulders, the
front toss arm stays up as long as it can, and when it drops it does not drop to hang by your side,
the forearm remains up.
� Mark Papas Step 12-3,Toss, p.7 /8
PHOTOS:
Trophy Montage: Sampras, Feder, Henin-Hardenne, USTA High-Performance Coaching, Vol. 7,
No. 1/2005. Ivanisevic, TENNIS Magazine, September 1996, photo by Stephen Szurlej/TENNIS
Magazine. Pancho Gonzalez, the International Tennis Hall of Fame, tennisfame.com, and the bio
on him is courtesy of Bud Collins' Tennis Encyclopedia, our famed tennis beat original.
Vic Braden: TENNIS Magazine, August, 1989, photo by Dom Furore/TENNIS Magazine.
John Newcombe: from FAME, a hardcover compilation of tennis greats edited by Eugene L.
Scott of Tennis Week; photos provided therein by the International Tennis Hall of Fame,
additional ones by Ron Angle, Patricia Barry, Michael Baz, Jeanne Cherry, Michael Cole and Le
Roye Productions, R.T. Combe of Earnshill, Melchior DiGiacomo, Art Seitz, and The Wimbledon
Lawn Tennis Museum. Becker, TENNIS magazine, July, 2005, photo by Paul Zimmer.
� Mark Papas Step 12-3,Toss, p.8 /8