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9:28 pm
VIP Coaching Program Members
August 12, 2010
Offline
So, we've all seen the professionals, making it look so easy (its not fair i tell you!), and of course they have perfect technique. But they are all so slightly different, be it the effort they seem to put into the stroke, the speed with which they turn their body, their footwork before and after the stroke, or the way they hold their rackets in preparation.
What I want to discuss, is what makes you think someone has a “perfect” overhead when you see them play. What is it about that shot? Why is it that when you see them play their overhead strokes, you get an impression about the rest of their game?
What is involved in the perfect motion. We've all heard the words: “throwing a ball”, “pronation”, “its all in the wrist” and all that stuff, but what is it that makes YOU think someone else has the perfect overhead shots? And similarly, what is the most important thing you feel about your own overhead shots? What makes you feel you have done it right?
Some things to think about if you haven't thought about this before: what does their body look like? Where is their body weight going? Where is their racket carriage as they move? What about just before they hit? How tense do they look? Does it make a difference if they “grunt” when they smash? This is but to name a few! I wonder, which of these things, and so many more things I haven't mentioned, do YOU feel are important?
As an aside: which professional has the “best” overhead? Is it the pinpoint smashes of lin dan? The power Smashes of Fu Haifeng or Tan Boon Heong? The beautiful strokes from Lee Chong wei? Maybe the relaxed strokes of Taufik Hidayat? Or maybe something a little more unexpected? Poul Erik Hoyer Larsen or Morten Frost? Pullela Gopichand? Wang Yihan? Tine Rasmussen?
Lets get this discussion going!
8:50 pm
June 15, 2010
Offline I think Lin Dan has the 'perfect' overhead. If only because they are all identical looking, that to me is perfection.
As far as most beautiful stroke, I would say Hongyan Pi, she moves and extends so well she can take practically anything 'overhead' . I amazed at her balance and flexibility.
As far as most annoying overhead, my vote goes to Nova. He's way too loud! If people start copying him, they'll need to start putting in rules to limit noise. 🙂
12:54 am
February 15, 2011
Offline Great call, watch their footwork though, hard to believe it could be any better than how they move.
As in any sport, someone will find a “new” technique sooner or later and we'll have a new thread on that.
7:02 pm
April 15, 2010
Offline
Above is a link I found on YouTube about the technique behind a good smash. I think it applies to all overhead strokes though. I've found it really useful as I feel with this technique, or as near to it as I can manage, I can hit clears, drops and smashes all with a very similar action.
Would be interested to hear Paul's take it from a coach's point of view as to whether the technique is correct.
I know if my overhead stroke has gone well by whether it felt effortless. If I'm having to work really hard to get a shot to work I know I'm doing something wrong, be it the arm movement or not getting my feet into a position to play the shot.
10:25 pm
February 15, 2011
Offline
Rob
I’ve watched this video many times and have it saved in my favourites. I think it’s a very good explanation, very clear.
If you’re struggling to get a shot working, test by standing on the back line and have a player feed the shuttle to you. If you hit well, it’s not the technique. However, if you struggle to perform the same shot when you move from a centre base, then it’s more likely your footwork and possibly additional tension are causing the problem. i say additional tension, because when you’re working so hard to get yourself into position, you create a huge amount of tension. This messes up your timing.
Paul
12:56 pm
March 2, 2010
Offline “However, if you struggle to perform the same shot when you move from a
centre base, then it's more likely your footwork and possibly additional
tension are causing the problem.”
Which is exactly THE problem I have in singles, and on tournaments and in competition. But working on it. All tips are welcome !
Cheers, ED
1:26 pm
VIP Coaching Program Members
August 12, 2010
Offline Ed, with regard to working on that footwork (my personal area of greatest focus as a player), there are some important things I would like you to consider:
The pros make it look so easy – they almost seem to be walking, especially after they hit their shots – walking slowly back to their base.
If they can do it like this, so can we! We can make it easy too!
Its important in singles, to develop a rhythm for your feet. If possible, you want to avoid having to stand completely still EVER. I know a lot of player who, having hit a shot, rush back to the centre of the court, desperate to try and get in position to retrieve the next shot. This additional stress is unhelpful, and counter productive. Starting from a standstill is harder (in almost all cases) than continuing to move (maybe at a different speed).
Thus, play your shot, remain in balance. Having played your shot, take one or two large steps towards the centre of the court, aiming to reach the centre AS your opponent hits the next shuttle. If you are in trouble, don't panic, get yourself ready to move quickly by remaining relatively still and in balance (instead of rushing to the centre – itsd too had to change direction!). Just as you see your opponent strike the shuttle (or maybe a little later) perform your split step (a preparatory “hop” to get you ready to move) timed to land on the floor (not going anywhere!) when you see where the shuttle is going. This means you are shifting your weight in the directions you need to go, and preparing your legs to move in that direction. You are now ready to go! THIS is the time to be fast – when trying to reach the NEXT shuttle!
What this should do is create a very nice SLOW-PAUSE-FAST rhythm to your footwork. SLOW to the base in recovery, PAUSE as your opponent hits the shuttle, FAST to the next shot.
This is the secret, in my opinion, to good singles.
Matt
7:40 pm
April 15, 2010
Offline That's great advice Paul. With that thinking I would say my backhand deficiencies are down to technique as I actually hit better shots in matches as I think about the technique less and more about getting to the shuttle and what I want to do with it. I find thinking less about the technique releases any tension in my arm.
Congat's on the 300 posts by the way. The effort you put into this forum and your replies is amazing so thank you!
8:34 pm
March 2, 2010
Offline Matthew Seeley said:
Ed, with regard to working on that footwork (my personal area of greatest focus as a player), there are some important things I would like you to consider:
The pros make it look so easy – they almost seem to be walking, especially after they hit their shots – walking slowly back to their base.
If they can do it like this, so can we! We can make it easy too!
Its important in singles, to develop a rhythm for your feet. If possible, you want to avoid having to stand completely still EVER. I know a lot of player who, having hit a shot, rush back to the centre of the court, desperate to try and get in position to retrieve the next shot. This additional stress is unhelpful, and counter productive. Starting from a standstill is harder (in almost all cases) than continuing to move (maybe at a different speed).
Thus, play your shot, remain in balance. Having played your shot, take one or two large steps towards the centre of the court, aiming to reach the centre AS your opponent hits the next shuttle. If you are in trouble, don't panic, get yourself ready to move quickly by remaining relatively still and in balance (instead of rushing to the centre – itsd too had to change direction!). Just as you see your opponent strike the shuttle (or maybe a little later) perform your split step (a preparatory “hop” to get you ready to move) timed to land on the floor (not going anywhere!) when you see where the shuttle is going. This means you are shifting your weight in the directions you need to go, and preparing your legs to move in that direction. You are now ready to go! THIS is the time to be fast – when trying to reach the NEXT shuttle!
What this should do is create a very nice SLOW-PAUSE-FAST rhythm to your footwork. SLOW to the base in recovery, PAUSE as your opponent hits the shuttle, FAST to the next shot.
This is the secret, in my opinion, to good singles.
Matt
Matt, you're spot on. It is something I discouvered a few weeks ago. I'm a lot of times out of balance in my singles. And that's the reason why my MD and MX are better. Plus, on tournaments and competition I'm always nervous. Tried the music (one of Paul's tips), tried to relax, … Just can't get rid of them. Next thing on the list I'll try is boose 
. THX a lot for the tips, highly appreciated ! Cheers ED
9:54 pm
March 2, 2011
Offline While I”m not an expert on footwork, there is a trick I recently learned which can really save you a few seconds.
It's called a split jump. When you are in a defensive position (aren't moving) and you are waiting for your opponent to return the shuttle, right before the opponent hits the shuttle, jump on the spot.
What I mean is, right before you opponent hits the shuttle, bend your knees as if you're going to jump. Instead of jumping, chase the shuttlecock.
It is very hard to move when you are standing still, so when you just bend your knees a split second before you have to move, you will move more easily because you store energy in the muscles of your legs thus allowing you to move faster.
This really helps if you are using active basing, which means that you do not have a static place to call your base to return to, but rather anticipated where the easiest place is to return a shuttle from and use that as your base.
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