PROBLEM
You’re a flat-ball hitter. This is a huge disadvantage when you’re trying angled shots, offensive lobs, or safe, high rally balls. You’ve heard the term “brush up the back of the ball” more than you can stand, and you finish your swing up high over your shoulder, but there’s still no topspin.

SOLUTION
While executing a low-to-high swing, try to hit the ball with the top edge of the racquet. This will be difficult to do at first, but the exaggeration will give you the feel of the vertical sweep up the back of the ball that you need for topspin. After that, try leading with the top edge of your racquet, but hit the ball on the strings. The resulting shot should have plenty of topspin. Watch the seams of the ball as it leaves your strings, paying attention to the spin and not just if it goes in. When pro players such as Rafael Nadal are on the defensive, they still hit with topspin. But since they’re late making contact, their racquets on their forehands will follow through behind their heads. I’m not encouraging a late contact point, but mimicking them is a great way to learn the vertical sweep necessary for topspin. Be careful not to hit your head when practicing this technique. If your shots don’t make it over the net, pick a higher target. Bonus: If you get this shot down, you’ll also have that topspin lob you’ve always wanted. 

Article by David Mix, Photos By Manuela Davies/Double Exposure – Tennis.com

Carlos Moya uses a huge backswing and excellent body rotation to power his open-stance forehand.

PREPARATION

RACQUET:
Moya brings his racquet back above head level. Starting his swing from this point will enable him to generate plenty of racquethead speed. In order to take such a large swing you need time to measure the ball.

GRIP:
Like many claycourt players, Moya uses an extreme Western grip on his forehand. This closes the racquet face, which allows a player to drop the frame below the ball and brush up for heavy topspin.

RIGHT ARM:
Moya’s hitting arm is almost completely straight and extended away from his body. This is good for power but problematic unless you have superb timing. The average player would be wise to bend the arm a little, keeping the elbow closer to the body.

LEFT ARM:
What you do with your non-hitting arm is important on a forehand. Here you see Moya bringing it over to the hitting side, which naturally rotates his upper body (his chin is over his left shoulder) and counterbalances his racquet arm.

RIGHT LEG:
By loading up and hitting off his back leg, Moya is using open-stance footwork. He has started to flex his right knee and will probably bend it a little more to further load his weight onto that leg and explode up and through the shot.

RIGHT FOOT:
The toes on Moya’s right foot are pointing to the side, which facilitates his hip turn. If the plant foot is more perpendicular to the net, it’s much more difficult to get that rotation.

CONTACT

HEAD:
A trademark of a top-notch ball striker is the ability to keep the head still at impact. Here Moya’s face is relaxed and expressionless. If your head is jerking around when you swing, it can affect your balance and your ability to make solid contact.

RACQUET:
This is a splitsecond after contact and the racquet head is already above the ball. Moya definitely came from below the ball and brushed up the bottom part of it to get some serious topspin.

RIGHT WRIST:
Notice how the wrist is laid back and the hitting elbow is tucked in close to the body. That’s the perfect leverage position from which to rock the ball on the forehand.

HIPS:
After coiling his body so well in the previous photo, Moya really unwinds into the shot. This rotation creates tremendous power and helps get the racquet, which Moya brought so far back, to contact on time.

RIGHT LEG:
Even though he is hitting from an open stance, Moya still has plenty of forward momentum. He takes all of the weight he loaded onto his right leg in the first photo and launches himself up (he’s off the ground) and into (his right foot is now pointed forward) the shot.

Article by Tom Gullikson, Photos by Bryce Vickmark – Tennis.com

A simple change in footwork will put you in perfect position for your inside-out forehand

PROBLEM
You’re late getting to the ball on your inside-out forehand. As a result, you don’t hit the shot properly and end up out of position and on the defensive for the rest of the point. This usually happens because you use side steps to move to the ball, which dramatically slows you down.

SOLUTION
The footwork needed to hit an inside-out forehand is just as important as the stroke itself. When moving to hit the shot, the first step is crucial. Immediately get your body sideways to the net by bringing your right foot behind your left (left foot behind your right for lefties). Now you can literally run backwards by backpedaling toward the ball and setting up for the shot after planting your back foot. Most club players attempt to get into position by shuffling with side steps, which not only slows you down, but leaves you with more work to do once you get to the ball. By running backward, you’ll be ready in plenty of time and can explode into the shot, leaving you in good position to recover for the next ball.

Article by Dayne Gingrich, Photos by Clark Jones/AP Photo – Tennis.com

A big forehand can help you climb to the top of the club ladder.

To hit the inside-out forehand, or runaround forehand, remember to backpedal quickly and keep your racquet up high as you move into position. Once there, be sure to swing out and give the ball a ride.

Adding a weapon, no matter what the stroke, can significantly elevate your game. When you have a shot that you can use to dictate points and that your opponent is afraid of, you’re going to win a lot of matches. One of the best shots to develop, and possibly the easiest, is a dominating forehand.

The first step in this development is to learn to hit the runaround forehand. That’s where you move into position to crack a forehand from your backhand side. So if you’re right-handed, you’re hitting your forehand while standing in the ad court. The one thing you must do when hitting a runaround forehand is give it a ride. You’re leaving a lot of room open on your forehand side, so you can’t be passive with this ball. Too many players push this shot and get burned. I know from experience because I used to do that myself.

Here’s one good drill, which I used to do often with Andy Roddick: Have someone feed you a series of four to six floating balls that land several feet from the singles sideline on your backhand side. Run around your backhand, smack the forehand hard, and move back to the center. Make sure that as soon as you’ve hit the forehand you slam on the brakes and work your way back to the middle. Remember to move your feet quickly and keep your racquet up as you get into position.

Players tend to go inside-out with the runaround forehand because the net is lower going crosscourt, there’s a bigger target area to hit into, and it’s generally to an opponent’s backhand. But don’t neglect the down-the-line forehand from this position. Practice both shots so you don’t get predictable.

Once you can rip five to six penetrating runaround forehands in a row, then you can progress to the next step. When you’re successful with the runaround forehand, you can catch your opponent by surprise and get a short ball out of it, so you must learn how to move up and take advantage of this by hitting the next forehand with direction and purpose. Have your coach or partner feed dozens of short balls that you can drive from inside the court. I remember seeing Jim Courier practice once when he was No. 1 in the world. He hit nothing but short forehands because that was his money shot. If you want to feel confident about finishing points with your forehand, that’s what you have to do.

You won’t turn your forehand into a hammer overnight. I’m still working on it, and I’m 43. But if you’re patient and dedicated, it’s one of those shots that, with some simple practice, can eventually bring you huge dividends.

The best way to practice your runaround forehand is to stand in the center of the court and have a practice partner feed a series of soft floating balls to your backhand side. Move into position and rip the ball inside-out or down the line.

Article by Brad Gilbert, Photo by Manuela Davies/Propix, Illustration by Trevor Johnston – Tennis.com

Andy Roddick has one of the biggest forehands in men’s tennis. You may never hit as hard as he does, but by applying some of the technique that Andy uses, you can make your forehand a go-to shot.

Over the past 20 years, the technique used for hitting a forehand has evolved. Advances in racquet technology and player conditioning have resulted in a more powerful stroke, and the positioning, footwork, and grips commonly used in the last generation have changed radically.

Before the mid-1970s, the emphasis was on hitting with an Eastern grip from a square stance and moving your body weight straight through the shot. Many of these principles still apply, but the players with big forehands these days use a more Western grip, hit from open stances, and get more body rotation and weight transfer into the shot. If you want to see the personification of the modern forehand, look no further than defending U.S. Open champion Andy Roddick. When Roddick was a student in his early teens at the Evert Tennis Academy, he worked on developing the technique that years of practice and physical maturity have turned into a huge weapon. If you’re looking to get some extra zip on your forehand, or even if you’ve been playing for years and are happy with your stroke, emulating aspects of Roddick’s shot can potentially benefit your game. Let’s take a look at what makes his forehand so special.

1. PREPARATION
The first thing Roddick does when he spots a potential forehand is to get his racquet back. When he makes this move, he tends to handcuff the throat with his left hand. It’s a bit of a style thing (you don’t have to squeeze the racquet), but it does help facilitate a full shoulder turn. At this point, the racquet face is slightly closed and above his shoulders in a cocked position. This will help him create a long, looping, and powerful swing with the racquet face brushing up through the shot.

As the ball approaches, Roddick will line it up with his back (right) leg and keep his left leg off to the side. His back foot is also turned out, which will allow his body to coil and then fire into the shot. This is basic open-stance footwork, and it’s effective because it creates an opportunity for Roddick to rotate his hips, trunk, and shoulders to produce momentum and power. And it’s also the best way to deal with his opponents’ pace and position himself for his next shot.

2. LOADING PHASE
As Roddick plants his back leg, he stores up all the power he’ll unleash into the stroke. He bends his legs but doesn’t lean at the waist, giving himself a wide base with a low center of gravity. His hands separate as his left arm comes forward and the racquet continues back, which gives him the correct balance and posture. What’s important here is the full coiling of Roddick’s upper body and the flexing of his back leg. This builds a huge amount of energy in the large muscle groups of the legs, trunk, back, and shoulders. These constitute the “kinetic chain”; power is built from the ground up through the legs, hips, trunk, shoulders, arm, and finally the racquet. When Roddick uncoils all this stored energy, it gives him tremendous racquet-head speed.

TAKING A STANCE:
The open stance is popular, but even today not every great forehand is hit from it. When players have more time and they’re near the center of the court, they may choose to square their stance and step into the ball. Or, if they’re moving up to return a low ball or hitting an approach shot, they might square up and step forward. While they can get very good linear momentum into these shots, the downside is that they don’t get nearly as much trunk rotation as they would from an open stance. Roddick’s versatile and powerful forehand enables him to produce effective shots from a variety of stances.

3. CONTACT POINT
When Roddick swings, he practically launches himself at the ball. All the energy and rotational momentum he uses lifts him off the court. But Roddick still gets his body weight into the shot, adding forward momentum as well. His right leg is almost straight, as if he has jumped forward into the shot, but he keeps it flexed until the very moment he strikes the ball. Again, that puts extra energy into the stroke. If he straightens his back leg well before impact, he loses power.

As his body unwinds into contact, the racquet accelerates up and through the hitting zone. The extension he gets will give his shot pace and penetration, while the swing path of brushing up the back of the ball with such force rewards him with huge topspin. That’s where having a Western grip really helps (he doesn’t use a full Western, but it’s pretty close). It naturally closes the racquet face more than an Eastern forehand grip does, which permits Roddick to swing harder and apply more topspin.

4. FOLLOW-THROUGH
After contact, Roddick pronates his hitting arm so that the racquet ends up just above his opposite hip. On many of his forehands, his hitting elbow will actually be above the racquet. This may look odd to those of us who were taught to finish with the elbow high and the racquet over the opposite shoulder (which, from a developmental standpoint, I still believe is how everyone should start). The reason the racquet comes across his body instead of over the left shoulder is because Roddick comes over the ball with so much racquet-head speed that it’s natural for him to finish by his opposite hip. Most of the big forehands in professional tennis have a comparable follow-through.

At the completion of the stroke, you’ll see that Roddick’s right foot ends up even with or past his left foot. This is the best indicator of whether or not you’re getting linear momentum (body weight) into the shot from an open stance. When the back leg ends up ahead of the front leg, that shows good weight transfer. The right foot is also slightly turned in. During preparation it was turned out to facilitate his body turn; now it’s angled in, showing the complete rotation Roddick gets on his forehand. Getting the most of both his linear and rotational momentum is what gives Roddick such a devastating shot.

Article by John Evert, Photos by Alessandra Beneditti/Wire Image, Tomy Hindley/Professional Sport – Tennis.com

One of the most common errors among beginning and intermediate players is hitting the forehand with a careful, abbreviated motion instead of taking a full swing. While it’s not realistic to expect a 3.0 player to take the same roundhouse swipe that Roger Federer, Rafael Nadal, and Amelie Mauresmo use on their forehands, a good shoulder turn and full follow-through should be one of the basic goals of every player. A simple way to remind yourself to do this is to go “shoulder to shoulder.”

As you prepare for your forehand, turn your upper body to the point that you’re almost looking over your left shoulder (right shoulder for left-handers). Some players who have exceptional upper-body turns actually touch their chins to their shoulders. After you strike the ball you should try to follow through to the point where your other shoulder and biceps come up to your chin.

Article by Tony Lance, Photo by Manuela Davies/Double Exposure – Tennis.com

Pushing with your dominant shoulder will give your stroke added pop and penetration.
 
PROBLEM 
Your forehand lacks depth and power. A possible reason for this is that in an effort to increase racquet-head speed you prematurely whip open your front shoulder. This pulls your racquet toward the center of the court and away from the point of contact, compromising the power and control of the swing. Your shot can deteriorate further when you’re in a pressure situation.

SOLUTION 
Instead of looking for more pace by swinging harder, focus on pushing your dominant shoulder toward the incoming ball. This action helps you lean your body into the shot while helping you retain stable posture throughout the stroke. Now the momentum of your swing is going in the direction of the target rather than off to the side. This gives your forehand added pace and penetration, two elements that will increase your chances of hitting an effective shot and taking control of the point.

Article by By Juan Nuñez, Photo by Manuela Davies/Double Exposure – Tennis.com

If you want to see a video or have a video of a another player’s forehand, please write in the comments.

Roger Federer is known for his sling shot of a forehand, generating power with racket speed. See it in slow motion

Exceptional preparation, great extension, and big-time upper-body rotation are key elements of the Spaniard’s much-feared weapon.

At the age of 20, Rafael Nadal, a two-time champion at Roland Garros, has already etched his name near the top of the list of the best clay-court players the game has ever seen. But thanks to his monster forehand, he’s a contender on all other surfaces as well. Here’s how he generates so much power and spin with it.

1. Nadal’s preparation for his forehand is outstanding. Here you can see that he’s loaded and ready to go. His racquet is back, his shoulders are fully turned, his back is pretty straight— which I really like—and his legs are low and spaced well, giving him a wide base from which to hit. He’s using a full Western grip, which is great for generating topspin.

2. Nadal’s racquet is in virtually the same place as in the first frame, but he’s still adjusting his feet, leading me to think he may have gotten a bad bounce. Normally, I like to see continuous momentum with the racquet throughout the swing. Here it looks as if he might have checked his swing slightly. Even so, he’s doing a good job of getting his back leg almost behind the ball.

3. His base is set and his left leg is planted. The racquet head is starting to drop and you can see that the face is completely closed. This is common in today’s game. Nadal’s right shoulder is just now starting to come through the contact zone. His legs and back are in perfect position, and he’s low to the ball. I prefer to see a player get down with his legs like Nadal does rather than bend at the waist.

4. Nadal is pulling the right side of his body around first, and his left side is dragging behind. This helps him load up more power until he’s ready to let his swing rip. He’s beginning to come up with his legs, but, contrary to what you might expect, his weight is shifting toward his back foot rather than to his front, the way tennis players are traditionally taught.

5. Here you clearly see one of the more unusual aspects of Nadal’s forehand. Typically, players who use a Western grip make contact close to their bodies and with a pronounced elbow bend. But Nadal strikes the ball with his left arm almost fully extended. Plus, he’s hitting the ball completely off his back foot, but his right side has come through and his upper body is open.

6. In this frame we can see how today’s forehand differs from the typical forehand of the 1970s and ’80s. Nadal and most pros these days have what I call a “windshield wiper” swing. This means that after he makes contact, Nadal swings his racquet across his body and flips it over, using the same motion as a windshield wiper. In the past, players typically extended through the hitting zone before following through to the other side of their bodies.

7. Another difference between today’s forehand and the one used in my era is that we were taught to follow through high and in the direction of our target and catch the racquet with our opposing hand. That’s not the case here; Nadal’s racquet has gone past his right hand and continues to wrap around his midsection. His weight has finally started to move to his right foot.

8. Amazingly, Nadal’s racquet has finished completely around his body. Look at the position of his right shoulder in the first photo and notice his left shoulder in this one. He was looking over his right shoulder at the beginning and ended looking over his left. This rotation is a great checkpoint for everyone, regardless of the forehand you use. If you can go shoulder to shoulder, you’ll ensure a full stroke.

Article by Jimmy Arias, Photos By Manuela Davies – Tennis.com

The Russian’s early preparation and explosive swing have proven to be a winning combination.

When facing Dinara Safina, you have to pick your poison. Like her older brother, Marat Safin, Safina’s ground strokes are lethal on both sides. Her goal is to take charge of the point and punish any shot she can. She’s so good at generating power, thanks to her outstanding preparation and balance, that she doesn’t hold back even when the ball is above her shoulders and she’s behind the baseline, as you’ll see in this sequence.

1. Safina is recovering from her split-step and measuring the incoming ball. You can see that her head, shoulders, arms, and legs are all nicely balanced. I like how she uses her off hand to assist in her preparation. She appears to have a full Western grip, which I’m not a fan of because it’s tough to use on faster, lower bouncing surfaces (I prefer a semi-Western), but it will work well with a high ball.

2. Though this is just the initial phase of her take-back, you can tell that Safina is getting ready for a high ball because of the height of her backswing. Normally you wouldn’t want to take your racquet back this high, but on this kind of shot you have to adjust your backswing upward (unless you take the ball on the rise at waist level).

3. Safina’s off arm has started to extend and she’s transferring her weight to her back leg. Her shoulders and hips are starting to coil. But here we see one thing I don’t like: She’s not moving in. Her position behind the baseline hasn’t changed and she’s waiting for the ball to come to her. I’d prefer to see her step in and hit this shot earlier.

4. This is the beginning of Safina’s loading phase. Again, what I like is how balanced she is. Her legs, her shoulders, her head—everything is very still. This element of her preparation is excellent. Safi na’s also bending her knees so she can use her legs to generate power.

5. Safina has fully transferred her weight onto her back foot. Now look at her arms. On the forehand you want your arms to be reflections of each other for balance. Safina’s left arm is extended in front of her at the same time that she has taken her racquet fully behind her. This is another example of her good preparation and balance.

6. She’s starting to open up now, and her racquet is beginning to rapidly accelerate. Even so, Safina’s head and shoulders are still balanced. She’s pushing up with her legs—her knees aren’t bent as much as in the previous frame—to generate power.

7. Contact occurs in front of Safina’s body. You can see how high the ball is—it’s still above her shoulders even though she’s off the ground with both feet—and why she needed to use such a high backswing. Also notice how her arms still mirror each other. In this case, they’re both bent.

8. Safina follows through across her body, which I believe will aid in injury prevention. These days lots of players such as Maria Sharapova and Rafael Nadal often finish with a reverse follow-through on the forehand—right-handers end up with the racquet over their right sides—and this can be tough on the shoulder.

Article by Kim Po-Messerli – Tennis.com

A full shoulder turn, good balance, and tremendous racquet-head speed make this a much-feared weapon.

On the list of all-time great forehands, Roger Federer’s should be near the top. It’s struck powerfully and has remarkable variety and adaptability. Of all the shots in his arsenal, it’s his forehand that he relies on most to win points. Whether he’s defending or attacking—as he’s doing in this sequence—Federer makes it all look effortless.

1. Federer is turning his shoulders as he’s moving to the ball. Notice how his left hand is on the racquet even though he’s well into his preparation. This forces him to turn his shoulders. Federer uses a semi-Western grip and he’s bringing his racquet back with the head cocked above the wrist. This will ensure a loop back-swing and good spin production. He’s moving diagonally forward, rather than straight to the side, so the ball doesn’t get away from him.

2. Federer brings his racquet back and his left hand comes off the throat but stays to his right side. That’s a big change from my day, when players such as Chris Evert had their non-dominant hand out front and pointing to the oncoming ball at this stage. Keeping your off hand on the same side as your racquet produces a fuller shoulder turn, which helps you get more racquet-head speed and a more powerful shot.

3. After taking a big stride to reach this point, Federer is now calculating the distance of his next step so the ball will be at the perfect point for contact. Although he’s preparing to hit a low ball, he’s taken his racquet back quite high. Federer’s left arm remains to the right side, still assisting in his shoulder turn. In this frame and the next one his rotation is so complete that you can see much of his back.

4. Federer is lowering his body with his legs (not bending at the waist) and starting to bring his racquet down. Notice how the racquet face is closed (the strings are facing down). This is due in part to his grip, but also because of the way he leads his backswing with his elbow, pronating his forearm. This type of take-back—another big change from the straight-back, straight-forward forehand of my day—allows you to produce tremendous racquet-head speed.

5. As he starts his forward swing, Federer begins to open his torso and bring his left arm around to the front of his body. The string bed is still facing the ground. The oncoming ball is low—you can tell because he’s looking down—but his head has barely moved throughout the sequence. Federer follows the ball by moving his eyes while keeping his head as still as possible.

6. Federer has opened up completely at this point and his body is facing his target. His racquet has come forward with tremendous speed and he’ll make contact at a point that’s even with his right foot. Notice how he keeps his left hand close to his body. Just as figure skaters pull their arms close to spin faster, Federer tucks in his left arm to help his upper body turn more quickly and to get more racquet-head speed. Here we also get a good look at his semi-Western grip.

7. Though he’s well past striking the ball, Federer’s eyes are still glued to the point of contact. This is one of the reasons Federer makes such consistent contact on his shots. His follow-through, which is to the side rather than extended out front, shows just how important rotation is in his forehand. In my era, ground strokes were more linear—straight back and straight forward.

8. The ball has been directed down the line and Federer is moving back toward the center of the court, probably with the intention of following this shot to the net if it isn’t an outright winner. He’s finished his forehand while maintaining his balance, which will allow him to make a smooth transition forward.

Article by Stan Smith, Photos by Tommy Hindley – Tennis.com

Early preparation and an attacking mind-set have helped the Russian turn this shot into a world-class weapon.

When Maria Sharapova stunned tennis fans by winning Wimbledon in 2004, her serve and backhand were her biggest assets. But in the last year, she has molded her forehand into a weapon as well. She’s more aggressive off that wing than ever before, and it’s the shot she relies on most to open up the court and construct points.

1. Sharapova uses her left hand to help take her racquet back and assist in her shoulder turn. See how her left shoulder comes up to her chin? I like that, because it indicates a full turn. Her balance is very good. She’s ready to move forward and take this shot just inside the baseline—clearly Sharapova is looking to attack. Her grip is almost a full Western.

2. Sharapova continues with her excellent shoulder turn. As she takes her racquet back, she’s making small adjustment steps that help put her in an ideal position. Sharapova’s racquet is back a little higher than I was taught to take mine—my backswing was more compact—but it helps her produce greater racquet-head speed, which means more power.

3. Sharapova’s left hand is starting to move out in front of her to track the ball. Doing this helps ensure that her point of contact is out in front of her body. Her head is down and her eyes are right on the ball. At this point, it appears she might be preparing to hit an open-stance forehand, but she’s not; she’s putting her left foot directly in front of her right as she moves to the ball.

4. This photo screams balance and power. Sharapova is getting ready to unleash into the shot. Her head has barely moved since the first frame, and her racquet is looping down out of her high backswing. The only criticism I have at this point is that her right elbow is too far away from her body. I prefer it to be in closer, which gives you more control. It appears she’s decided to take a backswing that’s bigger than usual so she can really attack the ball.

5. Sharapova has pulled her elbow closer to her body. She’s dropped her racquet almost to its lowest point and she’ll bring it forward and up, hitting the ball from below and swinging up and through it. The racquet face is a bit closed, so she’ll generate some topspin. Sharapova’s upper body is already uncoiling, helping to move the racquet toward the contact point. Her weight is now on her front foot.

6. The point of contact is just where it should be—in front of the body. Sharapova has taken the ball early, hitting low to high, and her balance is excellent. Her eyes are locked on the ball and her weight is moving forward to the point where she’s come up on her right toe. It appears from her stance and the position of her shoulders that she’s going down the line with this attacking forehand.

7. I like that Sharapova is hitting through the ball and finishing by taking her racquet across her body. She could have extended the frame even more through the path of the ball, but I think the fact that she didn’t is probably because she’s added topspin to this shot. Her forward and upward momentum have brought both of her feet off the ground. Notice how her head remains down. Even though she’s hit the ball, she’s not yet looking to see where it’s going.

8. his is a wraparound follow-through. Sharapova has a tendency to follow through on her forehand over her right shoulder instead of her left, particularly when she’s hitting off her back foot. But on this one she’s done it in the traditional way. She didn’t pop up too fast, so she’s balanced and ready to get back to the middle for the next shot.

Article by Mary Joe Fernandez, Photos by Tommy Hindley – Tennis.com

Perfect balance makes this powerful shot a winner.

At times in the past, Venus Williams’ forehand has failed her, but in this sequence she’s at her best. The four-time Wimbledon champion uses great footwork, superb balance, a good shoulder turn, and a long follow-through to confidently put away this short ball.

1. Williams is in a very aggressive position here and has many options. This is a put-away shot, so she is using a closed stance, and her left and right arms are perfectly balanced around her upper body. I mean perfectly balanced. The racquet face is closed and slightly above her head, and because she’s well-positioned she has time for a long back-swing. Williams can either bring the racquet head down and flatten out the shot, like Andre Agassi would have, or drop it lower and then brush up for topspin. Clearly, she’s not thinking about hitting another ball—this is it.

2. Again, Williams’ arms are ideally balanced. The ball is high, so she’s straightening her knees as she begins her swing. Her racquet head is now perpendicular to her body, and she’s going to hit this ball flat and hard. Notice the shoulder turn—that will be her main source of power. While Williams is in great position, a shot as flat as this one is dangerous because there’s no margin for error. If I were working with a 3.5 or 4.0 player here, I would have her close the face a little more and shorten her take-back for a higher-percentage shot.

3. People rarely think about the function of their non-dominant arms. See how both of Williams’ elbows are bent? It’s not quite a perfect W, but again it illustrates her upper-body balance. The racquet head is just below the point of contact and her shoulders have rotated from perpendicular to the net to nearly parallel with it. Williams’ eyes remain on the ball and her wrist is firm, which is another good lesson for recreational players: Keep your wrist fi rm at contact.

4. When I examined the first three pictures here, I thought Williams was about to hit a typical inside-out forehand to her opponent’s backhand side. It turns out that she’s going cross-court. Look at the way her racquet comes through the ball. For a long time, teaching pros talked about catching the racquet with the non-dominant hand after your stroke, but in the modern game the frame follows through across the body.

5. Williams’ forehand often goes sour in matches, but mechanically this one is a solid shot. She looks a lot like Roger Federer does on his forehand. Her head has remained relatively still through the entire stroke. Look how you can draw a straight line from her chin to the toes of her left foot. It appears that this forehand will be a winner, but she’s keeping her eye on the ball just in case.

6. Right about now Williams knows she can relax because the ball isn’t coming back. But if you’re in this position, stay ready in case your opponent tracks the ball down. If you maintain your balance, you’ll be prepared to hit a put-away volley.

Article by Cliff Drysdale, Photos by Tommy Hindley/Professional Sport – Tennis.com

Perfect preparation and balance are the keys to this solid stroke.

1. Ivanovic’s preparation is exactly how I like to see it. Her stance is perpendicular to the net, which promotes good footwork and gets her hips turned. (If Ivanovic had started in a wide-open stance, which I don’t recommend, she would still need to coil her hips.) She’s got a nice bend in the legs and looks rather light on her feet. With her left hand she supports her racquet while her arms appear very relaxed.

2. This is a good example of staying on your toes and using little adjustment steps to get in perfect hitting position. Ivanovic has now taken her left hand off the racquet, but the arm stays up front for balance. You can use the off hand to facilitate the shoulder turn, but it should never go back with the racquet. The one minor gripe I have is that I think her racquet is up a little high on her backswing.

3. By setting up on her right leg, Ivanovic loads up her weight and readies to step forward into the shot. Note how her posture remains good during this process. Her left arm comes forward slightly as she prepares to rotate her upper body toward the net. The right arm begins to drop, taking the racquet with it, which is better technique than lowering the racquet with an extensive break in the wrist.

4. The racquet and hitting arm continue to drop to ball level. I like this because she’ll drive the shot from her shoulder, which helps generate more power. Ivanovic’s wrist is laid back just a little as she’s starting to get the racquet head behind the ball to drive the shot. You shouldn’t think of getting the racquet head under the ball unless you want to hit a lob.

5. Look how nicely Ivanovic hits the ball out in front with her eyes focused on contact. Her shoulders continue to open, allowing her to drive the racquet through impact. With her right foot coming off the court, you can tell that she has transferred her weight forward into the shot. The way her racquet is brushing up the back of the ball shows she’s applying plenty of topspin (a little too much for my taste), which gives her shot safety.

6. As she follows through, Ivanovic’s body has completely and beautifully opened up to the net. Her arms have moved out in front of her, and she’s still perfectly balanced. As her racquet slows, it will end up around her opposite shoulder. I’d like to see it more around her waist, which could give her more power. Still, this is a great-looking forehand.

Article by Robert Landsorp, Photos by David Kenas – Tennis.com

Great shoulder rotation, full weight transfer, and a huge swing turns this sitter into a winner.

1. As Clijsters gets into position for this forehand, she’s preparing to hit from an open stance. Many club players think this means the entire body is open and facing the net. But as you can see here, the lower body is open while from the hips on up everything is nicely coiled. Getting upper-body rotation is how you generate power with an open stance. Clijsters uses her left arm to facilitate this rotation and keep herself balanced.

2. Clijsters plants on her right foot and loads her weight on that leg. She has a nice bend in her knees, which will keep her balanced and help get her weight forward and into the shot—another source of power. Clijsters’ racquet also starts to drop as she takes it well behind her to create a longer swing for more acceleration. Since the ball is coming rather slowly and Clijsters has such great timing, she can afford to take a huge backswing. She’s really going to crush this ball.

3. The uncoiling process has begun as the left hip and shoulders start to open up, and if I have any gripe with this forehand it’s that I think it’s a splitsecond too early. If Clijsters ever misfires on her forehand, it’s because her left side comes through too far ahead of her right. But her balance and alignment are nearly perfect as she pushes off her back foot. Here, too, you see how laid back Clijsters keeps her wrist when she wants to accelerate her racquet.

4. Talk about watching the ball to contact—Clijsters is way off the ground and her racquet is flying, yet she keeps her head still and eyes focused. Although Clijsters probably could have taken this ball earlier, she’s still attacking the shot and moving forward into the court. Her right arm is contacting the ball when it’s about even with the rest of her body, just where she wants to be. Having a semi-Western grip helps Clijsters handle the height of this ball.

5. With her racquet face practically parallel to the court you can see that Clijsters came up the back of the ball. That’s going to give her shot topspin for added control. Clijsters also extends nicely through the contact zone with a free and loose arm. That’s how you get racquet acceleration. Tensing up and muscling the ball will actually slow your racquet down. Clijsters’ right foot also triggers back toward the fence as though she has just completed hitting a big serve, a result of her leap up and into the court.

6. Clijsters ends with a classic forehand finish—hitting elbow bent, racquet over the opposite shoulder. Many top players today finish their forehands with their racquets much lower, following through by the opposite hip. Because Clijsters doesn’t use an extreme grip on her forehand, her stroke ends up looking a bit more traditional. The result, though, is still very effective.

Article by Tracy Austin, Photos by Manuela Davies – Tennis.com

If you want to see a video or have a video of a another player, please write in the comments.

If you want to see a video or have a video of a another player, please write in the comments.

If you want to see a video or have a video of a another player, please write in the comments.

Pete Sampras has the smoothest, most effortless motion in tennis.

Are you kidding me?!? What a running forehand!

If you want to see a video or have a video of a another player’s forehand, please write in the comments.

If you want to see a video or have a video of a another player’s forehand, please write in the comments.

If you want to see a video or have a video of a another player’s forehand, please write in the comments.

If you want to see a video or have a video of a another player’s forehand, please write in the comments.