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  • Have you tried to learn the modern forehand and have found some difficulty

  • in executing some of these technical elements. Well today's video I'm going to

  • show you the most common problems with a modern forehand at the recreational level.

  • So what you see from some professional players it's a unit turn that's quite large.

  • So some players for example Djokovic they will turn and the non-dominant hand will

  • stay on the racket past the middle of the body. It will go towards the back

  • shoulder. Now if you're a recreational player and you try to adapt this type of

  • turn, what I've found is that most recreational players will not be able to

  • come out of a turn that's this large and they'll end up making contact with the

  • ball with the dominant shoulder behind.

  • Now the professional players use this extra big turn to their advantage. Even

  • though they're turning this much they still sync the stroke properly and end

  • up making contact with their dominant shoulder in front. But what I recommend

  • to the recreational level players is not to allow the non-dominant hand to go

  • past the middle of the body. So we take this baseline as the middle of the body.

  • Do not allow your non-dominant hand to go past this point. If it does go past

  • this point as you're turning you might not be able to come out of this turn. So

  • this is where you should stop when the non-dominant hand reaches the middle of

  • the body, this is where you separate the non heading hand from the hitting hand.

  • And what will happen as a result of that you will be able to quite easily come

  • out of this turn and make contact with the dominant shoulder in front.

  • Now some professional players like Nadal and Federer will straighten their arm

  • once the racket starts to drop and this is called a straight arm forehand. And

  • recreational players try to copy this and the only problem with trying to copy

  • a straight arm forehand is that the vast majority of tennis players worldwide

  • plays the forehand with a bent arm. And this is true at the recreational level,

  • at the junior level, or even at the professional level. And what happens to

  • players that play with a bent arm forehand at contact is that no matter

  • how hard they try to straighten the arm back here they will go into a bend

  • once they make contact anyway.

  • And you have to realize that when the ball meets the strings that part of the

  • stroke is over in milliseconds so players are actually not aware how

  • they're making contact whether they're bent at contact or straight at contact.

  • Now they might be able to feel the straightening of the arm back here and

  • they might be even able to feel the straightening on the arm in the finish

  • here. But in this area of the stroke that's happening super fast you are not going

  • to be able to feel whether you're completely straight or bent at the

  • moment of contact. So whether you play your forehand with a bent arm or a

  • straight arm it really doesn't matter and this part comes down to genetic

  • predispositions. Very few players will have a straight arm from day one. So they

  • don't think about it they might even not be aware that they play of the forehand

  • with a straight arm and they perform this naturally. And now most other

  • players will play the forehand with a bent arm. This is also true because of

  • genetic predispositions. So if you play with the forehand with a bent arm

  • there's absolutely no reason for you to try to straighten the arm because what's

  • going to happen most likely no matter how hard you try to straighten the arm

  • in the preparation phase it will go back into a bend anyway.

  • Every forehand has a wrist lag. Now this is true for forehands even with wooden

  • rackets. So players back in those days will still have the wrist lag behind the

  • rest of the body. Now on the modern forehand the wrist lag is more prominent

  • because most ATP players will close the strings as they drop the racket and now

  • once the wrist lag is initiated the racket will flip into this position right here.

  • So some players see this movement and now they try to recreate it. The big

  • problem with this is that high-level players are not consciously executing

  • this action. This is simply a result of the torso rotation of the body and swing

  • acceleration. So if you are consciously trying to make a wrist lag you're gonna

  • do what I call a fake wrist lag and you will only be able to do so by slowing

  • your stroke down. So what's going to happen you're gonna have to come into

  • this position and then freeze the racket like this and then as you go forward you

  • consciously have to flip the racquet back. Now if somebody tries to do a fake

  • wrist lag this is very easy to see and you will see you're slowing down the

  • stroke in this crucial phase and it looks like that person has a hitch in

  • their strokes. However, if you watch high level players you will not be able to

  • see the wrist lag because it's inside the stroke. It's beautifully flowing in

  • and out of that movement and it's happening at such a speed that it looks natural.

  • So do not try to consciously execute the wrist lag forget about it and let it

  • happen naturally. A wrist lag is a result of the proper rotation of the

  • torso and stroke acceleration. So if you accelerate your stroke correctly you

  • will end up with a wrist lag and you will never be conscious that it's taking place.

  • And finally the vast majority of ATP players will have a vertical swing path

  • at contact. So in other words the tip of the racket will point towards the

  • side and it will vertically go over the ball this way. And this is often

  • interpreted as a movement of the wrist. So some recreational players will try to

  • roll the wrist in this fashion. They will simply roll over the ball this way and

  • what happens if you do an isolated movement of the wrist at contact you

  • will only be able to do so by slowing your stroke down and you will therefore

  • lose power and you will also lose control. What you have to realize is that

  • all professional players and this includes Nadal have a passive wrist at

  • contact. In other words when Nadal hits his forehand you can check this out

  • in super slow motion footage the wrist is passive in this moment. So he will hit

  • the ball here and then as the racket is going up the wrist is not moving. Now it

  • gets activated around here when he hits this spot around the shoulder then he

  • starts flicking the wrist and start going like this but the crucial moment

  • of contact the wrist is passive.

  • And the reason why the wrist is not actively rolling over the ball is

  • because we would not be able to generate a lot of power with a small fragile

  • piece of the human body such as the wrist. In addition to that if you make an

  • isolated movement of the wrist at contact you will also lose control and

  • many recreational players who do this type of flicking of the wrist start

  • spraying the ball they also start framing the ball. They start hitting the

  • edges of the frame. And also what happens if you're consciously thinking about

  • using the wrist at contact you will start slowing the stroke down way prior

  • to contact and the stroke will abruptly be shortened. So it looks something like

  • this if I try to use my wrist I will roll it here and the stroke will end

  • somewhere around here.

  • So what you have to do instead is not think about the wrist at all. Usually

  • what happens if you don't think of the wrist at all the body will not allow you

  • to hurt it. So if you think of the finish instead, you think about finishing really

  • strong. Naturally the wrist will be in place as you finish across the body like this.

  • Now I have another video that's titled how to perform the kinetic chain on the

  • forehand and this video is great because it discusses the two ubiquitous

  • technical elements on the forehand. In other words, two things that every single

  • high-level player does. So it's crucial that you learn these two technical

  • elements if you want to have a high level forehand.

Have you tried to learn the modern forehand and have found some difficulty

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レクリエーションレベルでの現代フォアハンドの問題 (Modern Forehand Problems at the Recreational Level)

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    gameboyqwer に公開 2021 年 01 月 14 日
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