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Upward Emphasis Forehand
Utter relaxation of the hitting arm enables the racket to gravity-drop close behind one's ankle bone.
The looseness of this exempts the arm from the tyranny of unit turn happening at exact same time.
Forward turn of top half of the body lowers the shoulder while driving hips forward and off to the side away from the ball with arm scissoring at same time.
The hips, like a coaxial cable, fire the shoulder, arm and racket upward as pliable knees drive toward the net.
The rotating hips feel like they plunge rather than extend.
The rhythm of this shot in a hurried service return is 1-2 .
A normal slam shot however is 1-2-3 with slight pause during which the player does nothing between the downward and level-to-upward action.
One could also say "the player does nothing" at the beginning of the shot if referring to the gravity drop down of the arm.
Next, after two nothings in a row, the arm does everything.
1) Its bending or scissoring of arm optionally turns into a mild roll or not.
2) Its lifting and transmittal of energy rising from the coaxial hips is pure simultaneity.
1) and 2) taken together are simultaneity.
The narrow frame action is a delayed concentrate.
There can be no separation into different parts in the human mind whatsoever if this stripped down shot is to meet with success.
The simpler something is, however, the more ambiguous it may become.
Use of the biceps-- a powerful muscle-- may now come into play.
Or not. If not, smooth scissoring rather than twitch scissoring will feel for the ball.
Thinking more about this subject, if a bad idea, nevertheless is good fun specially if one maintains 123 rhythm for two options.
Gentle scissoring replaces dead stick pause at low point and thus becomes count 2 .
Forcible scissoring relies on dead stick or static pause first.
This would be the difference-- in ping-pong-- between a holding shot and a totally committed slam.
In an hour's warmup, one could think, one would hit 10 "feelies" (holding shots) to 1 slam.
Utter relaxation of the hitting arm enables the racket to gravity-drop close behind one's ankle bone.
The looseness of this exempts the arm from the tyranny of unit turn happening at exact same time.
Forward turn of top half of the body lowers the shoulder while driving hips forward and off to the side away from the ball with arm scissoring at same time.
The hips, like a coaxial cable, fire the shoulder, arm and racket upward as pliable knees drive toward the net.
The rotating hips feel like they plunge rather than extend.
The rhythm of this shot in a hurried service return is 1-2 .
A normal slam shot however is 1-2-3 with slight pause during which the player does nothing between the downward and level-to-upward action.
One could also say "the player does nothing" at the beginning of the shot if referring to the gravity drop down of the arm.
Next, after two nothings in a row, the arm does everything.
1) Its bending or scissoring of arm optionally turns into a mild roll or not.
2) Its lifting and transmittal of energy rising from the coaxial hips is pure simultaneity.
1) and 2) taken together are simultaneity.
The narrow frame action is a delayed concentrate.
There can be no separation into different parts in the human mind whatsoever if this stripped down shot is to meet with success.
The simpler something is, however, the more ambiguous it may become.
Use of the biceps-- a powerful muscle-- may now come into play.
Or not. If not, smooth scissoring rather than twitch scissoring will feel for the ball.
Thinking more about this subject, if a bad idea, nevertheless is good fun specially if one maintains 123 rhythm for two options.
Gentle scissoring replaces dead stick pause at low point and thus becomes count 2 .
Forcible scissoring relies on dead stick or static pause first.
This would be the difference-- in ping-pong-- between a holding shot and a totally committed slam.
In an hour's warmup, one could think, one would hit 10 "feelies" (holding shots) to 1 slam.
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