Understanding Mechanics and Magicians

[johnyandell]

Let's get your thoughts on Chris Lewit's latest - "Understanding Mechanics and Magicians"

[lobndropshot]

I don't get it?

Is the point just to drag them to the middle?

How is useful is it for the average player?

[klacr]

Is the point just to drag them to the middle?

How is useful is it for the average player?

lobndropshot,

After reading the article I interpreted it as a way for teachers and coaches to better understand, engage, grow and develop their players. Being able to see or spot signs of a players "wiring" and better accommodate them with structured practices that better fit their type of style.

I find that some pros, especially those that are early in their tennis teaching careers, are pretty dogmatic in their instruction. Perhaps their teaching methodology is geared towards simply a "mechanic" style or a "magician" style. Every student learns differently and every student has different quirks, not bad, not good, just quirks. It's important as coaches we adapt to our students.

Across the broad spectrum, large varieties of students that we encounter who may be beginning or average or advanced will have trouble molding themselves and improving under "one and only" styles of coaching. Many students have their favorite coach or teacher, even if they are fortunate to play at a club with a vast array of professionals. Some students seem to enjoy or "click" with a specific pro and their style and in more cases than not, its because the students natural style is accentuated and nurtured under a specific pros teaching style. It happens.

I think its important for an average player to at least identify what they feel is their way of practicing and what feels to them. Not all players may feel comfortable with tinkering and endless repetition, while others may not feel they get the most out of 30-45 minutes of lazily hitting the ball, at times inconsistently, and even trying very casual shots. To each their own. The goal for the average player is to identify with one of these two categories and facilitate and organize a practice regimen that makes full use of their wants and needs for their development.

Interesting that Sampras is considered a magician. Having seen him practice many times on court when I worked at a resort in Tampa, his strokes and attitude on court may be magician-esque, but his OCD approach to practice, the booking of all courts around him (so he could only hear his ball being struck) and going through a pile of 30 towels to find 3 or 4 that felt "just right" and his persnickety behavior towards his racquets make him a mechanic prior to practice.

Is the goal to be more balanced? Ideally...sure. In the article, Chris Lewit explains that one of his mentors preferred to push students towards the "Balanced" player.

In a perfect world, for coaches and for players, its great if you can be balanced. But the world is not perfect and it takes quite a bit of time and discipline to do this. With that said, it doesn't hurt to try.

Kyle LaCroix USPTA
Boca Raton

[chrislewit]

Magicians and Mechanics

Great thoughts. Thanks

Interesting comments about Sampras' off court tendencies as compared to his practice habits.

If anyone has any questions for me on this topic, I will try to check in periodically and answer.

Cheers!
Chris

[chrislewit]

Magicians and Mechanics

Is the point just to drag them to the middle?

How is useful is it for the average player?

For any player, or athlete for that matter, it is critical to know thine own self, and to know one's personal learning style, to create the best learning and practice environments.

It took me many years to realize that I was a more natural mechanic and needed a certain type of coaching style and learning environment to excel.

For example, I always became frustrated in groups lessons with magician type coaches who used visual demonstrations and lots of games.

I needed more of a mechanical coach to give me a more detail oriented lesson, with the discipline and structure found in a more traditional drilling and repetition approach. This approach can be hard to find in today's "modern" games based approach world.

Indeed, in my opinion, you are right that all players should strive for some balanced approach depending on where they are in their development.

For example, now that my technique has been honed, I can benefit more from a more magician like practice and teaching approach.

One point that could be an interesting topic for further analysis is how Magician and Mechanic Theory can help shed light on one of today's hottest teaching debates: whether Traditional approaches or Games based teaching styles are more effective...

Hope that helps a little!

Chris

[GeoffWilliams]

lobndropshot,

After reading the article I interpreted it as a way for teachers and coaches to better understand, engage, grow and develop their players. Being able to see or spot signs of a players "wiring" and better accommodate them with structured practices that better fit their type of style.

I find that some pros, especially those that are early in their tennis teaching careers, are pretty dogmatic in their instruction. Perhaps their teaching methodology is geared towards simply a "mechanic" style or a "magician" style. Every student learns differently and every student has different quirks, not bad, not good, just quirks. It's important as coaches we adapt to our students.

Across the broad spectrum, large varieties of students that we encounter who may be beginning or average or advanced will have trouble molding themselves and improving under "one and only" styles of coaching. Many students have their favorite coach or teacher, even if they are fortunate to play at a club with a vast array of professionals. Some students seem to enjoy or "click" with a specific pro and their style and in more cases than not, its because the students natural style is accentuated and nurtured under a specific pros teaching style. It happens.

I think its important for an average player to at least identify what they feel is their way of practicing and what feels to them. Not all players may feel comfortable with tinkering and endless repetition, while others may not feel they get the most out of 30-45 minutes of lazily hitting the ball, at times inconsistently, and even trying very casual shots. To each their own. The goal for the average player is to identify with one of these two categories and facilitate and organize a practice regimen that makes full use of their wants and needs for their development.

Interesting that Sampras is considered a magician. Having seen him practice many times on court when I worked at a resort in Tampa, his strokes and attitude on court may be magician-esque, but his OCD approach to practice, the booking of all courts around him (so he could only hear his ball being struck) and going through a pile of 30 towels to find 3 or 4 that felt "just right" and his persnickety behavior towards his racquets make him a mechanic prior to practice.

Is the goal to be more balanced? Ideally...sure. In the article, Chris Lewit explains that one of his mentors preferred to push students towards the "Balanced" player.

In a perfect world, for coaches and for players, its great if you can be balanced. But the world is not perfect and it takes quite a bit of time and discipline to do this. With that said, it doesn't hurt to try.

Kyle LaCroix USPTA
Boca Raton

Didn't know that about him. Says a lot. I knew he was arrogant, but now it's a whole new area of arrogance:
"I only want to hear my own ball.", arrogance. "The towel has to be perfect.", arrogance. My shot's sounds are the loudest anywhere I play, but not many comments on it, notices, nor cares.

[gokulms]

Unadulterated Magic...

Let's get your thoughts on Chris Lewit's latest - "Understanding Mechanics and Magicians"

As Chris says, this is magic. how can you coach/teach this stuff. If you teach/coach for this, then the shot is never as pure/original as this...

http://www.youtube.com/watch?v=fH-A3AeyukI

[tennis_chiro]

Part mechanics, part Magic!

As Chris says, this is magic. how can you coach/teach this stuff. If you teach/coach for this, then the shot is never as pure/original as this...

http://www.youtube.com/watch?v=fH-A3AeyukI

In fact, I do teach this shot. Especially when a player wants to try/learn the between the legs shot, which I strongly discourage. The mechanics are necessary to learn the actual move of hitting that backhand on the run backwards. In some ways, it is easier to do than a forehand because the hitting arm is connected to the front shoulder and the shoulder doesn't have to turn forward or even move to hit a strong shot, whereas it does for a forehand. This is not a tough shot for a one-handed backhand player to learn; tougher for the two-handers. The magic comes in recognizing the opportunity while running away from the net and making the ultimate transition from defense to offense in a blink! Every time I see a player botch a tweener, I think they could have tried this shot and had ten times as good a chance of winning the point.

don

[don_budge]

Magic or Art?...Mechanic or Engineer? Think Architectural Tango!

As Chris says, this is magic. how can you coach/teach this stuff. If you teach/coach for this, then the shot is never as pure/original as this...

http://www.youtube.com/watch?v=fH-A3AeyukI

This whole point is a work of art...I prefer artist to magician. Engineer to mechanic. That magnificent stroke was conceived and built. What a beautiful setting first of all to use as the back drop for that little bolt of lightening...center court at Wimbledon as the canvas. McEnroe with the Dunlop Maxply and Connors with the steely Wilson T2000. Two brash American left-handers fighting it out on English turf. It’s an epic already.

The McEnroe windup and the serve...it’s a bullet into the Connors two-fisted backhand. Connors answers with a return that he nails on the screws crosscourt. As fast as the serve and the return were...there is McEnroe with the left foot planted inside the service line and leaning forwards another meter on the grass carpet as the ball screams into his wood racquet. The hands of Mac absorb the speed as the racquet head recoils backwards with the impact and he volleys solidly back crosscourt without the help of his off hand...he never had the time to get it on the racquet yet he meets the ball dead center in the string bed. The McEnroe volley is so good, solid and crisp, that he catches Connors a bit off balance. So off balance that he doesn’t even attempt the down the line pass which Mac has given him...instead he opts for the rolling lob crosscourt over the head and just over the out stretched racquet of Johnny.

Now take a look at that footwork as McEnroe foregoes the impossible smash and he turns and scurries full speed to get behind the ball to literally smash a backhand down the line...just inches from the line...on the dead run backwards. What is he doing with his feet...dancing the Tango? Improvising...dancing with the tennis ball. Feeling the music he creates the necessary steps. No patterns. No rehearsals. Perfect point of contact. Flourishing brush or magic wand? Flourishing brush. McEnroe actually creates the three lines with his racquet, feet and body just as he turns to hit the ball. Rather amazing athletic maneuver...and he doesn’t act very surprised to pull off this shot. He expects to.

tennis...chiro, you teach that? I want a lesson. It’s doable...like you say. I take that shot on the left side of my body (being left handed like Johnny) and running backwards with an upside down forehand on the wrong side of my body. This is also a better option than the tweener. The tweener could leave you scarred for life if you muck it up. But I think that the version that McEnroe offers up here and the same one you teach is more accurate. Like I said...I see McEnroe really lining this one up. Even Connors knows he has been had...see him nod his head out of respect...knowing how much he hates McEnroe.

I know that Paul Annacone and Chris Lewis say magician and mechanic...but truly it is better to say artist and engineer. It is more fundamentally correct (FC). Because then you might say that the coach is an architect or a metaphysical engineer...a man with an eye for creativity and the brains and the know how to use sound scientific principles. I believe Hopman had a hand in the building of the McEnroe game...Hopman was the coach/architect. Magician is too flimsy of a term...it implies something less than what it is to master the art of playing tennis...and the same is true of mechanic as it is just not that simple as that word implies. This point is a perfect case in point...that gokulms so adeptly shares with us. A perfect example. This is art and engineering. This is not slight of hand or a mere tune up. It’s no accident either as tennis_chiro points out. This shot has been rehearsed and choreographed. Wonderful to bring it out on such a special occasion...center court at Wimbledon. Great sense of timing in more ways than one. Seize the moment...Johnny Boy! Carpe Diem!

It is up to the coach to understand the student and what they need from him. An architect does just that...using the surroundings as the basis to apply the sciences. Building on a sound foundation...lifting his vision to beautify and to function simultaneously. This shot is pure art and perfect engineering...an architectural masterpiece.

Dancing the Tango is a bit different from any other dance. There is less choreography and more attention is paid to the music and the real art of dancing the Tango is to be connected to the music and one's emotions as well as those of your beautiful and sexy partner. The music is often melancholy and moody...as are many love affairs. The steps are often impulsive and instinctual. If you can capture this in your dance technique you can be quite a lady killer...a real heart throb.


It's sort of improvised and the reason probably has something to do with how he feels about the shot. It looks as if initially he was going to retreat and play the ball behind the baseline considerably lower than where he ends up playing the ball, which is well inside the baseline and at shoulder level. This is the Tango aspect that I was referring to. A bit of indecision that is parlayed into a sensuous and impulsive bit of footwork. Sexy Roger...killing the ladies. It is a primal instinctual reaction to the shot...or the flow of the music. Perhaps at first glance there doesn't appear to be a rhyme or reason for the move but upon closer inspection with the aid of frame by frame analysis we are able to discern his interpretation of the music that is playing in his head. Retreat and play a bit more defense...no, the opportunity is there for a split second reaction to go forwards and attack. Ole!

Once again...as in the music video "Forehand Not Gone" Roger manages to align his feet in a rather closed position as he makes contact with his shot. He consistently does this even when he appears to be out of position...which for me makes a great argument for rather classic alignment of the feet. Does this make any sense? That is the funny thing about the Tango though...sometimes it doesn't make any sense. But then again neither do most love affairs...in the end.