Stretching: The Truth

If you're like most tennis players, you've been told that stretching just before you hit the court will help you play better and decrease your chances of injury. So you touch your toes, hold your stretches for counts of 30, and push against the fence or net post until it's ready to fall over. But there's a better way to loosen up. Don't get me wrong, it's essential to stretch before you play-just not the way we've been told. Research shows that while traditional static stretches (stretching to the point of tension in the muscle and holding it) and the less frequently used dynamic stretches {quick sport-specific movements) are both beneficial to tennis players, their effectiveness is determined by when they're performed. Static stretches, the type most recreational players do before a match, lengthen muscles and increase their flexi- bility; This is what you want over the long term, but during play muscles that have been lengthened will suffer tempo- rary decreases in power and therefore performance, according to Dr.]eff Chandler, associate professor of exer- cise science, sport, and recreation at Marshall University in Huntington, WVa., and an advisor to the PTR. This can include a decrease in your vertical jump. These findings are echoed by Dr. Ben Kibler, medical director at the Lexington (K)') Clinic Sports Medicine Center and a founder of the Society for Tennis Medicine and Science. He says static stretching can cause decreases in muscle perform- ance for about 20 minutes. Static stretches, according to Kibler, are best done immediately after you leave the court, when your blood is flowing and your muscles aren't tight, This will help you 9 reach your maximum stretch. For adult and senior players, in particular, stretching after matches will decrease post-play stiffness and soreness. So what should you do before you play? The key is to get your muscles moving the way they will during the match. The best way to do this .is with a set of dynamic stretches that mimic the movements of tennis, including high-steps, arm circles, quick racquet swings, and lunges. What you shouldn't do are movements that stretch the muscles to extremes. But don't ignore static stretches altogether. This ideal routine combines the two to help you perform better on court, recover from the stresses placed on your body during play and increase your long-term flexibility and power. Here's what to do when: On-court warm-up his should consist of light hitting, not high-intensity movements. That doesn't mean you should slouch at the baseline, however. If the other player hits a short ball during the warm'-up, don't play it on two bounces! You won't do that in practice or in a match, so warm up like you play and use good footwork to move around the court and put your body through a full range of motions. Dynamic stretching o the stretches described on these pages right before you play (after your warm-up, if possible). Static stretching fter you play but before you hop into that air-conditioned car, take the time to do a set of traditional static stretches. These are done by extending a muscle until you feel tension and then holding it for 15 to 30 seconds. Work your entire body to lengthen all of the key muscles you used on court. You'll be glad you did the next time you playas well as when you wake up in the morning. Start your dynamic stretching routine when you get to the court. Before practicing, take your time after the warm-up and do a full routine like the one below. When you play a match, you won’t have as much time, so take a minute both before and after the warm-up and do as many exercises as you can. Make sure to include your legs, trunk and arms. Use the moves below as samples (jumping jacks are also effective) and quickly go from one to the next. There are no guidelines for how long you should perform a move, but try to do as many of the exercises as possible. QUICK KICKS tanding in place or lightly jogging, bring heels up to buttocks rapidly. (If you have knee problems, skip this exercise.) HIGH-STEP TRUNK ROTATIONS ith arms bent inward (fists on chest), bring your right knee up high while rotating your trunk to the right (don't hold the stretch). For increased trunk rotation, extend one arm away from your body (parallel to the ground) in the direction of the stretch. Switch legs and repeat, rotating your trunk to the left. CROSSOVER LUNGE Planting one foot, take a wide step across your body and slightly forward with the opposite leg and move into a quarter squat. Switch legs and repeat. SIDE LUNGE lanting one foot, take a wide step out to the side with the opposite leg and move into a quarter squat. Switch legs and repeat. FRONT LUNGE lanting one foot, take a long step forward with the opposite leg and move into a quarter squat and hold for two seconds. Switch legs and repeat. (Note: Do not literally "lunge." Stretching past your point of comfort can be detrimental.)

Go to the Fence for Better Volleys

One of the most challenging lessons for beginners and intermediates is to avoid taking a big swing on the volley. Since most players learn to hit ground strokes first, they have a tendency to carry that swing over to the volley. But swinging on the volley is a sure way to make errors. A classic corrective measure used by tennis instructors everywhere can help you shorten this swing. And you don’t need a coach to do it, just a partner. Here’s how: Stand with your back against a court’s fence. Have your partner toss balls for you to volley. If your racquet clanks the fence, your swing is too big. Practice until you can hit volleys without striking the fence.

Going With your Gut (String Theory)

Picking the right string for your game is a feeling-out process. Click here for a list of different string types. Much like finding the right spouse, when it comes to selecting strings, beauty is in the eye of the beholder. A string that feels soft and forgiving to one player can seem mushy and dead to another. With so much being left to perception, it would make sense that, just as with a racquet, players spend a lot of time experimenting with various strings to fi nd the perfect fi t. Yet strings don’t get anywhere near the consideration that racquets do. Players routinely leave strings in their frames for far too long and use varieties that don’t mesh with their style of play. “You can spend a couple of hundred dollars on a racquet, but if you use the wrong strings, it won’t play well,” Roman Prokes, of RPNY Tennis, in New York, says. He strings and customizes racquets for many top players, including Andy Roddick and Maria Sharapova. “You can also buy a fairly inexpensive racquet, and if you get a good string job it can play great.” When it comes to materials, natural gut, nylon (multifi lament synthetics), and polyester make up the vast majority of strings. But navigating through the hundreds of offerings and their subtleties can be daunting. From a playing standpoint, gut provides the most feel, polyester offers the greatest durability, and nylon is generally balanced between the two. Since there has been a shift toward baseline play with less emphasis on touch shots—particularly at the pro level—stiffer, more controloriented strings are increasingly prevalent. The brand you hear about most often is the polyester-based Luxilon. “I think Luxilon is the biggest change in the game since graphite racquets,” Prokes says. Although he’s not certain what about the string’s composition makes it so special, Prokes touts the great control and bite it imparts on the ball. The pros must agree: Dozens of top players, including James Blake and Svetlana Kuznetsova, have Luxilon in their racquets. Not surprisingly, this trend has reached the weekend warrior. “There’s a lot more polyesters on the pro tour,” says David Bone, executive director of the U.S. Racquet Stringers Association, “and it trickles down to the mere mortals.” If you’re a string-breaker, the sturdiness of polyester can be an asset. Still, you have to weigh that against the stiffness of the typical poly, which some players find unforgiving. “Any blind test we do, polyester doesn’t stand out as special,” Bone says. In the 2006 USRSA string survey, in an average score of playability, durability, and comfort, no polyester ranked in the Top 40. But over the past few years, companies have made adjustments to make polys more userfriendly. “A polyester used to mean a monofilament,” Bone says. “Now they bond polyester with other materials that make it more playable.” If polyester doesn’t appeal to you, consider multifilament synthetics. This is the largest segment of the string population, encompassing a wide range from high-performance strings to basic synthetics. This gives the consumer many choices at varying prices. Softer multifilaments play like gut, which can appeal to net-rushers, doubles specialists, or anyone with arm troubles, but at a cheaper price. On the other end of the spectrum there are more durable multifilaments that have excellent lifespan for string-breakers but aren’t quite as stiff as polyesters. Another trend is the hybrid, in which two different strings are combined in one racquet. The most common hybrid involves using a polyester in the mains (up-and-down strings) for durability (since you typically break those first), and a synthetic or gut in the crosses to soften the string bed. “You get the best of both worlds,” says Prokes, who recommends the combination for many of his clients. According to Bone, more than half of the pros who got their racquets strung on-site at the WTA’s Acura Classic last summer were using a polyester-and-gut combo. Because of the hybrid’s popularity, many companies are packaging the two strings as one set. That said, the best way to fi nd the ideal match for your game is through trial and error. There is little research to prove claims that certain strings increase power or spin, so it only matters how it feels to you. “There are things that you discover when you play with a string that can’t be measured by a machine,” Prokes says. “If you like the way something feels, that may cause you to swing with more confidence.” And that, of course, is all that counts.

Use your warm wisely

For lots of players the warm-up before a tennis match is just that: an opportunity to get warm and loose before the action begins. Of course, that’s a big part of it, but savvy players know it’s more. In fact, for many good competitors the strategizing begins in the warm up. Try to:

Gauge your game – My game is built around my forehand, and I usually know once the warm-up is underway how well I’ll perform off that wing and I tailor my game plan accordingly, at least for the first set or so. If my forehand is on I know I can play more aggressively from the outset and afford to take more chances. If I’m misfiring on that side I immediately start to get myself into the mindset of playing more patiently and waiting for my openings.

Scout your opponent – One of the oldest tricks in the game is to hit down the middle to the other guy during the warm-up and see whether he moves to his forehand or backhand. Usually, the side he picks is the stroke he’s most comfortable with and you should plan accordingly. Pay attention also to your opponent’s volleys. If he gives short shrift to his net game during the warm-up you can bet he’s not going to be too inclined to come in very often when the match gets tight. We tend to favor those aspects of our game that we’re most comfortable with during the warm-up, so take note of your opponent’s tendencies.

Learning from Rafael Nadal

What the dynamic Spaniard’s game can teach you.

1. Don’t play the score. Nadal has become one of my favorite players to watch because of his sensational attitude. Whether he’s up 5-0 or down 0-5, he maintains his intensity. The only thing on his radar screen is winning the next point. If Nadal plays it well and wins a hard-fought exchange, out come the fi st pumps. That’s the greatest approach to have as a tennis player. If you allow the score to influence your demeanor, it will have negative repercussions on your game. And it’s not just if you’re losing and getting angry. Relaxing with a lead and thinking prematurely about an easy win can be equally destructive. Nadal takes nothing for granted. He never phones in a point, and he competes hard until the last point is over. Develop that kind of mind-set and you’ll win more matches.

2. Attack a weakness. Being a lefty, Nadal has the distinct advantage of pounding his best shot—the crosscourt forehand—into his opponent’s backhand, which tends to be their weaker side. Nadal puts a tremendous amount of topspin on his forehand, so the ball jumps up high on a righthander’s backhand, making it an uncomfortable shot to deal with. Since many players like to run around their backhands, Nadal will keep them honest by going strong to their forehands to open up space on the other side of the court. What makes Nadal unique in this regard is that he’s absolutely relentless. He’ll repeatedly hammer away with his crosscourt forehand until his opponent crumbles into submission. It’s not fancy, but it’s hard to argue with his results. The most basic yet effective strategy in tennis is to pit your strength against your opponent’s weakness. The best players are the ones who can construct a majority of their points on those terms.

3. Make adjustments. Nadal is dominant on clay, but he can change his game to compete successfully on fast surfaces, as he proved with his run to the Wimbledon fi nal this year. Instead of playing from 8 to 10 feet behind the baseline, Nadal will move up further in the court and take the ball earlier. He’ll also fl atten out his backhand to get more penetration and use the speed of the surface. On clay Nadal will play it safe and hit more kick serves, while on a fast court he’ll toss the ball farther out in front of his body and try to crack some bombs to win a few more free points. So take note: You may have a certain style that you prefer, but if you want to win on all surfaces and against various types of opponents, you must be adaptable. Perhaps that means being more aggressive with your shots or pulling back to allow your opponent to self-destruct. Having versatility will make you a much more formidable opponent.

Roger Fedrer's Backhand

Perfect balance, precise footwork, and an uncanny ability to watch the ball make Federer’s backhand a shot worth emulating.

It isn’t just that Roger Federer can masterfully hit any shot in the book—and a few shots that aren’t—but that he makes it look ridiculously easy. One of the keys to Federer’s success, and the principle reason his strokes look so effortless, is his extraordinary balance. Whether he’s hitting his huge forehand or his impressive backhand, he keeps his head and upper body remarkably quiet throughout the stroke.

1. Judging from his knee bend, you can tell that Federer is preparing for a low ball, perhaps an approach shot from his opponent. Even though he’s reacting quickly, he looks completely under control. He’s already changed his grip to one that’s slightly farther over from a classic Eastern. Also, notice the position of his racquet as he’s moving. Many players think you should prepare by immediately taking the racquet all the way back, but that’s not an efficient way to run. And while Federer’s shoulders have begun to turn, he won’t rotate them more until he plants his right foot.

2. Cradling the racquet in his left hand to control his backswing, Federer starts to turn his shoulders in unison with his racquet take-back. I like how his head is right in the center of his body. Pay attention to how he’s pointing his shoulder at the oncoming ball. This ensures good upper-body rotation, which is something many beginners and intermediates don’t do well. A full shoulder turn, along with a sound backhand grip, will help you drive the ball as well as avoid elbow problems.

3. This is a striking example of Federer’s excellent balance; he’s in the optimal position for this low ball. Even though he’s dragging his toe, he’s still got a lot of his weight on his left foot. Many players would have moved most of their weight onto their front foot at this point, which would cause their momentum to continue to the side after striking the ball and result in a more difficult recovery. Federer’s racquet is all the way back at this point and his shoulder turn is full, about 45 degrees to the baseline. His head, though, has barely moved from the previous photo.

4. Federer has just struck the ball and his left knee is almost touching the ground. His upper body remains still and balanced. This shot reminds me of how great downhill skiers allow their legs to go up and down like pistons but their upper bodies remain relatively quiet and straight up. Federer’s legs are doing all of the work of getting low to the ball; he’s not bending at the waist. It takes great core and quad strength to do this, but the payoff is that there’s no stress on the back. The angle between his arm and his racquet shows that he’s using a strong grip that will resist impact well.

5. Federer’s non-playing hand is back and down to counter balance his racquet hand going forward and up. Also, when the left arm goes back like that, it keeps the shoulders from turning and accelerates the right arm, giving you more power. As you can see, Federer’s shoulders are still sideways to the baseline. One common problem that players have with the backhand is that they pull up and open their shoulders so they almost face the net, losing power and control. Here, Federer’s head has hardly moved at all, and he has finished with his body perpendicular to the target.

6. Federer is recoiling after the swing,and it’s only now that he has started to look up and watch his shot. His body is still balanced, and because of that he won’t have to take an extra recovery step. If he were leaning over on such a wide shot, he would have to take one more step. One of the big differences between a good player and a great player is recovery, and you can’t recover well unless you have excellent balance. This is one reason Federer gets to so many balls.

-By Stan Smith

Martina Hingis Drop Shot

It’s a risky play, but great disguise, excellent footwork, and solid technique make Hingis’ drop shot a winner


In a game dominated by power hitters, Martina Hingis’ brand of control-oriented tennis makes her a fan favorite. A genius at geometry, the former world No. 1 uses the whole court to beat her opponents. Not only does she use angles and drives to move them side to side, but she also regularly throws in hard-to-read drop shots to get them running up and back. Here’s how she executes them.

1. Hingis has recognized that she has to hit a backhand, and her preparation has begun as it would for a backhand drive. There’s nothing at this point that would give her opponent a clue that she’s going to deliver a drop shot instead. Also, notice her location on the court. She’s right on top of the baseline and moving forward, which is ideal for the drop shot. You don’t want to try difficult finesse shots from deep behind the baseline.

2. Look at her feet. You can tell she’s using small, measured steps to put herself in position for the oncoming ball. Although Hingis may not be the fastest player on the tour, her footwork—the way she prepares with her feet for each shot—is among the best. As a result, her entire body, from her shoulders to her feet, is perfectly balanced. She appears to be using a semi-Western grip with her left hand and a Continental with her right, which is ideal for two-handed backhands.
3. We now see the first hint that Hingis won’t be driving the ball. Her hands are separating on the grip, indicating that either a slice or a drop shot is on the way. She uses her left hand to cradle the throat of the racquet and assist in the take-back. Also, because Hingis uses a Continental with her right hand on her two-hander, she doesn’t have to change her grip with that hand regardless of her shot selection. Her weight is loaded onto her back foot as she gets ready to step into the ball.
4. We can now tell that Hingis is committed to a drop shot, and not a slice, because her racquet is going higher but not much farther back. If she were planning to deliver a slice, the racquet would be more behind her. Note that Hingis’ body is facing the side of the court, something that players with two-handed backhands often fail to do. For a drop shot, let the ball come to your side more than you would for a drive.
5. Hingis’ weight has almost fully transferred onto her right leg as she continues to move into the ball. Again, look at her balance. The legs, hips, shoulders—everything is in the right position. Her hands are perfectly behind the ball and she’s measured exactly how she wants to address it. Her left hand is still cradling the throat of her racquet and her left palm is lined up with the racquet face, helping to guide it into position.

6. Hingis makes contact right in the middle of the string bed. Keeping your shoulders closed helps you swing through the ball, and players with one-handed slice backhands do that by letting their off hand move back and act as a counterbalance. Players with two-handers tend to push through with their off hand—as Hingis does here—and, as a result, have to make a special effort to stay turned.
7. After hitting the ball, Hingis continues to move through the shot and into the court. Her footwork is exemplary. She’s using what’s called a carioca step, which allows her to move forward while remaining sideways. If you look back, you can see her core has remained sideways since the second frame. Her focus is still on the contact point; her head has remained still, and she hasn’t looked up to follow the ball yet.
8. Hingis has started her recovery and has begun to look to the other side of the court to gauge the success of her drop shot. She’ll continue to move forward after striking the ball and will try to anticipate her opponent’s reply, if there is one, and take it out of the air if possible. She never assumes that her drop shot will be an outright winner. This is a great lesson for everybody.

Jump start Your Warm Up

We’ve all done it. We arrive at the court just minutes before our match starts, do a couple of knee bends, and then think we’re ready to play. After dropping the first three games of the set we scratch our heads, wondering why we’re playing so lifelessly. If you want to come out firing bullets instead of blanks, you’ve got to come on the court warm and ready to play.

A quick and effective way to do this is by jumping rope for several minutes. It:

Simulates running– Work the rope up to a good speed and you’ll be ready to sprint for a drop shot when the match starts.

Heats you up – Watch a professional in any sport and you’ll see they start a contest already sweating. For those worried about tiring out, a moderate amount of jump rope will actually energize, not weaken you.

Exercises your entire body – Jumping rope utilizes the wrist, forearm, shoulder, and whole leg, which are all crucial for playing good tennis. It also increases coordination and balance, two things a player can never have enough of.