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TennisOne Lessons 
Finding Another Gear Jim McLennan Whether in the professional matches or local USTA courts, there occurs close matches with big situations, where now and then one player shifts to another gear to capture the victory. This doesn’t happen all the time, nor truly can it. Certainly Federer has shifted to another gear many times, but that didn’t occur in the 2009 US Open final. In the recent Sony Ericsson semifinal in Miami, Roddick found another gear against Nadal, but that has not always been the case in his long and storied career either. On the occasion when a player finds “this additional gear” typically, they have gone to their weapons, their “go to shots” to rule the day. Federer found such an inside out forehand with his back against the wall against Haas in the 2009 French Open semifinal, and Sampras has found that additional gear so many times when he needed it on his magnificent serve. But the additional gear can equally be an abrupt but successful change in tactics, or simply an additional gear in mind set. So let’s explore the situations where this might occur, the decisive points made by the player shifting to this next level, his/her mind set when the match is on the line, and perhaps the classic go to shot used to find that next level of play. Plan A, Plan B Winners impose their games, and after establishing a winning pattern, continue to play to and impose that style. Losers, on the other hand, must, at some point, change their games and move to Plan B. But the absolute first step in this process is to know for certain why you are losing, so you can choose the correct Plan B. But, whether at the professional level or on the court adjacent to you, choosing the correct Plan B requires a point by point and game by game awareness of the tempo, the momentum, and the character of the match. Tom Stow and the Top of the Bounce So much of our game is played between the ears. Fitness, yes, nutrition, yes, technique, yes, but sometimes at the end of an extremely tight match, the difference is simply in the competitors emotional states. Whether dwelling on past mistakes, or recalling the inability to close out a match at the end of the second set, the effects of such lingering discouragements will block that player from finding another gear. And in most matches we see a physical component (slumping posture, negative gait, arms in the air indicating “why me”) that presages a loss.
Similarly for the player who is distracted by the future, wondering how to explain their loss and wondering why yet another match feels like it is turning south, will be equally unable to find another gear. But, in an extremely tight match, with many turns in momentum, the present centered athlete, who relishes big situations and has past positive experience in these crunches, will have a chance to find another gear. Won’t always happen, but this present centered athlete has a chance. Some years ago I had the chance to watch the 2008 Davis Cup finals in Portland Oregon. Wonderful tennis. Roddick, Blake, and the Bryan brothers captured the cup. My seats were on the sideline somewhat back of the baseline. And though it may have been a tactical decision, Roddick played most rallies from at least 15 to 18 feet behind the baseline. Extremely defensive tennis with an over spinning forehand. Certainly good enough to win that match, but generally this court positioning does little to bother Fed or Rafa. Roddick is now coached by Larry Stefanki, a Tom Stow protégé, who has worked tirelessly to simplify his backhand, increase his confidence at the net, and learn the nuances of the game when playing on or inside the baseline. And note, Roddick has always had the ability to play inside the baseline, but not always the confidence to do just that at the big moments. Defensive tennis will only work to a point. In the Tom Stow Forcing Game model, players are trained to move forward, and play all short balls at the “top of the bounce.” This phrase has more meaning than meets the eye. Most baseliners hesitate ever so slightly, and let the ball drop into their contact zone. And this dropping arc of the ball matches or parallels the upswing of their racquet. Yet when hitting nearly all baseline shots with up swings on down balls, many players struggle to find a different swing on an up ball (if rising) or a flat ball (at the top of the bounce). And equally these players are less prone to confidently move forward, for playing inside the baseline is outside of their comfort zone. When moving forward players must flatten out their strokes and drive the ball down across the net. And in this situation we don't see the reverse forehand, or the follow through up and over the opposite shoulder, but rather a much lower forehand follow through, where the hand finishes near the pocket. It looks entirely different, but when you see it at the professional level, it occurs inside the baseline, contact has been made above the net, and, in most instances, the ball had considerable incoming speed and topspin such that it would have rebounded UP off a wall (and remember the racquet face is such a wall).
So, back to the Sony Ericsson semifinal in Miami where Roddick had lost the first set to Nadal.He and Stefanki had already discussed a Plan B, if Rafa had gotten control of the match. And to that point, Andy had played his basic behind the baseline patient game of tennis, but Rafa was and, in fact, can beat Andy in such a scenario. Enter Plan B. Roddick, with a confident mindset, changed his game and found another gear. He simply chose to hug the baseline, flatten out his forehand, and go for his shots on that wing. Shortening the rallies created pressure on Rafa as the momentum shifted to Andy’s side of the net. And on this day, Rafa was not able to find another gear to counter Andy’s Tom Stow tactics. You too can work on such a “go to shot.” Set up a ball machine to hit somewhat short but with a high bouncing arc. Move inside the baseline (you might even step around your backhand) and drive the ball down and over the net – still with some topspin, but without any up finish or even up inclination. Drive this ball down and over the net. One caveat. This will only work when your point of contact is above the level of the net – at or near the top of the bounce. And while you are at it, continue to applaud the work of Larry Stefanki, the first in a long series of coaches for the Roddick camp who has truly made a difference. Tom Stow – The Forcing Game – 1948 The forcing game is based on the principle of continuous pressure. It is a game for advanced players who have acquired all the strokes and therefore are able to control the ball from all positions. It should be called an "All Court Forcing Game" for it is too often confused with just a net game. Coming into the net is definitely a part of the game and should be used as a climax to many rallies or when the opponent hits a short shot, but is only a part of the whole. A player who can make sound "coming in" shots and can volley accurately will be a constant worry, for his opponent, in trying not to hit short ball, will tend to make more errors than he would otherwise. To play the "All Court Forcing Game" it is necessary to have:
The player of this "All Court Forcing Game" must always keep in mind the fact the he is playing another human being and that the pressure he is applying has a very definite effect on the mental attitude of his opponent. It takes nerve, determination, and strokes to play this type of game and only the strong will master it. However, from these few will emerge the future great players of the world. Your comments are welcome. Let us know what you think about Jim McLennan's article by emailing us here at TennisOne.
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