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TennisOne Lessons
Grip it and Rip it – the One-handed Topspin Backhand Fernando Gonzalez and Tommy Haas Jim McLennan
Back in the day, most of the major tournaments were on grass ( Wimbledon, U.S. Open, and Australian), most players came to the net, and most players came under their one-handed backhands. Underspin caused the ball to rise slightly, giving the adroit volleyer a definite advantage. Lew Hoad could come over or under the ball on the backhand, but it was Rod Laver who set the stage for the potential of a heavy spinning one-handed topspin backhand. As juniors McEnroe and Sampras studied Laver, though only Pete really got the feel for the topspin backhand (however, Pete's backhand was not near the weapon we see from modern players like Fernando Gonzalez or Tommy Haas).
Now the game has changed. Grass is no longer the predominant Grand Slam surface, and volleyers are faced with much heavier, dipping passing shots off either wing. But one only needs to marvel at the versatility of Federer, or Henin Hardene, or Mauresmo, or Haas, or Gonzalez, to appreciate the style and effectiveness of the one-handed topspin backhand. As a young student in 1960, my first and foremost coach, Blackie Jones, encouraged me in the following way. “Jim," he would say, "set the grip for a genuine eastern backhand, and whenever the ball is in your pocket and you are starting a rally, each and every time, stroke the ball with this grip.” Within six months I developed a good feel for topspin on the backhand side, and that feeling has stayed with me ever since. And interestingly the check points for this drop hit topspin backhand are remarkably similar to the form we will see from the following two outstanding players.
A More Detailed Look Again, video analysis is great for studying the dynamic flow of the entire stroke, but viewing each stroke element in still photos gives us the opportunity to study each element a little more thoroughly. Set the grip Palm on top of the handle, knuckles facing the net, wrist up. The grips one chooses determine all that will follow, both in terms of the soon to be hit shot, as well perhaps the habitual style each player develops. A full move to the eastern backhand grip, positions the hand and racquet such that only a rising swing well in front of the body will succeed in driving the ball up and over the net. This grip does not work on late hits, does not work on down hits, does not work on wristy swings, and does not work on short muscled deliveries. As relates to first things first (see my series), the pattern style and direction of this stroke is determined by the nature of this eastern backhand grip.
Early shoulder turn Elbow relaxed and slightly bent arms and racquet well away from the body. From a neutral ready position, we note these guys change to the eastern backhand grip as they initiate the unit turn, where their hips, torso, and shoulders all turn to the side. There is the slightest difference in style at this point, Gonzalez holds his hands and racquet lower than Haas. Perhaps it is because at this moment Fernando has decided to rip the backhand whereas Haas may be still deciding whether to come under or over the ball. High circular looping start to capture momentum
The hands and racquet are well away and within the plane of the incoming ball (see Heath Waters). Note how high both players position the racquet, and interestingly their back or left elbow is well up, similar to the advice little league coaches offer to their players, and though this will be a one-handed delivery the arms are in a left handed batting position at this moment. Further, both guys have the right elbow bent, and this “flexion” though it is not at all muscular or tight, will lead to excellent “extension” as the racquet approaches the ball. Finally, note how the back leg is weighted as the business end of this backhand begins. These guys will now unleash the stroke much like the golfer who takes the club all the way back and then really lets it rip. Step and drop the weight onto the front foot
As the players step in, observe how quickly they drop their weight, this will precede the dropping of the racquet. In fact you can see how it has begun to drop from the previous still, and the subsequent swinging up on the ball will be all about the legs. Interestingly, were either of these balls arriving into a lower spot within their contact zone, both guys would have dropped even more. Further, at this moment they have turned totally away from the ball, one could clearly see their numbers (were they wearing football jerseys). Racquet swoops beneath the ball as the body steadies on the front foot
Low to high really does mean low to high. In this instance the racquet face is well below the ball. As far as arm momentum and then the resulting racquet release are concerned, both players swing through the classic “butt cap pointing at the ball position.” And if not of equal or greater importance, note that at this moment the racquet butt cap is pointing up and at the ball. Were one working on an underspin backhand the butt cap would be similarly aligned but in a downward direction. Posture, poise, and a still head at contact
Now we can see Edberg, Laver, and Federer ( to name a few). Much like a spinning top, neither player is wobbling. Both keep their head absolutely still and behind the ball. And neither player could be standing any straighter, or any more balanced. Note the shoulders; they appear relaxed, down and away from the ears. Certainly uptight does mean something, and in this example neither player appears either “up” or “tight.” And finally, the ball has been met well out in front, both right arms are fully extended into the hit – this is as good as it gets. If you are building one of these at home, remember, tension is the enemy. Arms split at contact
Note how the arms split at contact with the left arm swinging back and the back foot remaining back. The one handed backhand has less torso rotation at impact than the one handed forehand. This classical splitting of the arms reduces torso rotation at impact, driving the energy from the previous turn into the arm and then racquet. In many recreational instances, the back or non-dominant arm somehow follows the racquet into the contact zone, and these players seem to “over turn” into the hit. Long uninterrupted follow through There is nothing tentative, brief, or hacking about the topspin backhand drive. With this much low to high momentum, it is now only to relax and let the racquet flow, dissipating energy gradually over the long arc of the follow through. At the professional level, with the ball moving from racquet to racquet in one second or sometimes less, these guys need to be ready for the next shot quickly, and they have used the follow through to enable them to square off to the net and the opponent. If you try this at home, make sure this final opening turn occurs well after impact rather than as you hit the ball. This leads me to return to a brief aside I made earlier in the article about the Sampras backhand: Sampras may have used his backhand to generate spin and depth rather than pace, keeping the ball up and deep in the opponents court, and then waiting for anything short or to his forehand side. Certainly he ripped the backhand return of serve, but often in rallying situations Pete never really stepped in to crunch the ball the way these guys do. Further, in some instances when Pete's backhand went “off” the television pundits would often remark that Pete had opened early and pulled out of the hit, precisely from being just a little less than sideways at impact. Sneak a peak at a few Sampras backhands in our ProStroke Gallery to see what I mean. On the other side of the coin however, Pete had much more feel for the court and the game than these guys, and sometimes his heavy looping topspin drives created as many if not more openings than the full on backhand drive we see from these two “bangers.” I believe in the power of images, and the ability to imprint a moving image indelibly into memory. And then with the unbridled power of imagination, I believe you can insert yourself within these images, such that at first you watch and watch and watch until you can see how this stroke looks and feels. Then at a quiet moment, perhaps just before drifting off to sleep, you see yourself in your mind's eye stroking this flowing, elegant one handed topspin backhand. Beautiful! 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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