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TennisOne Lessons 
Steps to Better Footwork Doug King Whenever anyone is asked after a great match what they felt was responsible for the performance, you almost always hear the same two answers, “I was moving well today” and “I was seeing the ball well today.” These two things go hand in hand - when you move well you see the ball well, and when you focus well you move well. Let’s look at this dynamic starting from the ground up - namely the feet. In this discussion of footwork we will examine the common breakdown of “footwork” and we will also look at the intangibles - what I prefer to call “footplay.”
Footwork Anatomy The feet provide two fundamental functions to the body - one is to create a base of stability, and the other is to provide a means of movement. The two functions are interrelated in an interesting way since they are both reliant on each other and at the same time they conflict with each other. The more stable we make ourselves (planting our feet, sitting down, lying down) the less mobile we are. Stability provides an important element in tennis and sport and that is focus and relaxation. The more we expand our base, the more solid and supportive it becomes and the more we are able to stay steady and focus. Also, the more solid and supportive our base, the more we are able to relax (think of lying down and going to sleep). Both of these things (focus and relaxation) are critical parts of sport. Focus allows us to watch the ball (the “eye” in hand-eye-coordination) and relaxation keeps the body free of tension and thus more able to move in a fluid fashion. Whereas a very stable base allows us to focus and relax it does not provide a proper platform to move well. To move well we need to the minimize my base. The less contact we have with the ground the less friction is created and the easier we can move. This is what is meant by being “light on your feet.” When we are on the balls of the feet we reduce the surface contact with the ground and therefore we move more easily. Moving “easily” does not mean moving well, however. In order to move well, we must also be able to maintain focus (watch the ball) and stay relaxed. This is moving in control or in balance. To do this requires a number of things including good form (proper posture and a low center of gravity), good timing with the ball, good technique (a mastery of a variety of steps and footwork patterns), good reflexes, and strength. When it is done properly, the illusion is that the player is floating effortlessly about the court, never rushed or panicked. And when the player moves this way it encourages a sense of calm focus and relaxed energy that sets the tone for more efficient shot making and decision making. It is similar to the grace and ease of a ballerina on toes - belying the tremendous discipline and control that make it possible.
The Ball of the Foot and Movement A key to good footwork starts with an “athletic stance.” An athletic stance will put the body in proper balance over the balls of the feet. The foot actually has more than one “ball” structure. One is located in the forefoot (the familiar one) but also the heel of the foot is another ball shaped structure. The ball provides a contact surface that minimizes contact with the ground and makes us more mobile. We are more mobile when we are on either one of these points - the main difference is the toes. The forefoot is equipped with toes that give us better control and propulsion. The toes are the fingers of the foot - they grip the ground, pushing us and holding us in balance. When we are on the heels we are basically falling out of control. We are not “planted“ on our heels as much as we are falling backwards. Thus the object of a good athletic stance is to keep the body centered over the ball of the forefoot and to utilize the toes for good balance and propulsion. So when you hear that Marion Bartoli‘s father made her walk around with tennis balls wrapped to the bottom of her feet you can start to understand his thinking. Planting Being planted is a problem for most players. When we “plant” our feet the forefoot flattens on the ground and more pressure is pushed into the foot. This is done when we want to use the ground for a “power platform.” Just before we hit a ball we tend to sink into the ground and then spring off of the ground as a means of thrusting force into the shot. This planting move also allows us to stabilize ourselves just as the ball approaches contact so that we can maximize our focus on the ball. Remember that when we are more planted we are more still - and when we are more still we can focus on the ball better. So you can see that being planted is a part of the game. The trick is knowing when and how to plant correctly.
There is really just one moment when we should be “planted” and that is just prior to moving into the stroke. It is done for a very brief time and never with the intent of freezing the body. Planting stabilizes the body, providing better support and more relaxation, and this is where we run into trouble. When we try to “over focus” (what many people call over-thinking) we tend to still our bodies. We “freeze” things so that we can see what is going on and make better decisions about where to go and what to do. You will see this with beginners when they dash around after a ball, hit it, and then anchor themselves to the court as their opponent strikes the ball. The reason they do this is so they can get a very good look at the ball as it comes off of their opponent’s racquet. It is their way of focusing harder - and it makes sense on a certain level. Of course the problem is getting started again (we will look at this a little later with the “split-step”). This focus can be from trying to watch the ball too hard or by trying to think of or watch anything - from the ball to a spot on the court, to making up your mind on where to play a shot. Anytime you focus on something too much you will be compelled to plant yourself. A person who can do both things well - move and focus - is well coordinated and that is the key to success in many fields. The same principle applies in business or medicine when we talk about a person who can “react on his feet” well. For a surgeon to be able to react to the unexpected with calm and dexterity is a gift and a necessity. The other time we incorrectly plant ourselves is when we are tired. To stay balanced on the forefeet requires more strength than when we plant the feet. Anytime we reduce our base we increase the demands of strength on the legs. The toes and muscles of the legs must work harder to continually adjust the balance as the base is minimized. This is why it is impossible to sleep while standing - the legs relax and the body topples. Types of Footwork
To develop good footwork practices we will start by dividing footwork into two classes. One class is positioning footwork. Positioning footwork falls into two sub-classes, “ball positioning” (or stroke positioning) and “court positioning” (or recovery positioning). Ball positioning gets us into position so that we can make effective contact with the ball while court positioning puts us into the proper position on the court at the moment the opponent makes contact with the ball. Ball positioning requires that we integrate high focus along with stroke preparation (turning to a side) and thus is more difficult than court positioning, which is typically more frontal and more general in terms of exact placement of the feet. Besides Positioning Footwork there is also Hitting Footwork, which is the footwork that is required in the execution a stroke. Regardless of how much we must run to get to a shot there is still a good deal of footwork involved in the stroking of the ball. Even the serve requires work from the feet. How the feet move, and how the feet manage the shifting of the body is critical to proper generation of power. We will leave this type of footwork for other articles more focused on specific strokes but the basis of good stroking footwork is similar in nature to all other forms of footwork - that is, good timing, technique, and strength. Ball Positioning Footwork To get into position to make a stroke requires four fundamental footwork techniques. Each of these has variations depending upon conditions. The Split-Step: Every time the ball is struck by your opponent you must make a split step (an exception may be a reflex volley). Some are done more emphatically that others but the idea is to quiet the body while the ball is being hit by the opponent. This allows you to react to the opponent’s shot with accuracy and variety. It is a small hop accompanied by a widening of the feet in mid-air, similar to a hop-scotch step. This hop is timed so that you can see the ball coming off of your opponent’s racquet while in mid-air enabling you to react in any direction as soon as you touch down. This mid-air state is similar to planting the body in the sense that it creates “neutrality” or “suspended stability.” The difference is that it also creates a great platform for you to spring and move to the ball once you see where it is going. When you land from your split, you will automatically bend your knees and sink into the ground gathering energy to immediately propel yourself in the direction of the ball. The split-step is one of the most fundamental moves in the game and is probably the most poorly executed and most ignored. When we are tired or when we lose concentration, this is typically where it shoes up. The split is really what gets us onto the balls of our feet and initiates a proper reaction to the ball. Without a proper split, we cannot go efficiently into the next move which is the drive.
The Drive Step: The drive step creates propulsion and is the most powerful stride in our footwork sequence. It is typically a “crossover step” but may be varied depending upon specific conditions; including the amount of time you have and distance you must cover or whether you are starting from a neutral position, continuing in the recovery direction, or reversing from your recovery direction. The drive step is your launching step to the ball and must also integrate a turning action for directional purposes but also to allow the body to rotate for stroke preparation. At the same time the drive must be done smoothly enough so that the player does not lose visual focus with the ball. It must also allow the body to maintain proper balance to manage the subsequent adjusting steps and also come to a proper set-up position for the stroke. Adjusting Steps: These steps are typically smaller and more precise than the drive step and their purpose is to fine tune your position to the ball. Most of the adjustment steps are “crossover steps” but sometimes a side step or shuffle step will be used if there is little distance to cover and/or plenty of time to complete them. The Loading Step: Just before the stroke is made the body should come to a pause to collect itself for control and power. This step sets you up to go into the hit and is done by sinking onto the back foot of your stroke stance. Foot “Work” or Foot “Play?” In the accompanying video I show some typical footwork exercises. I would recommend that you refer to Pat Etcheberry’s series on footwork drills (see the TennisOne Lesson Library) for his extensive and excellent demonstrations.
Just a word of caution, when we embark on regimented drills we can sometimes become too “structured” and this can be a liability. The game of tennis is very fluid - it is constantly changing and unpredictable. We must stay open and spontaneous in order to adjust to these changes and nowhere is that more true than when it relates to our feet. In a sense our feet are really the things that are under the most pressure to accommodate all of these changing elements of ball position, speed, and time. Therefore to approach the footwork from a standpoint of developing “patterns” can be limiting. Don’t use your footwork patterns with the expectation that every shot you hit can be played out of the same approach. Do use them to develop strength, awareness, and a thorough understanding of basic repetitive footwork sequences. But also realize that you will benefit from being able to “step” outside of the box a bit and be creative, spontaneous, and flexible. So always include a bit of footwork playfulness into your practice, where you let the feet fool around on the court. It is much like a musician learning how to master an instrument. He will first practice scales ad nauseam in order to develop strength, familiarity with the instrument, and to become fluent in structure. But playing scales is not really playing music and for tennis players we are playing music without the benefit of any written score. We are more like jazz musicians tying to “flow” and be more spontaneous. So even though the structure is critical and forms the basis of your play, you should also integrate some elements of “footplay” into the practice. That is why I have shown not only some structured footwork exercises but also some more foot-loose exercises in the accompanying video. Engaging in other sports and activities that compliment tennis can also improve your footwork. In fact some coaches and players argue that countries that emphasize soccer play at an early age are more likely to produce top tennis players because of the great footwork foundation that develops through that form of training. Likewise basketball is a good complimentary sport. Children’s games like hop-scotch, jump rope, and even Hackey sack, are also good training techniques. Jogging is great to build up strength and endurance and dancing is a great pastime to develop rhythm and fluidity and increase strength. The important thing is that you put time into your footwork development. It is not the most fun or the most glamorous part of the game to practice but footwork is truly the foundation of the game in more ways than one - or even two, as the case may be. Your comments are welcome. Let us know what you think about Doug King's article by emailing us here at TennisOne.
Doug is one of the country's foremost tennis teaching innovators. Founder of Acceleration Tennis, a revolutionary teaching system, King is leading the way in reinterpreting the traditional tennis model. Doug King is currently Director of Tennis at Meadowood Napa Valley ( www.meadowood.com ), a Relaix Chateau Resort in St. Helena , CA . For more information on Acceleration Tennis please email Doug King at dking@meadowood.com. |
Doug King studied with legendary tennis coach Tom Stow and was a
former California State Men's Singles Champion
and the former number one men's player of Northern California.