The top hand will use an eastern forehand grip as well. Players will often alter these grips subtly as they become comfortable with both hands working in harmony on the stroke. Initial TurnAs with a conventional forehand, the shoulder turn and the movement of the backswing are immediate. One of the greatest learning attributes of this two-handed forehand is that the position of the hands forces a player to get the upper body turned. This is because the non-dominant hand has to “reach over” the bottom hand during the turn. This upper shoulder turn is critical to any proper forehand preparation. During the backswing, it is important NOT to let the wrists overlap. In other words, don’t let the left wrist lay over the top of the right wrist (right-handed players). If this occurs, the racquet face opens up and will either prevent a congruent vertical face during the topspin stroke. This can cause the player to slice under the ball and send it far too high. During the backswing, the racquet head should be pointed down and the racquet face closed slightly. This is similar to the take back of the two-handed backhand, (compare Serena or Venus Williams' backhand preparation), this initial move helps prepare the racquet for significant topspin. As part of the backswing, the player will want to pull the dominant elbow back as opposed to crossing or overlapping the wrists. This movement of the elbow is similar to what a person would do to “elbow” someone standing behind him.
As Monica Seles has demonstrated, the two-handed forehand can be hit open or closed stance with exceptional control and disguise. I highly recommend taking the time to review her strokes in the ProStrokes Gallery. Contact Point and Follow-through The swing to the ball is initiated by a slight shoulder turn back towards the net, the normal swing pattern for a conventional one-handed forehand, although the two-hander is usually hit with the hands slightly closer to the body. At contact, the use of two hands creates an almost automatic topspin pattern. The left hand contributes to this by pulling up on the racquet much like it would on a two-handed backhand. Because this non-dominant hand is on top and is stretched out across the body, its natural tendency is to pull up through the trajectory line. The upper body continues its rotation, (angular momentum) generated by the greater turn that started naturally on the backswing. Key point: Similar to most high-level backhands, the inside elbow will stay close to the body as the right and left hands drive up and through the trajectory line. This key point helps prevent the elbow from pulling across the body or raising up too much causing the player to push the racquet through the ball. The finish of the stroke, should be similar to that of an advanced conventional one-handed forehand. The right elbow will point towards the target, as does the bottom butt-cap of the racquet.
Additional Two-handed Methods As I mentioned in the first part of this two-handed forehand series, there are two additional ways in which a player can hit a two-handed forehand. Because these methods are characterized by a need to change grip positions, I personally don’t recommend them. In addition, the method I have described above can be used to help a player develop a more productive conventional one-handed forehand. Nonetheless, after fifteen years studying the stroke, I believe it is helpful to provide an understanding of these other two methods.
Two Backhand Method Jan-Michael Gambill’s unique ground game is actually composed of two backhands. His dominant right hand moves up slightly and provides for enough space for his left hand to grasp the bottom portion of the grip on his forehand side. This would be the equivalent to a left-hander’s backhand. Gambill actually only grips the bottom inch or so of the grip, usually with his first two fingers and thumb. He also tends to release his left hand just after contact. Regardless of whether or not one deems Gambill’s unique form successful, it does create some logistical problems. Specifically, the dominant hand must be ready to move up or down to the bottom of the grip on a moment’s notice. Following a fast serve, the hands must make this change quickly to be able to execute a groundstroke. Reverse Two-Handed ForehandThe reverse two-handed forehand places the non-dominant hand at the bottom of the grip and the dominant hand on top. Gene Mayer successfully used this pattern during the late seventies while reaching top-10 status. The problem with this method is the movement of the hands needed after a serve or to hit a volley after a groundstroke. Since these two shots require the dominant hand at the base of the racquet’s grip, a transition from groundstroke to volley—or from serve to groundstroke requires a significant shift in the grip. ConclusionThe two-handed forehand can be hit with an open or closed stance. It can increase the amount of topspin a player can regularly produce and it can help players hit crosscourt and inside out with greater angles. More importantly, the two-handed forehand creates considerable stability and helps players create a regular, repeatable swing pattern.
A Stroke for Older PlayersThe two-handed model described in this article is also an amazing
stroke for senior players who have pain associated with hitting typical
forehands due to impact stress or have minimal ability to hit a
topspin forehand. It is fun to watch all levels and ages of players develop solid and recognizably advanced swing patterns relatively quickly. Learning the mechanics of the two-hander can even help players who go back to conventional one-handed forehands. History has shown that what is considered unorthodox today can often become tomorrow’s weapon-of choice! If you or someone you might be working with is experiencing significant difficulties using a conventional one-handed forehand, training with a two-hander can radically improve their progression and success. If you have any questions specifically regarding the two-handed forehand, please feel free to e-mail me with them. If you have question for Dave or comments about his article, please email us here at TennisONE.
David W. Smith is the Director of Tennis for the St. George Tennis Academy in St. George Utah. He has been a featured writer in USPTA’s magazine Advantage, in addition to having over 50 published articles in various publications. David has taught over 3000 players including many top national and world ranked players. He can be reached at acrpres1@email.msn.com
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