1-2 Rhythm on the Two Hander
Nick Wheatley
In my first article we saw how to develop 1-2 Rhythm on the forehand. Now let's turn to the
two-hander.
What is 1-2 rhythm? A simple idea that breaks down tennis strokes into just
two parts. Part 1, the set-up phase, is smooth and deliberate. Part 2, the
execution phase, is explosive and full of energy. Feeling this rhythm helps
players improve their timing and energy transfer into their shots.
Phase 1: Smooth and Deliberate. Phase 2: Explosive!
Differences
Although the basic principle is the same, there are key differences between
the forehand and two-handed backhand that relate to the pattern of racket
acceleration. As we saw in the first article on the forehand, the racket can
start building acceleration just before the transition point between the two
phases. But the acceleration starts a little later on the two-hander.
Let's see how that works. And one interesting additional point: some of the
most common technical flaws on the two-hander tend to magically disappear when
players develop the 1-2 Rhythm pattern.
Phase 1
As with the forehand, Phase 1 on the two hander begins with a unit turn. As
the torso and feet turn sideways the arms and racket have minimal independent
movement and more or less come along for the ride as the body turns.
The set-up phase completes with the full shoulder turn. The shoulders have
rotated at least 90 degrees and usually more, just past sideways to the net.
The motion is generally continuous. However the completion of the body turn may
happen slightly more slowly when players move further to the ball.
Slower Arms
The big difference compared to the forehand is in the speed of the movement
of the arms and racket. Rather starting to accelerate before the completion of
Phase 1, they actually tend to slow down on the two hander. Sometimes in fact
the movement of the arms and racket appears to stop altogether at least for a
fraction of a second.
The arms slow down toward the completion of Phase 1 on
the two-hander.
This slowing toward the end of Phase 1 is often so pronounced that it is
apparent to the naked eye. This is very different from the forehand where the
racket is usually starting to build speed at the same point.
Characteristics of the
Transition
A slightly higher racket position at the end of Phase 1
can add acceleration in Phase 2.
What are the two-hander checkpoints for the transition point between the two
phases? The first is the racket head tilting upward, positioned above the
height of the racket handle. How high varies from player to player and is
dependent on personal style.
However, I personally believe the swing becomes more efficient when the
racket head is higher, with more potential to accelerate in the downward drop
before moving forward to contact. This increases the potential for power and
spin.
Another characteristic I look for at the transition point is that the racket
face is on edge or slightly closed. It shouldn't it be too closed though, and
it definitely should not be open.
I also prefer that the racket position not go too far behind the body, as is
sometimes common on the women's tour. Ideally the hands will stay on the
player's hitting side. For me, a few examples of the right backswing stand out:
Tomas Berdych and Novak Djokovic are two obvious ones. Juan Martin Del Potro is
another.
Danger
A common danger is a backswing that moves too much to the side and stops too
short. You see this even with pro players including Jo Willie Tsonga and John
Isner, the same tendency you saw in the backhands of Carlos Moya and Andy
Roddick. I think this is the main reason those players have relied more on
their forehands.
Even top players like Isner can take the backswing too
much to the side.
Phase 2: Explosive
At the end of part 1, as noted, the racket slows down and can even stop for
a fraction. From this point there is no further backswing. Now the forward
swing begins, and with it the acceleration. This acceleration is continuous
from the moment Phase 2 begins up to contact with the ball.
Phase 2 is initiated by two movements. First dropping the racket head
managed by loose and flexible wrists. Second, pulling the hands forwards.
These two factors are critical for achieving an efficient swing with great
1-2 Rhythm, and especially, to maximise the energy and explosiveness that is
associated with Phase 2.
The explosiveness of Phase 2 is fuelled by hip rotation, leg drive, and
rapid acceleration of the hitting arms towards contact point. The combination
is what creates great power and spin.
Technically this explosiveness will reach its peak at contact point, but the
player trying to develop it should imagine explosiveness through contact. This
promotes excellent extension of the forward swing. After the extension, the
finish will naturally allow the arm, and racket to decelerate and recover.
Players should imagine the explosion continuing through
contact.
The role of leg drive in Phase 2 varies depending on the hitting stance.
Since many or most backhand drives are hit from neutral or closed stances, the
front foot stays planted through the shot.
On these backhands, the leg drive isn't as big a factor as on the forehand
or on open stance backhands. This helps explain why pro two-handers do not
explode into the air as they commonly do on the forehand side.
Technical Flaws
One fascinating benefit of 1-2 Rhythm is how it tends to magically eliminate
certain technical flaws common at the club and junior levels.
Many players, even elite junior players, have a two-handed backhand in which
Phase 1 is unnaturally segmented. What I mean is they have a distinct pause in
the middle. This is very different than slowing the hands at completion of
Phase 1.
When these players resume the motion after this initial pause, they have to
rush the rest of the take back and then the forward swing. It's not a 1-2
Rhythm anymore, but more of a 1-2-3 Rhythm. Sadly, I've seen this pattern
taught by coaches, causing real timing problems when the speed of the ball
increases in older age divisions or higher levels of club play.
An example of the flawed pause in the middle of Phase 1.
The next two problems are more natural tendencies that some players just
seem to develop as they hit countless backhands in practice and in matches.
One is to start the forward swing too early. The racket head starts to drop
down but then slows or stops. It then starts again but the acceleration is now
only from the dropped down position forward. The momentum of the backswing is
lost. It's another version of a '1-2-3' Rhythm just with the extra pause in a
different place.
The final common problem I see is players adding extra, unneeded backswing.
They may have a smooth and continuous part 1 and a well-timed start to part 2,
but then they move their hands further back and/or behind them before swinging
forward.
These technical flaws can all really hurt the natural 1-2 rhythm that helps
the backhand become efficient, powerful, and reliable under pressure. At the
pro level we can find minor technical flaws in the groundstrokes of even the
top players, but they all have exceptional 1-2 Rhythm. I'll take a somewhat
technically weaker backhand with great 1-2 Rhythm all day.
Feeling and Flow
Ultimately, mastering 1-2 Rhythm is a matter of feeling and flow. It is
based on being relaxed and hitting with a relaxed body and relaxed arms.
In the end it's about the feeling and flow that come from
great 1-2 Rhythm.
Yes, it's
important to understand the body, arm, and racket positions during that moment
that Part 1 ends and Part 2 begins, but those checkpoints shouldn't look forced
or mechanical.
The checkpoints
are not an end in themselves. They are descriptive terms used for developing
rhythm. And rhythm is not the same thing as analysis or understanding. It's not
about mechanically making the checkpoints - it's using them to develop flow.
As we noted in the forehand article, players should develop a key word for
each Phase. The player can repeat theses key words out loud during practice,
and then learn to say the same key words to himself during match play.
Some examples that I have found powerful and effective are
"Smooth" and "Explode." Another combination is
"Slow" then "Fast." A third is simply "1-2." In
all cases the first word is said slowly and the second quickly corresponding to
the timing of the actual movement.
These words help create the feeling of executing in rhythm. If you develop
1-2 Rhythm you will know it--from how it feels to play the game!
OK so much for the two-hander. We'll look at the one-hander next and then
move on to the serve! See you then!
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 Nick Wheatley is an LTA Performance Coach and head coach at Hawker Tennis in south west London. His junior teams, the Hawker Jets, have won 44 competitions since formation, and over the last 2 years alone, his junior players have won 19 singles tournaments between them at county level. He has been ranked in the top 75 nationally in 35 and over singles and in
the top 5 in Surrey county. Nick has done video analysis for numerous players
at all levels, including former British Top 10 player Marcus Willis. His unique teaching video series, covering every aspect of the game, is
available on his website www.nickwtennis.com
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