In the last 30 years, the way the game is played has evolved dramatically. But one shot, the slice backhand, has made it through virtually unchanged. Ken Rosewall, a fixture in pro tennis until the mid ’70s, had one of the best slice backhands of all time. Tim Henman’s slice is in many ways identical. But if you look closely, you’ll see some subtle differences that separate Henman’s stroke, outstanding as it is, from Rosewall’s all-time weapon.

1 GRIP » Though Rosewall used a Continental grip for his slice backhand, as has virtually every high-level player, he placed his hand low on the handle. You’ll notice that the butt-cap of the racquet is not visible. Holding the racquet like this kept Rosewall’s wrist loose, enabling him to generate greater racquet-head speed and, therefore, more pace. Henman has a more conventional grip.

2 BACKSWING » Rosewall’s slice was the most penetrating I ever played against. It was always deep and the ball felt heavy when it struck my racquet. One key to this aspect of Rosewall’s backhand was that his take-back was not as high in relation to the ball as those of other players, including Henman. As a result, Rosewall’s slice backhand was flatter than most. Henman, who has a higher backswing than Rosewall does, produces more spin and less pace. Rosewall’s lower backswing also kept his racquet more in line with the ball, providing him with outstanding control.

3 RACQUET FACE » In addition to having a higher backswing, Henman also keeps his racquet face more open than Rosewall does, and there’s no doubt he’s going to put some heavy spin on the ball. Rosewall’s racquet face is not nearly as open. He’s still swinging from high to low but with an almost fl at, or perpendicular, face. That, combined with his lower backswing, gives him less spin but more pace.

4 SHOULDERS » A full shoulder turn is a critical component of a good one-handed backhand, slice or otherwise. Both Rosewall and Henman are exemplary in this regard. If we were to go back and view their preparation earlier in the stroke you would see both of them looking over their right shoulders before they begin their forward swings.

5 RIGHT ARM » Both bend their right arms slightly when they take them back, but then straighten them before impact. A common mistake I see with one-handed backhands is a bent arm at contact, which leads to inconsistency because the degree of bend can vary from shot to shot. Even worse, some believe hitting this way is a prime cause of tennis elbow.

6 LEFT ARM » Notice how both players use their nondominant arms for balance. Players with solid one-handed backhands always use their non-hitting arms as a counterbalance. On slices, their arms go up and back in a motion that mirrors their dominant arms.

7 STANCE » Even though both these guys are within milliseconds of contact, they’re still sideways to the ball. Players with one-handed backhands should have this image imprinted in their minds. They shouldn’t begin opening up with their shoulders and their stances until after they hit the ball or else they’ll tend to hit across the ball rather than through it, sacrificing power and depth.

Article by Cliff Drysdale, Photos by Russ Adams, Clive Rose/Getty Images – Tennis.com

1. The ball has just bounced, but look at how Hewitt has already prepared his racquet using his non-dominant hand to support the frame. Notice, too, how the elbow of his hitting arm is bent and the wrist is cocked. This is one of the secrets of technique for the defensive backhand; as he extends toward the ball, Hewitt will still have some measure of racquet-head speed even though he’s completely stretched. Most players who struggle with this kind of shot simply reach out to the ball without first coiling the wrist and arm, resulting in a weak reply.

2. Unlike a regular stroke, which requires small adjustment steps, Hewitt is on the extreme defensive and must make one large stride to reach the ball. As he steps out with his right foot, Hewitt starts his forward swing by letting go of the frame with his left hand and straightening out his hitting arm. What’s special about this picture is Hewitt’s balance. Even at top speed, his center of gravity is directly beneath him and his chin and eyes are pointed at the ball. This takes excellent coordination and agility.

3. This is a magnificent display of athleticism that most of us just have to sit back and admire. There aren’t many people with the core strength and the flexibility in the legs and ankles (his left one is scraping the court) to pull this move off. What’s applicable to your game is the way Hewitt extends the racquet with a nice square face. And since he generated some racquet-head speed, his return will not only go over the net, it will have some velocity on it. Notice, too, how Hewitt keeps his back straight and his head up. This helps maintain beautiful balance and will enhance his shot.

4. Hewitt is in such a desperate situation that his body is almost completely turned away from the net. Yet his posture doesn’t suffer. One of the reasons his body is so composed is that he extends his left arm out to counterbalance his right. Had the left arm come around, Hewitt would have lost his balance. As he completes his swing, Hewitt’s racquet face is slightly open. This gives the ball height over the net, and he now has a chance to get back into the point.

Article by Nick Saviano, Photos By Manuela Davies/Propix – Tennis.com

In a game dominated by power hitters, Martina Hingis’ brand of control-oriented tennis makes her a fan favorite. A genius at geometry, the former world No. 1 uses the whole court to beat her opponents. Not only does she use angles and drives to move them side to side, but she also regularly throws in hard-to-read drop shots to get them running up and back. Here’s how she executes them.

1. Hingis has recognized that she has to hit a backhand, and her preparation has begun as it would for a backhand drive. There’s nothing at this point that would give her opponent a clue that she’s going to deliver a drop shot instead. Also, notice her location on the court. She’s right on top of the baseline and moving forward, which is ideal for the drop shot. You don’t want to try difficult finesse shots from deep behind the baseline.

2. Look at her feet. You can tell she’s using small, measured steps to put herself in position for the oncoming ball. Although Hingis may not be the fastest player on the tour, her footwork—the way she prepares with her feet for each shot—is among the best. As a result, her entire body, from her shoulders to her feet, is perfectly balanced. She appears to be using a semi-Western grip with her left hand and a Continental with her right, which is ideal for two-handed backhands.

3. We now see the first hint that Hingis won’t be driving the ball. Her hands are separating on the grip, indicating that either a slice or a drop shot is on the way. She uses her left hand to cradle the throat of the racquet and assist in the take-back. Also, because Hingis uses a Continental with her right hand on her two-hander, she doesn’t have to change her grip with that hand regardless of her shot selection. Her weight is loaded onto her back foot as she gets ready to step into the ball.

4. We can now tell that Hingis is committed to a drop shot, and not a slice, because her racquet is going higher but not much farther back. If she were planning to deliver a slice, the racquet would be more behind her. Note that Hingis’ body is facing the side of the court, something that players with two-handed backhands often fail to do. For a drop shot, let the ball come to your side more than you would for a drive.

5. Hingis’ weight has almost fully transferred onto her right leg as she continues to move into the ball. Again, look at her balance. The legs, hips, shoulders—everything is in the right position. Her hands are perfectly behind the ball and she’s measured exactly how she wants to address it. Her left hand is still cradling the throat of her racquet and her left palm is lined up with the racquet face, helping to guide it into position.

6. Hingis makes contact right in the middle of the string bed. Keeping your shoulders closed helps you swing through the ball, and players with one-handed slice backhands do that by letting their off hand move back and act as a counterbalance. Players with two-handers tend to push through with their off hand—as Hingis does here—and, as a result, have to make a special effort to stay turned.

7. After hitting the ball, Hingis continues to move through the shot and into the court. Her footwork is exemplary. She’s using what’s called a carioca step, which allows her to move forward while remaining sideways. If you look back, you can see her core has remained sideways since the second frame. Her focus is still on the contact point; her head has remained still, and she hasn’t looked up to follow the ball yet.

8. Hingis has started her recovery and has begun to look to the other side of the court to gauge the success of her drop shot. She’ll continue to move forward after striking the ball and will try to anticipate her opponent’s reply, if there is one, and take it out of the air if possible. She never assumes that her drop shot will be an outright winner. This is a great lesson for everybody.

Article by Lynne Rolley, Photos by David Kenas – Tennis.com

The great thing about Novak Djokovic’s game is how complete it is. He can do pretty much anything. And while his forehand is a punishing stroke, his backhand might be the more solid of the two shots. Djokovic can hit the ball cross-court or open up the court with a shot down the line. It’s a big part of his constantly improving game.

1. This is a classic preparatory position for a two-handed backhand. Djokovic is looking over his dominant shoulder to track the ball and has excellent balance and posture. His hands are slightly higher than his waist, with the racquet head above his wrists and pointed back and up at 2 o’clock. He’s behind the baseline, but Djokovic is giving himself ample opportunity to step into the shot.

2. Djokovic takes his racquet back by employing a full shoulder turn. It’s a fairly straight backswing with the racquet head up. It appears as though Djokovic is making a loop, but the position of his frame is a result of his full upper-body rotation. At this point, Djokovic plants his left foot and loads all his weight on it. He’s ready to start his forward swing.

3. Djokovic’s hands get more involved in the stroke as he raises them and increases his shoulder turn. He’s beginning to transfer his weight by stepping forward with his right foot, which is parallel to the baseline. (Ideally his foot would be at a 45-degree angle with the baseline to allow him to open up faster.) The thing to appreciate is the position of Djokovic’s hips. They’re fully rotated and coiled, and as the sequence continues he does a great job of releasing them into the shot.

4. As he gets ready to unleash on the ball, Djokovic points the butt cap of his racquet toward the other side of the net. He’s starting to drop his racquet head, but he’ll only get under the ball enough to give it a little bit of topspin. Djokovic is also pushing off the toes of his back foot and starting to open up his hips.

5. Djokovic makes contact in front of his body and at waist level. Notice how his hands are moving away from his torso and working together; neither is dominating the other. His legs are straightening to lift his body up into the shot, and his hips and shoulders are opening up. Djokovic’s shoulders are more uneven than usual, but that could be a slight improvisation to compensate for the ball’s height and position.

6. There’s so much momentum created by his racquet acceleration, trunk rotation, and the weight shift in his legs that Djokovic is off the court when he follows through. Even though he’s in full swing, his head and body remain composed. Djokovic’s arms extend through the hitting zone as his hips open up. His belly button, which was pointing to the side in his backswing, now faces the net.

7. Both of Djokovic’s elbows are pointing away from his body as he follows through. All his weight is now on his front foot, and his left leg is starting to come around to aid in his recovery. Djokovic has kept his head down throughout the stroke; only now is he tracking his shot. Judging the ball’s flight path and his opponent’s reaction will give Djokovic a better idea of where to position himself for his next shot.

8. The ball has left the frame, but Djokovic is still completing his long follow-through. This is a great lesson for rec players—finish the swing first, then recover. Djokovic’s left leg is swinging out so he can plant it and move back toward the center of the court. He’s low to the ground, with his balance still perfect. That will help him explode to wherever the next ball goes.

Article by Harold Soloman and Andy Brandi, Photos by David Kenas – Tennis.com

Justine Henin is a big player for such a small woman. I first saw her play when she was 10 years old and it was apparent even then that she was tremendously talented. Her signature shot, the one-handed backhand, was well on its way to becoming the beautiful stroke it is today. There’s nothing Henin can’t do with her backhand. In this sequence we see her produce one of the most difficult shots in the game, the backhand topspin lob.

1. Disguise is key for an effective topspin lob and there’s nothing about Henin’s preparation that signals that she’s about to hit one. Instead, she gets directly behind the ball and positions herself as if she’s going to hit any other passing shot. The racquet is up behind her head and her shoulders and hips are turned, which is critical on a one-handed backhand. You can’t see it in this photo, but her left hand is cradling the racquet at the throat to assist in her shoulder turn. She’s also bending her knees and loading her weight on her back foot.

2. Henin begins to drop the racquet head under the ball. Her left hand is just coming off the throat, which gives you an indication of how much she uses it to guide the racquet. She has an extreme grip as opposed to the classic Eastern backhand grip. I’d call it a semi-Western backhand, because her hand is so far around on the handle. Her balance and posture are excellent, and her head is very still as she begins to transfer her weight to her front foot.

3. Only now can you tell that Henin is going to hit a lob. Her racquet head has dropped very low so it’s well under the ball. She’s going to bring her racquet up quickly to brush behind the ball and lift it over her opponent’s head. Her hitting arm is extended out and she’ll make contact well ahead of her front foot. Her head has not moved since the first frame.

4. If you compare this frame to the previous one, you can see Henin’s sharply vertical swing and how she’s rotated her arm to produce the topspin she wants. She can do that because her extreme grip keeps her racquet face more closed than a conventional Eastern. I also like how her left hand stays back to counterbalance her hitting arm. She has fully transferred her weight to her front foot and sent the ball on its way, yet her head is virtually in the same place it was in the first frame.

5. The momentum resulting from Henin’s extreme upward swing path and the extension of her hitting arm has carried her slightly up onto the ball of her front foot. But Henin has maintained perfect posture and balance, showing that she has excellent technique and strong core muscles.

6. It’s interesting to see that Henin has kept the same 90-degree angle between her racquet and forearm in the last three frames. Instead of using her wrist to flick the racquet as you might expect, she rotates her forearm and shoulder to produce a sharp upward sweep. Though we can’t be certain, this may be because she decided to hit the lob at the last instant. Either way, she disguised and executed it perfectly.

Article by Lynne Rolley, Photos by David Kenas – Tennis.com

Reigning Wimbledon champion Amélie Mauresmo is an all-court player who, unlike most of her peers, regularly attacks the net. And whether she’s coming in off a short ball in a rally or attacking a weak serve, as she is in this sequence, her slice backhand approach is the shot she uses most often to get her to the net and pressure her opponent.

1. Mauresmo is attacking her opponent’s weak serve and has moved inside the baseline to take the ball early. Any time you approach, you should be at least in front of the baseline before you strike the ball. Mauresmo has a perfect shoulder turn—her chin is over her right shoulder—and her backswing is compact. Many players have too much backswing on the approach shot; because you’re moving forward you need to keep it short. She’s balanced, with most of her weight on her back leg, ready to transfer her weight forward as she hits the ball. Too many players bend at the waist and reach on the approach shot, sacrificing power and control. Though it’s hard to see in this shot, Mauresmo’s using her left hand to cradle the throat of the racquet and assist in the take-back. Her right arm is slightly bent and she’s using a Continental grip.

2. Mauresmo’s head is in good position, with her eyes fixed on the ball. She’s moving forward, which will give her shot extra bite. You can tell from the shadow on the court that the ball is just inches from her racquet and will probably hit the string bed slightly below center, which is what you want on the slice backhand because the ball will slide along the strings. Impact will occur just in front of her right foot. Pay attention to her left arm in this frame: Mauresmo moves it back in the opposite direction from her hitting arm to maintain her balance.

3. Notice the angle formed by Mauresmo’s forearm and her racquet. It hasn’t changed since the first photo. She has no unnecessary wrist action in her backhand approach, which translates into greater control and consistency. And now you can really see how her left arm extends back to counter her right arm. This movement is important for maintaining good balance. It also keeps her upper body sideways for a longer period of time, allowing her to hit through the ball effectively. Mauresmo’s head is still and she has her eyes on the flight of the ball rather than on her opponent or her target.

4. Mauresmo’s follow-through, like her backswing, is compact, which is what you want on an approach shot. With so much going on as she advances toward the net, she needs to keep her mechanics as simple and efficient as possible. Excess motion often leads to mistimed shots. Her weight is not only moving forward, but she’s also moving back into the court to gain good net position. Again, note how her left hand perfectly mirrors her right. To practice this movement, imagine that you’re a baseball umpire signaling “Safe!” whenever you finish your slice backhand.

Article by Anne Smith, Ph.d – Tennis.com

Serbia’s Jelena Jankovic likes to clock the ball, and in a baseline battle she can hang with the best. Last year, she beat the likes of Nadia Petrova, Elena Dementieva, and Svetlana Kuznetsova on her way to a career-high fi nish of No. 12 in the world. While there’s lots to like about Jankovic’s game, it’s her two-handed backhand that stands out. It’s her go-to shot when she gets an opportunity to take a ball early and punish it.

1. Jankovic is taking small adjustment steps, and you see space under both of her shoes. You can tell from her position near the baseline and the eager look on her face that this is going to be an attacking backhand. Also notice how she turns her shoulders and starts her backswing together. This is the key to getting good upper-body coil. Her grip is semi-Western with her left hand, and somewhere between a Continental and Eastern with her right.

2. Jankovic has loaded up and stored her weight on her back foot and is now ready to explode forward. She has done this so intensely and effectively that her right foot is off the ground a little bit. After starting her racquet high in the strike zone in the last frame, she’s now dropping it, forming the back part of the C that you want in a loop backswing.

3. This is what a world-class shoulder turn looks like. Jankovic is looking over her shoulder, and you can see that the muscles in her arm are stretched. It appears she’s readying for an aggressive, on-the-rise backhand. Her stance is open, and her racquet is behind her. It’s actually a bit too far back for my taste—I prefer to see the frame not break the plane of the body—but it’s OK if the ball is coming in slowly.

4. Jankovic has chosen to take a high-bouncing ball at shoulder height rather than move back and let it come down. In other words, she’s playing the ball and not letting it play her. Because of the height of the ball, she’ll be driving it slightly downward into the court. That’s why her right shoulder is tilted down a bit. I prefer the shoulders level, but sometimes your intentions will modify your mechanics.

5. Contact occurs with the ball nicely centered on the strings, and Jankovic has exploded into the shot so much that she’s catapulted herself off the ground. This wasn’t her intention but the result of the momentum she produced with her legs, hips, and shoulders. Still, her eyes are fi xed on the point of impact.

6. Here you see her outstanding extension and weight transfer. Jankovic has hit through the ball and continues moving her racquet toward her target. Notice how she uses her shoulders to bring the racquet through—she doesn’t arm the ball—and as a result she’s using every part of her body for power. Players with the best two-handers use their bodies as a unit.

7. Jankovic has landed on her front foot, and there’s so much weight transfer that her back foot has kicked up just as it might on a serve. That’s because of the momentum she built up going into the shot; it’s not something she did on purpose and it’s not something you should copy. Depending upon your intention with a particular shot, the back foot can do many things.

8. Following her aggressive assault on the ball, Jankovic wraps the follow-through fully around her body as her racquet decelerates. Compare the position of her shoulders from the first frame to this one and you’ll see she’s gone from looking over her right shoulder to looking over her left.

Article by Rick Macci, Photos by David Kenas – Tennis.com

It isn’t just that Roger Federer can masterfully hit any shot in the book—and a few shots that aren’t—but that he makes it look ridiculously easy. One of the keys to Federer’s success, and the principle reason his strokes look so effortless, is his extraordinary balance. Whether he’s hitting his huge forehand or his impressive backhand, he keeps his head and upper body remarkably quiet throughout the stroke.

1. Judging from his knee bend, you can tell that Federer is preparing for a low ball, perhaps an approach shot from his opponent. Even though he’s reacting quickly, he looks completely under control. He’s already changed his grip to one that’s slightly farther over from a classic Eastern. Also, notice the position of his racquet as he’s moving. Many players think you should prepare by immediately taking the racquet all the way back, but that’s not an efficient way to run. And while Federer’s shoulders have begun to turn, he won’t rotate them more until he plants his right foot.

2. Cradling the racquet in his left hand to control his backswing, Federer starts to turn his shoulders in unison with his racquet take-back. I like how his head is right in the center of his body. Pay attention to how he’s pointing his shoulder at the oncoming ball. This ensures good upper-body rotation, which is something many beginners and intermediates don’t do well. A full shoulder turn, along with a sound backhand grip, will help you drive the ball as well as avoid elbow problems.

3. This is a striking example of Federer’s excellent balance; he’s in the optimal position for this low ball. Even though he’s dragging his toe, he’s still got a lot of his weight on his left foot. Many players would have moved most of their weight onto their front foot at this point, which would cause their momentum to continue to the side after striking the ball and result in a more difficult recovery. Federer’s racquet is all the way back at this point and his shoulder turn is full, about 45 degrees to the baseline. His head, though, has barely moved from the previous photo.

4. Federer has just struck the ball and his left knee is almost touching the ground. His upper body remains still and balanced. This shot reminds me of how great downhill skiers allow their legs to go up and down like pistons but their upper bodies remain relatively quiet and straight up. Federer’s legs are doing all of the work of getting low to the ball; he’s not bending at the waist. It takes great core and quad strength to do this, but the payoff is that there’s no stress on the back. The angle between his arm and his racquet shows that he’s using a strong grip that will resist impact well.

5. Federer’s non-playing hand is back and down to counter balance his racquet hand going forward and up. Also, when the left arm goes back like that, it keeps the shoulders from turning and accelerates the right arm, giving you more power. As you can see, Federer’s shoulders are still sideways to the baseline. One common problem that players have with the backhand is that they pull up and open their shoulders so they almost face the net, losing power and control. Here, Federer’s head has hardly moved at all, and he has finished with his body perpendicular to the target.

6. Federer is recoiling after the swing,and it’s only now that he has started to look up and watch his shot. His body is still balanced, and because of that he won’t have to take an extra recovery step. If he were leaning over on such a wide shot, he would have to take one more step. One of the big differences between a good player and a great player is recovery, and you can’t recover well unless you have excellent balance. This is one reason Federer gets to so many balls.

Article by Stan Smith, Photos by Tommy Hindley – Tennis.com

A few years ago at the U.S. Open I saw David Nalbandian play for the first time. He was about to turn pro and I was extremely impressed with how smoothly and easily he executed his strokes, especially his backhand. Whenever I teach students how to hit the two-handed backhand, I encourage them to watch Nalbandian at work. His balance, posture, and effortless power are exemplary. When you look at his stroke, pay particular attention to his extension (Picture 4)—it’s as good as it gets.

1. Nalbandian brings his racquet back fairly high with a straight right arm. Preparing the racquet at this level is not for everyone because you have to drop it quickly to get it below the ball. It looks like Nalbandian is holding his racquet with a Continental grip in his right hand and a Western grip in his left, which I really like. His stance is square to the net, and he’s nicely balanced, ready to step forward with his right foot. His head is up (it’s important not to drop it) and his eyes are focused on the ball.

2. The ball comes into view as Nalbandian drops his arms and racquet. What he does particularly well here is keep his arms straight rather than break his wrists to lower the racquet. That prevents his backhand from becoming too “wristy.” Nalbandian has started to shift his weight to his right leg so he can get forward momentum into the shot. His feet are still fairly close together and his knees have a nice bend in them. This is an excellent setup for Nalbandian to hit the daylights out of the ball.

3. At contact the ball seems a little bit high in his strike zone, but Nalbandian still nails it. His racquet face looks slightly closed, but this is a fraction after impact—it was perfectly level when he struck the ball. Since well beneath the ball, there will be plenty of topspin on it. Nalbandian’s right knee is completely straight, something I don’t usually tolerate, because I’d prefer some flex. But some players feel they can get more topspin this way.

4. The thing you should take away from this frame is that when Nalbandian has driven through the ball, his left arm has come through fully extended as if he has just hit a lefty forehand. You won’t find a better example of a player driving through the ball on a two-handed backhand. In fact, everything looks solid. His wrist isn’t floppy, his balance is steady, his weight has shifted forward, the upper body and head are nicely composed, and his lower body continues to open as his left leg comes around.

5. Once the left foot plants on the court, Nalbandian will be ready to move back into position toward the center. Many club players have trouble opening up the hips and shoulders like this on the two-handed backhand and end up with their weight on the back foot. Do what Nalbandian does—this is textbook stuff.

Article by Robert Lansdorp, Photos by Tommy Hindly – Tennis.com

SHOULDERS » Safin accompanies his racquet take-back with a significant shoulder turn. His front shoulder is even with his chin, and you can see a good portion of his back. This will get a great deal of upper-body rotation into the shot and help him generate huge power when he wants it.

ARMS » As he prepares his racquet, Safin’s elbows are bent and they hug his body. This is going to create a longer and more powerful swing than if his arms were completely straight. In today’s game, the bent elbow is a widely used style, and in my opinion a good option.

LEGS » Safin closes off his stance to hit this particular backhand, but he can hit this stroke with his feet in any alignment. Again, the key for a potent two-hander is good shoulder rotation, and Safin can do that whether his stance is open, or, as in this case, closed.

RACQUET HEAD » Although Safin’s racquet is not much farther away from the ball than Connors’, look how much higher it is. Yet Safin will still have time to drop the racquet below the ball and brush up. This makes for a longer and faster swing that will produce pace as well as spin for safety.

WRISTS » Along with a bend in the elbows, Safin also has some flex in his wrists. This will allow him to drop the head of the racquet below the level of the ball and snap up from low to high, creating significant topspin. Safin can still hit with power and control but can also create sharper angles than if he were to hit primarily flat.

Article by Cliff Drysdale, Photos By Corinne Dubreuil – Tennis.com