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Old 02-23-2013, 10:16 AM   #58
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I see what you’re saying, but that’s not the follow through position for every shot so the thing for me to work on is consistency. Pausing at 1:20, 1:24 (not a great shot, but still the racquet position you were referring to), 1:34, and 1:41 shows a string of the follow throughs you refer to, and most of the slow mo’s have it, too.
Yes. I see. I wrote that as I was falling asleep so I missed those.

Like I noted before, I am a little surprised to see my follow through like that. The first two videos I posted had me catching the racquet over my shoulder for the most part, which kept it nice and compact. In this vid my arm is really far out there on some shots and I’m not doing a whole lot with my left arm to catch the racquet. For now, I will make a mental note and relate this to the increased effort compared to the first video.
Yup. No worries. I'm just trying to put it out there for you so that you're more aware of it.

Would a good gauge for leg use be if both came off the ground? I’m not saying I need to jump a foot in the air, but would enough spring being used result in both feet in the air? I think that is what determines good/bad leg use for the serve, so it would make sense if it applied to at least the forehand.
No. i don't think so. No need to come off the ground. You are loading some times but mostly what I'm referring to is your footwork between strokes, not in the stroke itself so much.
Look at this sequence:

You're just mosie-ing along, la de da, ho humming it, knees locked, flat footed, walking causualy over to the next stroke. haha. When you do that then when it comes time to execute the stroke it takes more energy to get going and load and go through proper motions because basically you've stopped. the body is in laze mode. You have to keep moving and be springy. The feet and body are part of the stroke. Basically you're just training your legs to be lazy. It can still be casual but..hmm.... lemme see if I can find an example.

here's fed in casual mode. but look at his feet and also the guy he's hitting with. split steps, knees bent, moving

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