Basketball Skills

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ibrary of Congress Cataloging-in-Publication Data

Krause, Jerry, 1936-

asketball skills & drills / Jerry V. Krause, Don Meyer,erry Meyer. -- 3rd ed.

cm.

ncludes bibliographical references and index.

SBN-13: 978-0-7360-6707-2 (soft cover)

SBN-10: 0-7360-6707-8 (soft cover)

Basketball--Coaching. I. Meyer, Don. II. Meyer, Jerry.I. Title. IV. Title: Basketball skills and drills.

GV885.3.K68 2008

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007012745

SBN-10: 0-7360-6707-8

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opyright © 2008, 1999, 1991 by Jerry V. Krause



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ontents

REFACE | INTRODUCTION | KEY TO DIAGRAMS

CHAPTER 1 Basic Body ControlQuic k StanceQuick Starts, Step s, Turns, andStopsQuick Jumps

Basic Body-Control DrillsCHAPTER 2 Advanced Body Control

Concepts of M oving Withoutthe BallBasic Moves or St eps Withoutthe BallScree n MovesDrills for Moving Without theBal l

CHAPTER 3 BallhandlingPassing and CatchingPassing PrinciplesTypes of PassesCatching PrinciplesCommunication of Passing andCatching



DribblingBasic Ballhandling Drills

CHAPTER 4 ShootingField-Goal ShootingShooting MechanicsTypes of ShotsFree-Throw ShootingShooting Drills

CHAPTER 5 Outside Offensive Moves:Playing the Perimeter Fundamentals of Live-BallMovesFundamentals of Dead-Ball

MovesPerimeter Drills

CHAPTER 6 Inside Offensive Moves:Playing the PostPost Play FundamentalsPost SkillsPost or Inside MovesPost Drills

CHAPTER 7 Individual Defense

Fundamentals of DefenseEssentials of Defense



On-the-Ball Defense

Off-the-Ball DefensePost DefenseOn-the-Ball to Off-the-BallDefenseOff-the-Ball to On-the-BallDefenseSpecial Defensive Situations

Pressuring the ShotDefensive DrillsCHAPTER 8 Rebounding

Rebounding ToolsMotivating Players to ReboundRebounding RulesDefensive ReboundingOffensive ReboundingRebounding Assessment

Rebounding DrillsCHAPTER 9 Team Offense

General Offensive PrinciplesPlayer Positions andResponsibilitiesOffensive Team TacticsDrills for Team Offense



CHAPTER 10 Team DefenseDefensive Court LevelsDefensive CategoriesDrills for Team Defense

RILL FINDER | REFERENCES

NDEX | ABOUT THE AUTHORS



reface

etter Basketball Basics (Leisure Press) was the originaloundation book for Basketball Skills and Drills thatocused only on fundamental skills of the game. This 1983ublication, which featured 550 sequential pictures,ecame extremely popular with coaches and sold out itswo printings. In 1991, the concepts of this book wereefined and developed into the first edition of Basketball kills & Drills (Human Kinetics). The 1991 book quicklyecame a bestselling teaching and learning reference for asketball. Almost 100,000 players and coaches agree thathis book is the simplest, most comprehensive treatment of asketball basics, the fundamental skills of the sport. Theddition of Don Meyer and Jerry Meyer as coauthors onhe second edition brought new contributions withxpertise in successful playing and coaching from two

more generations of linked experts who built their careersround successful execution of basketball fundamentals.

I see k to leave the world a little better place than I ound it.”

ames Naismith, Inventor of Basketball

his edition brings to bear over 100 years of overlapping,elated basketball experience (all age and skill levels andoth genders) that is concentrated on the basics. Thus,



asketball Skills & Drills can function as the definitiveource of fundamentals for coaches, players, and parents.is designed to be the primary basketball reference

ocused on elementary, middle, or secondary school and

outh basketball levels. It also can be used as a textbook or classes in basketball coaching theory where the focuson fundamentals. Improvements include the following:

updated and expanded primary concepts for each skill,

additions to the teaching methods, alternate ways to teachnd learn skills in order to teach all players better,

eferences to players and coaches who also emphasizeundamental skills,

addition and modification of court diagrams and clear,ccurate illustrations,

a more comprehensive teaching and learning package;oncepts, critical cues, and other new teaching tips,

expansion of the sequential, progressive drills for eachhapter,

roubleshooting sections where common problems and

emedies can be found, and

kills assessments, both observational (in the



oubleshooting sections) and quantitative measures for atus and improvement.

he basic skills are the foundation for success at all levelsf basketball. For example, Michael Jordan, Tim Duncan,nd Dwayne Wade, three of the greatest players ever,ombined the proper and quick execution of exceptionalundamental skills with great natural abilities. Theseuperior skills were developed through years of edication to continuous improvement. Hall of Famelayer and coach John Wooden stated that all players mustarn to execute the fundamental skills properly anduickly in order to be successful. Basketball Skills &rills can help all coaches and players reach that goal.



ntroduction

layers and coaches need to develop lifetime habits of arning, because life is about learning. They need to

ommit themselves to constant learning, to move forwardnd to make progress in basketball and in life, to preventhe repetition of past mistakes, to benefit from thexperience of others, and to improve performancencluding basketball performance) over time. Learning isne of the most valuable ways to spend time.

I’m a teacher and coach. Teaching is what I love most,he heart of my coaching style. The best thing about myrofession is that I can teach.”

Mike Krzyzewski, Hall of Fame Coach, 2008 USAlympic Coach, Duke University

oth players and coaches need to appreciate the value of arning. It can be a natural, enjoyable, productive, and

atisfying activity when approached with a positivettitude. When they are open to learning and growth, they

will learn. They need to make a connection between whathey want to achieve and what they need to learn in order o achieve their goals.

he knowledge of how to learn effectively helps bothlayers and coaches make the most of the instruction that



his book offers. The essential concepts are the following:

Admit mistakes or ignorance. Acknowledge that you don’tnow something and even be willing to look foolish whileou learn and make mistakes. Develop a mistake

mentality by asking questions and taking risks.

Begin learning with questions. Let what you know aboutasketball skills be a starting point each day. Start with ahallenge, a problem, or a question that propels you toarn more. Have the humility to use your limitednowledge as a starting point for further learning.

Bring your knowledge to life. Learn why you are doing akill and that skill will have more meaning.

Take responsibility for your own learning and for thearning of those around you. This combined synergy

llows individual and team learning to occur at a muchaster rate.

Learn from experience. Turn information into knowledgey applying it and working with it. Use drills to developkills that can be used to play the game better. Play theame to discover weaknesses that can be improvedhrough drills focused on specific skills.

Learn from other people, especially those who are



uccessful. Coaches can study the lives of Hall of Fameoaches to learn “the best ideas from the best people.”layers can also learn from each other and from morekilled, older players. Seeing from someone else’s

erspective is a great way to learn.Learn by teaching. Players should be encouraged to teachnd learn from each other (buddy coaching) and to teachounger, less experienced players. One of the best ways toach others is by doing your best. Others are more

nterested in what you do than in what you say.

Never stop learning. When you integrate learning into allhat you do, you benefit immensely. Every moment, everyme that you make learning a priority, you bring something

ositive into your life—a learning experience.

asketball Skills and Drills

asketball Skills & Drills is about learning theundamental skills of basketball that coaches teach andlayers learn. The acquisition of basic skills is highlyependent on optimizing the teaching and learning processor a successful end product—athletes who have learnedasketball skills at the highest level.

RITICAL CUE:



Movement skills are learned over time—patience isssential.

ny athlete brings to the game inherited genetic movementaits called abilities. These fundamental movementomponents—such as reaction time, predominant type of

muscle fibers, and depth perception—are the buildinglocks for movement potential. The focus of teaching andarning, however, needs to be on the skills developedom those abilities. Many coaches and basketball expertsssert that players focus on “style over substance” andrefer to use inherited abilities (the quick fix) rather thanevelop skills (the slow process). It is easier to dunk theall than to execute a challenging pass and catch for aam basket. The focus in this book is on the controllable

nd gradual process required to teach and learn basicasketball skills, a process that depends on the substancef the skilled athlete rather than that of the stylistic athlete

who relies on movement abilities. Coaches and playerseed to focus on teaching and learning the basic skills of

asketball and on the process more than the product (angle performance). They need to build on each player’sbility base for developing basketball skills.

RITICAL CUE:

asketball skills: learned movements built on inheritedbilities.



oaches and players often use drills as necessary tools tonhance skill learning. However, they are only tools, nothe end result. Thus, the focus should always be on theesired skills, not on the drills. The drills in this book

ave been carefully selected to assist players and coachesn improving fundamental basketball skills.

RITICAL CUE:

ocus on skills, not drills.

oaches and players can modify and develop their ownrills to learn basketball skills as game moves at gamepeed. Naismith Hall of Fame coach Henry “Hank” Ibaaid it this way, “Practice the game in the manner in which

is to be played.” Legendary football coach Joe Paternoaid, “A coach must replicate what is the game.”

evels of Learning

Movement learning experts have found that basketballkills are learned in three stages:

Cognitive stage: The player forms a mental picture of thekill, usually by using a demonstration or explanation fromhe teacher or coach.

Practice stage: This occurs when the player imitates the



emonstration, the imitations are corrected and reinforced,nd the skills are repeated.

Automatic stage: Players can perform skills withouthinking. The movements have become habits and can beerformed as game moves at game speed.

RITICAL CUE:

rills should be aimed at game moves at game speed.

asic skill learning in stages can also involve the senses:

The look of a skill: A player knows what a proper skillooks like and uses the dominant visual sense to learn the

kill. Partner or buddy coaching allows a player toevelop this stage—watching (and seeing) teammateserform the skill and then reinforcing what they are doingorrectly as well as correcting their mistakes. To

maximize team learning of basic skills, coaches shouldonvince all players to take responsibility for the basickill learning of all of their teammates. A team is only asrong as its weakest link, and its strength is alsoependent on each player teaching all of the other playerse.g., the use of echo calls, as discussed later).

The sound of a skill: How a movement sounds is another lement of learning in this model. After players know the





oaches, the challenge is to know how to teach players inway that allows them to learn best. Communication, likearning itself, requires patience, open mindedness, and a

ommon goal (usually knowledge gained). When those

lements are present, coaches, players, and teams have thereatest opportunity to grow and succeed.

n example of an effective communication tool is echoalls—when players repeat a critical teaching or learningue or a coach communication to ensure that all playersarn it. Players who teach and communicate with eachther learn more efficiently. This kind of audibleommunication also encourages an environment wheream interaction takes place. Players on the floor canever communicate too much.

n his bestselling coaching book Successful Coaching ,ainer Martens identifies six areas of development for ommunication skills:

Credibility

Positive approach

Information over emotion

Consistency



Listening skills

Nonverbal communication

redibility with players is based on respect. Each player hould be allowed the opportunity to build confidence andelf-respect during the basketball experience. To developelf-respect while earning the respect of others should behe rule for both players and coaches.

ommunication between players and coaches shouldenerally be positive in nature, emphasizing praise andewards more than punishment and criticism. Tellinglayers what to do rather than what not to do is areferred technique of the positive approach. For

xample, when teaching shooting, coaches might telllayers to shoot up, rather than telling them that the shot isoo low. Coaches should look for what players are doingght instead of focusing on what they are doing wrong,

which is a problem common to most coaching styles.

Messages to players should be filled with factualnformation as opposed to emotional outbursts. Playerseed to know what to do correctly; they do not need to beelled at for making mistakes. Positive emotion or praisends to be more helpful, especially when players canather needed information from it in order to learn skillsr to correct mistakes. Coaches can use negative emotion





ommunication in the form of positive body language islso important when listening. Body gestures, appropriateouching behavior, and voice quality are all useful skills tomprove communication and listening.

he primary measure of communication is what playersarn, not what coaches know. Thus, it is imperative for

oaches to improve their communication, for themselvesnd for their players, in order to enhance learning.

eedback

he learning process happens faster when appropriateeedback on skills is given according to these guidelines:

Feedback can best be provided by an experienced coach,ut players need to learn how to provide their owneedback whenever possible. For example, a player canbserve the starting point and landing spot of the feetefore and after a jump shot.

Players must be told what is correct (reinforcement) andncorrect (information on mistakes). Mistakes should benown, acknowledged, and understood by the players; thespecific plan is needed to correct those mistakes.

The correction of player errors should be consistent. For layers, the best learning approach to mistakes is to



ecognize them (with the coach’s help), to acknowledgend admit them (to other players), and to learn from themnd then forget them.

Specific information is better than general feedback:Great full follow-through” is better than “Nice shot.”

Provide feedback as soon after performance as possible,he sooner the better. An exception might be postgameeedback when emotions of both coaches and players maye too involved.

Use feedback sandwiches. Dennis Docheff, teachingxpert, recommends a three-part feedback message:einforcement (find something being done correctly),

nformation (correct the skill or behavior that needsmprovement), and praise (provide encouragement at thend). An example might be something like this: “Jim, onour last shot, great follow-through at the elbow, but youeed to get lower and have your feet wider for better

alance … that’s the way to keep working at game speed.”hampion college coach Mike Dunlap uses this format for oaching feedback:

Praise (find a positive)

Talk and tell (prompt and correct and tell them the nextep)



Leave them (to learn)

RITICAL CUE:

eedback increases the learning rate.

General Tips on Teaching and Learning

Coaching is teaching:

Know why you teach a skill; knowing helps the teacher aswell as the learner.

Focus on the skill first (not on the drill or strategy).

Focus on how well you do something rather than what yoo (execution over repetition and quality over quantity).

When teaching or coaching, preview first (tell what youre going to teach), view (teach it), and then review (tell

what you taught).

Help players remove their learning blocks of fear, doubt,nd worry.

Demonstrate and explain the following properly:

Make sure that all players can see and hear you.



Do it correctly, to show the big mental picture.

Repeat demonstrations—two angles, two repetitions, or more.

Use precise and concise explanations.

Use only critical cues (don’t talk too much).

Practice immediately—players learn by doing and may

orget the demonstration and explanation unless they arepplied quickly.

Emphasize practice to make behavior permanent (good or ad habits).

Use teaching progressions:

Slow to fast—do it right and then do it quickly (the finaloal is game moves at game speed).

Simple to complex.

Teach in sequence and reverse it (start to finisheversed).

Players and coaches need to remain open to learninggreen and growing, not ripe and rotten):



Adopt (the whole skill) as a beginner or adapt (one idea)when experienced.

mprove every day of the year (can’t maintain, mustrogress).

Look for the lesson; there is always a lesson to learnsearch for it).

Learn from others—good and bad experiences have

ssons.

Communicate and encourage teammates (generally,oaches criticize and players praise and encourage eachther).

Control what you can (all people have total control of heir attitudes, actions, and responses) and let go of theest.

Know how each player learns best:

Visual (see the skill), read about it or see aemonstration.

Auditory (hear the skill), get more explanation or listen

or sounds.

Kinetic (feel the skill), walk through the skill.



Coaches should use:

Word pictures (e.g., footfire for moving the feet).

Analogies and metaphors (e.g., quick start like aprinter).

Critical cues (e.g., full follow-through).

Teach fundamental skills and more:

Conditioning.

Toughness and effort.

Life and character lessons.

Communication (early, loud, and often).

How to compete.

Competitive greatness (see John Wooden’s Pyramid of uccess in figure 1 ).

Become a full-package coach—able to teach players andssist in their learning and development physically

condition and skill), mentally (psychologically), andocially (as a team player).



Evaluate all that you do as players and coaches. Oneuick and effective evaluation tool, called the one-minutessessment, can be used to gather feedback andnformation about what players are doing on and off the

ourt. The assessment can be used by coaches to evaluatepractice session, team strategy (offense or defense), or aam rule. It consists of three parts: one quality, action, or erformance that is praiseworthy (and why); one elementhat could be improved (and how); and relevant insights or omments.

0. Coaches and players both need to know themselves, toevelop their own unique talents, and to serve others.



he instruction and information in this book isonsiderable. The potential for learning basketball skillsepends on first having the skills to teach and learnffectively. Coaches and players can use these guidelineso help gain the most from the basketball skills and drills



n this book.



Key to Diagrams

Player with ballOffensive player

Defensive player CoachPath of player Path of ballScreenDribble



hapter 1

asic Body Control





Footwork and balance are necessary every moment of aame while ballhandling is needed less than 10 percent of he game.”

ete Newell, Naismith Hall of Fame Coach

ne of the foremost tasks of a coach is to teach playersow to move and control their bodies. Fundamental

movements, sometimes called basketball basics, aressential tools for all players.

oaches need to teach players to move effectively (gettinghe job done) and efficiently (moving the best way). Theyach players to conserve time and space and to move witpurpose, reducing wasted motion. In essence, basketball

a game of balance and quickness—all movementshould focus on these purposes. Players should strive totighten” their game, to increase balance and quickness.

he overall consideration for coaches and players shoulde on the development of individual balance anduickness. Balance depends almost solely on footwork,arting in the feet but ending with the head. Because of itsze (almost 10 pounds [4.5 kilograms]) and bodyosition, the head is a key to balance; it should beentered over the base of support. The head moves in theesired direction to become unbalanced, thus committinghe player to quick movement in that direction. Similarly,



uickness is related to both the head and the feet, but in thepposite order. Quickness is first a state of mind (think uick and then be quick), starting in the head and ending inhe feet (it depends on footwork). Both balance and

uickness depend on proper footwork and are closelyelated to head position and state of mind.

asketball is also a game of quickness (hand and foot) andpeed (overall body motion) that are used at the proper me. Coaching should continually emphasize the principlef doing things right, then quickly—making the right moveuickly at the right time—while developing and

maintaining individual, physical, emotional, and teamalance and correct offensive and defensive position.

RITICAL CUE:

Move correctly first, then move quickly.

he six fundamental positions and movements of asketball are stance, starts, steps, turns, stops, and jumps.ecause quickness is so important, these basic positionsre all designated with the word quick .

Quick Stance

layers need to develop the habit of a good basicasketball position to ready them for quick movements.



Quick stance requires adequate levels of muscle strengthnd endurance in the core area (abdominal muscles inont, lower-back muscles behind). Teaching quick stancen offense and defense is a challenging task, and patience

essential with younger players who may not have therength and muscle endurance to stay in this position veryong. The most important part of a quick stance ischieving and maintaining bent-knee and bent-elbowositions. All joints should be flexed and ready. The gameplayed low to the floor. The lower players get, the

igher they can jump; the more explosive their moves tohe basket are, the quicker they are on defense, and so theetter they can protect the ball. “Play low and stay low” iscritical concept for all players.

RITICAL CUE:

lay and stay low to the floor. Get in and stay in a quick ance.

each players the feeling of quick stance—being ready for nything, feeling quick. Maintaining this basic position isard work; players must become comfortable in anwkward, unnatural, monkey-like position. Players shouldt into the stance—get low—and stay in the stance.onsistent and early emphasis on quick stance teachesthletes to assume it automatically. Quickness is aombination of thinking quick, feeling quick, and



ecoming quick by improving skills. A good test for quick ance is for a player to imagine sitting in a chair with theead positioned behind the knees, as shown in figure 1.1.

oot Position

he best foot placement in most situations is the slightlyaggered stance with the toes pointing slightly outward,ot straight ahead. The feet should be about shoulder-



width apart, with the instep of the front foot along the sameorizontal line as the big toe of the other foot (see figure2). Players should use this position when they need to

move in any direction. To get into this foot position,

layers should put the feet together, move the preferredoot forward until the big toe of the back foot is next to thenstep of the forward foot, and then step sideways with thereferred foot until it is about shoulder-width for balancend quickness.

he parallel stance shown in figure 1.3 is best used for de-to-side movement as well as for catching the ball andopping, stopping after dribbling, and respondingefensively when a defender moves laterally. In time,layers use both stances interchangeably.





RITICAL CUE:

tagger the stance with the toes pointed slightly outwardor the quick stance.

Weight Distribution

ody weight should be evenly distributed from side tode, from front to back, and between the feet. The heels

hould be down, with most of the weight (60 percent) onhe balls of the feet, although pressure should be felt on theoes and heels. The toes should be curled and the heelsept down.



RITICAL CUE:

Weight distribution for the quick stance—eagle clawance, weight on the whole foot.

layers may incorrectly place all of their weight on thealls of the feet with the heels off the floor, but thisosition is slower because the heel has to be broughtown before forceful movement can occur. A good way toach the feeling of proper position is to ask players toke an eagle claw position, with the heels down and the

oes curled.

When players are on defense, they should add footfire toheir basic quick-stance position. Footfire means keeping

he feet active and in constant motion without leaving theoor surface, a technique that helps keep the leg musclesretched and ready for action and makes the defender uicker. Players can imagine that they are standing on aed of hot coals, without their feet leaving the floor. For

ffensive or defensive quick stance, the weight has to ben the whole foot.

RITICAL CUE:

efensive quick stance—footfire.

Head and Trunk Position



or proper balance, players should keep the head centeredver the support base—at the apex of a triangle, with thegs as two equal sides and a line between the feet as thease when viewed from the front ( figure 1.4 ). They should

lso center the head from front to back, taking an erectunk position, with the shoulders back and the trunk ightly forward of vertical. The back is straight and the

hest is out. The head is behind the knees. Players shouldt into this stance.

RITICAL CUE:

ffensive quick stance or triple threat—pit and protect theall.



rms and Legs

each players to keep their joints (ankles, knees, hips,houlders, elbows, and wrists) bent and ready. Coachohn Wooden suggests that all joints be bent for quickness.layers on offense can tighten their game by bending jointsnd keeping the ball close to the body (pit and protect theall in the shooting pocket). The shooting hand is behindhe ball, and the offensive player is in triple-threatosition, ready to shoot, pass, or drive quickly. Defensivelayers also can tighten their game (movements) byending joints, keeping the arms short (bent elbows) andear the body, and adding footfire to their footwork. Seegure 1.5 . Players should keep the hands and arms bentnd close to the body for balance and quickness. The

whole sole of each foot should be touching the floor.emind the players to stay low—the angle at the knee joint

n back of the legs should be 90 to 120 degrees in order tomaintain the low center of gravity needed for quicknessnd balance.



COACHING POINTS FOR QUICK STANCE

Be ready for action: feet ready, hands ready.

Keep all body joints bent.

Play and stay low; sit into the game.

Get and stay in a quick stance.

Keep the head up, the chest out, and the back straight.Keep body weight on the whole foot, with the heels



own (eagle claw position).

Quick Starts, Steps, Turns, and Stops

tarting, stepping, turning (pivoting), and stopping are theundamental motions used in moving effectively andfficiently in and out of quick stance for offensive andefensive moves. Teach players to execute the skillorrectly, quickly, and at the right time every time. Playerseed to go slowly and get a feel for executing the skillroperly, get a rhythm, and then speed up progressivelyntil they make a mistake. They then learn from the

mistakes and go toward game moves at game speed.

RITICAL CUE:

o it correctly and then do it quickly.

player’s overall speed (moving the body from point Ao B) is important in basketball, but not as critical asuickness (hand and foot speed). Coaches should strive tomprove the quickness of each player. Thinking quick andeing quick should be the player’s constant focus.

Quick Starts

tarting is the first skill players must learn that uses quick ance. To start quickly, players shift body weight (and the



ead) in the desired direction of movement. For example,o move to the left, body weight is shifted over the left footy leaning to the left. Because the head is key to balance,always leads the weight shift ( figure 1.6 ).

RITICAL CUE:

hink quick and be quick.



o be quick at the right time, players must remember thatl motion change begins on the floor. This means taking

hort, choppy steps whenever a change of motion or quick art is needed. Teach players to keep their feet in contact

with the floor as much as possible and to use the floor toheir advantage by staying close to it.

ront (Lead) Foot First. From basic position, playershould shift weight in the direction of movement and starty taking the first step with the nearest foot. For example,o move to the right, take the first step with the right foot.o move forward, take the first step with the front footpush from the back foot and step with the lead foot). Thischnique is most often used in basketball when focus and

ttention to the ball are necessary. Sometimes, it is quicker o step across with the trail (back) foot and run or sprint inhe desired direction of movement, particularly when aefensive player is beaten by the opponent and must run toecover.

RITICAL CUE:

Quick steps—play and stay low to the floor (the floor is aiend).

efensive Quick Start. On defense, players should use aiding motion. They should keep their feet at shoulder

width and use short, quick shuffle steps. This technique is



alled the push step , or step (lead foot) and slide (rear oot). The lead foot moves in the desired direction fromhe force of the trail foot at the same time as a short, quick ush step (lead foot first) is taken ( figure 1.6 ). The force

or the push step comes from a power push from the trailoot, which moves the body and transfers the weight to thead foot, quickly followed by a pulling slide step taken

with the trail foot to regain basic position, withoutringing the feet together. Players should keep their feet

wide at all times: Step and slide, low and wide, you can’t et too low, you can’t get too wide . The lead step and theull and slide steps are short (12 to 24 inches [30 to 60entimeters]), and the stance is kept low and wide.

RITICAL CUE:

efensive quick steps—push steps (step and slide, lownd wide, can’t get too low, can’t get too wide).

layers should learn to execute defensive starts and slides

n side-to-side, forward, backward, and diagonalirections ( figure 1.7 ), with the head level. Head bouncinghows that a player is rising out of the stance instead of sing a push step or step sliding and not staying in aance. Such bouncing, known as the bunny hop , brings the

eet together in the air, loses the advantage of the floor,nd is a waste of time and space, reducing quickness of

motion. The head must be kept level. Players can imagine



steel plate above the head during all push-step motion.

ffensive Quick Start. On offense, players with a liveall (i.e., who still can dribble) can do a quick start fromiplethreat position using the lead foot first. On live-ball

moves, offensive players should establish a permanent

ivot foot (PPF) (left foot for right-handed players andice versa for lefties) and a permanent stepping foot for ribble-driving past a defender and for when the ball iseld. Using the PPF, a player can do a quick start with theepping foot (front foot first). These live-ball moves are

alled direct drives (to the strong or preferred side) androssover drives (to the nonpreferred side). Figures 1.8nd 1.9 illustrate both moves.



Quick Steps

Quick steps are the basic motion changes that allowlayers to use speed and quickness to complete plays andxecute offensive and defensive strategies. They consist of hanges in speed or pace and in direction at an angleusually 90 and 180 degrees to the original motionirection). Quick steps are usually slow-to-quick moveshat use quickness at the right time.



COACHING POINTS FOR LIVE-BALL MOVES

Start from offensive quick stance or triple-threatosition.

Direct drive: long and low on the first step past the

efender, using the front foot and straight-line movement.he driver must win the battle , getting the head andhoulders past the defender on the first step, and then winhe war on the second step (with hip contact on theefender to prevent recovery of the defensive position).

Crossover drive: circle tight from pit to pit (armpit tormpit in front of the body) while changing hands behind



he ball, without a foot fake. Step long and low, with theepping foot in a straight line, and move past the oppositede of the defender to drive past the defender, all in therst step.

OACHING POINTS FOR QUICK STARTS

Be ready to start by getting in and maintaining a quick ance.

Learn that using the floor works to your advantage; keephe feet on the floor when starting.

Shift body weight in the desired direction and lead withhe head moving first.

Stay down and pump the arms when starting (the armsad the action).

Use the principle of front (lead) foot first.

On direct or crossover drives with the ball, use a longnd low first step in a straight line toward the basket.educe lateral motion.

For defensive slides, use the push-step technique. Slide,

on’t hop, and keep the feet wide. Step and slide, low and wide : push (from trail foot), step (with lead foot), andide (with trail foot to quick stance).



Start and move in straight lines.

hange of Pace and Change of Direction. Change-of-ace steps, including running or sliding at differentpeeds, are important skills of body control designed topply the concept of quickness at the right time. For xample, an offensive player may be running or dribblingt a moderate speed and then use a burst of speed to getast the defender. Likewise, a defender could be slidinglong and then accelerate quickly to get a legal position inhe path of an offensive player to disrupt movement or takehe charge.

RITICAL CUE:

hange-of-pace steps require changes of speed, especiallyow-to-quick moves.

hange-of-direction steps are also designed to applyuickness at the right time. When players run down theoor on offense and need to change to defense, they canse a stride stop, change direction 180 degrees (180-egree cut), and sprint quickly back in the oppositeirection. V-cuts, used on either offense or defense, arehange-of-direction steps at sharp 90-degree angles thatre made by going into the cut slowly, making a sharp-ngled change-of-direction move, and accelerating quickly



ut of the cut. V-cuts are also called L-cuts, 7-cuts, or ake-and-break moves, depending on how they are used.

ive-Ball Moves. A player with the ball who hasn’tribbled can execute quick steps called live-ball moves:irect drive (to the preferred or dominant side) androssover drive (to the nonpreferred or nondominant side)see chapter 5 for a full description). From a quick stance,ve-ball moves are designed to allow the offensive player

with the ball to move quickly past the defender on theribble drive. This is a straightline move to the basket toenetrate the defensive perimeter with the use of a long,ow, quick first step. By rule, the offensive player with theall needs to get the head and shoulders past theefender’s trunk in order to gain an advantage legally onhe quick first step. Then the offensive player attempts toet near-hip contact with the defender in order to maintainhe position advantage while moving past the defender toenetrate the defense on the dribble drive and to forcenother defender to help, thus creating an advantageous 2-

n-1 situation for the offense.

Quick Turns and Pivots

urning, or pivoting, is motion that rotates the body in aircular fashion around the ball of one foot while thelayer maintains the basic position or quick stance ( figure10 ). Sixty percent of body weight should be on the pivot



oot as the heel of the turning foot is lifted slightly to pivotn the ball of the foot. Players on offense should use a PPFnd a permanent stepping foot, especially when they havehe ball.

s the basic skill for beginning all motion changes, the

ivot, or turn, is one of the most important player tools for uickness and balance. It is also one of the least used andmost poorly learned skills in basketball.

ivoting can be done with either foot as the stationaryenter of rotation, but a PPF is recommended with theall. When body rotation is toward the front—a pivoting

motion that moves the trunk forward around the pivot—the



ivot is called a front turn (see figure 1.11 ). Likewise, aear turn is used to pivot a player’s backside to the rear figure 1.12 ).

layers on offense must learn to make pivots with andwithout the ball. When players with the ball are closelyuarded but want to face the basket, rear turns on theondominant foot (as the PPF) are usually used to clear pace, although some coaches prefer front turns. Onefense, players use the pivot as the first move whenhanging from one position to another and whenebounding, as shown in figure 1.13 . This is sometimesalled a swing step .



RITICAL CUE:

or quick turns, keep the head level, lead with the elbowear turn), and punch into the turn or lead with the elbowront turn).

Quick Stops

o be quick with balance and control, players must beble to use quick stance, start properly and quickly, moveuickly (by stepping, running, turning, or sliding), and stopuickly in a balanced position. The two recommendedasic basketball stops are the one-count quick stop and the



wo-count stride stop.

COACHING POINTS FOR QUICK TURNS

Stay down in basic stance and keep the head level andow for quickness.

Lead with the elbow of the stepping foot (rear turn) or

unch into the turn (front turn).

Keep the feet shoulder-width apart for balance.

Maintain balance, and keep the head up.

Pivot quickly but properly in a quick turn.

Use the pivot to turn up to half a turn (180 degrees);epeat pivots if more turning is necessary.

Use a rear turn to face the basket when closely guardedo clear space).

With the ball, use a front or rear turn to face the basket.atch the ball and face the basket with a front or rear turn

while receiving the ball and before dribbling (pass first,ribble last).



Quick Stop. The preferred stop for most situations, theuick stop, is executed at the end of a running or sliding

motion. It should not be called a jump stop (jumpingesults in slower stops and too much air time). Whenunning, a player does a quick stop by hopping slightlyom one foot, skimming the floor surface, landing in aarallel or slightly staggered stance (basic or quick stanceosition; figure 1.14 ), and sticking the landing with soft eet . Feet hit the floor at the same time in a one-count

motion: Hop from and skim the floor with one foot andand on two feet.

he quick stop conserves time and space and can be usedn defense or offense (with or without the ball); it is a

omplement to the quick turn, one of the primary tools of ody control and movement. Basketball rules allowlayers with the ball to use either foot for pivoting after a



uick stop. This gives them a wide variety of motionossibilities with control and balance and prevents themom traveling with the ball if the incorrect foot is chosens the turning foot. The quick stop is important for getting

layers into a quick stance for shooting, passing, or ribbling when receiving a pass. The critical cue on theuick-stop landing is to stick it (similar to a gymnasticsismount) with soft feet, which means landing on the

whole foot while stopping firmly but softly in a balancedosition.

RITICAL CUE:

Quick stop—hop from one foot, stay close to floor, andand in a quick stance.



tride Stop. The stride stop, shown in figure 1.15 , is awo-count stop executed by landing on the rear foot (firstount) with the front foot hitting immediately afterwardecond count). Its primary use is to reverse direction

when players are running forward (and in other situationsor advanced players). For all other motion situations,layers should use the quick stop. With the stride stop,layers should keep body weight back and sit on the rear oot.

RITICAL CUE:

tride stop—sit on the back foot, hips down on the plantoot.

COACHING POINTS FOR QUICK STOPS ANDTRIDE STOPS

Use the quick stop unless changing direction (180egrees) when running; then use the stride stop.

On a quick stop, stick the landing with soft feet (land onhe whole foot).

On a quick stop, hop from one foot and land in quick ance on two feet at once (one count). Stay close to the



oor.

On a stride stop, stay low and sit on the back foot. Theear foot (which hits first) must be the pivot foot whenlayers turn with the ball after using a stride stop.

In most cases, use the quick-stop technique even thoughome coaches prefer the stride stop in shooting, in which it

called the plant (back foot) and pivot (into the shot)with the stepping foot, or the step-plant move.

Quick Jumps

umping is an especially important skill in a sport with an



levated goal. Coaches often consider jumping a naturalbility that cannot be taught and that players do or do notave. Nothing could be further from the truth.

he basic principles for improving jumping skill includeeing in quick stance and ready to jump in order to jumpuickly in any situation. Players also can jump higher if hey increase the muscle strength in their legs. Coacheshould help players improve leg strength with resistanceaining as well as work on jumping skill.

How players land after a jump determines how quick andow high the next immediate jump will be. The bestanding position is in a quick stance with balance and a

wide base. Then players are ready to jump again with

alance and quickness. Body position and control are bestaught when players have first learned to jump using botheet and both arms.

he sections that follow explain how to execute two-foot

umps, quick jumps, and one-foot jumps and when to useach type of jump in game situations.

wo-Foot Power Jumps

two-foot takeoff for jumping is slower but more stablehan jumping from one foot on the move. It is best used inigh-traffic situations (such as battling for a rebound) or





Whenever possible, players should use the forwardmomentum of a running jump with forceful contact on theakeoff and swing the arms forcefully upward to add to theody’s momentum when time and space permit.

uccessful rebounding almost always requires the use of wo-foot power jumps. The best rebounders do so fromwo feet with two hands—2-and-2 rebounding—for whichhe critical cue is combined with another critical cue toach proper technique— going up tall and small (i.e.,

wo hands fully extended toward the ball) and coming own big and wide (doing a quick stop on two feet). Seegure 1.16 , b and c.

Quick Jumps

Quick jumps are the best compromise between conservingme and space and maintaining body position and control. quick jump should be used wherever there is

ongestion, contact, or a contested jump around the

asketball. Repeated, successive jumps in rebounding aresually quick jumps. Before a quick jump, the hands areeld head high, with the upper arms nearly horizontal andhe forearms vertical. Two-foot jumps using two hands (2-nd-2 jumps), without momentum, that start from a quick ance are shown in figures 1.17 and 1.18 ).

RITICAL CUE:



ircle tight with the arms for quick jumps.

he critical cue for successive quick jumps is a circleght move to add arm momentum to the quick jump. Fromhe ready position ( figure 1.17 a), the hands are circledightly down, inside, and up ( figure 1.17 b) to the tall and

mall jumping position.



ne-Foot Jumps

umping from one foot is beneficial when movement andmaximum height are required. Players should know how too one-foot takeoffs so they can attack the basket onayups and jump high toward the basket or backboard

high jump, not long jump). One-foot jumps involvepposition, stamping hard on the jumping foot and raisinghe opposite foot or knee, and a high jump, stamping theumping foot and using the opposite leg drive to produce aertical rather than a horizontal or long jump. The shootingand and knee are connected as though on a string; both of hem come up together.





Most problems in learning and teaching basic body-ontrol moves occur with balance and quickness,nbalanced moves executed too quickly. In the beginning,layers should slowly imitate the demonstration and get

he feel of the move (get a rhythm). Finally, they canncrease quickness until they make mistakes. Playershould note and acknowledge mistakes, correct them, lear om them, and then forget them (i.e., develop a mistake

mentality ).

asic Body-Control Drills

hese drills can be used to develop and maintain the basicthletic stance for basketball, the quick stance, and toach players to move and stop quickly during basketball

lay. The idea is to move with balance and quicknesswhile maintaining control. The goal of game moves at

ame speed is always preceded by proper skillevelopment.

QUICK-STANCE CHECK urpose: To develop the skills of recognizing variousasic stances, getting in a basic stance quickly, and

maintaining that stance.

quipment: Half-court floor space (minimum).



rocedure: Players spread out on the basketball courtacing the coach, assume a basic stance variation asirected (offensive or defensive quick stance and ready),nd maintain the stance while it is checked by a coach (or

artner). Players need to think quickly and respond to theeady command as they get into a quick stance, to know theook of a quick stance, and to know how to get into anday in a quick stance.

oaching Points

Sit into the stance with the head behind the knees.

Keep body weight on the whole foot with the toes pointedightly outward.

Keep the butt down, the chest out, and the back straight.

Use defensive quick stance: add footfire.

Use offensive quick stance: pit and protect the ball (or themaginary ball).

QUICK-STANCE MIRROR

urpose: To self-evaluate variations in stance by

ecognizing the look of a correct stance.



quipment: Player and a full-length mirror.

rocedure: Each player checks all stance variations inont of a mirror, holding each basic stance at least 5econds (front and side view). A partner system may besed if a mirror is not available.

oaching Points

Coaches and players match what they think they are doingwith what they are actually doing.

Sit into the stance with the head behind the knees.

Keep body weight on the whole foot with the toes pointed

ightly outward.Keep the butt down, the chest out, and the back straight.

Use defensive quick stance: add footfire.

Use offensive quick stance: pit and protect the ball (or themaginary ball).

MASS QUICK MOVES DRILL

urpose: To develop the skills of recognizing variousasic stances, getting in a basic stance quickly, andmaintaining that stance.




rocedure: Players spread out on the basketball courtacing the coach, assume a basic stance variation asirected (offensive or defensive quick stance and ready),nd maintain the stance while it is checked by a coach (or artner). Players need to think quickly and respond to theeady command as they get into a quick stance. The coachhould evaluate each player’s ability to get into a quick ance as well as the quick-stance critical cues (weight on

whole foot, all leg and arm joints bent, head up andentered over base, back straight, and chest out). Check he look of the stance and test balance by pushing on alayer’s shoulder area (forward, back, right, left).

layers can be moved on command to carry out the basicuick moves:

Live-ball direct and crossover moves (ready, directrive with long and low step, move, crossover drive with

ong and low step, move) as shown in figures 1.8 and 1.9n pages 7 and 8.

oaching Points for Live-Ball Direct and CrossoverMoves

Start from triple-threat position.



Focus on quickness and balance, with economy of motion.

Step long and low past the imaginary defender.

Use a straight line attack (to the basket) and make contactwith the imaginary defender.

Use the commands: direct drive, long and low, go;rossover drive, circle tight (ball),long and low, go .

Quick jumps (three consecutive jumps) and power umps. (The commands are quick-jump position, jump;ower-jumping position, jump .) See figures 1.16 to 1.18n pages 14 and 15.

oaching Points for Quick JumpsCircle tight with the hands for quick jumps (keep the armsp and the elbows at right angles).

Jump quickly with a pop, and land ready to repeat.

Coil and gather with the arms low; the arm explosioniggers the leg explosion for power jumps.

Command: quick-jump position, jump .

or power jumps, add an imaginary ball and 2-and-2ebounding. Go up tall and small and come down big and



wide.

Quick stops: step right (with right foot) and into quick op (command is move), and step left (with left foot) intoquick stop (command is move). See figure 1.14 on page2.

oaching Points for Quick Stops

Stick the landing with soft feet.

Land on a one count (both feet at the same time).

Land in a balanced quick stance.

Commands: right-foot step, move; left-foot step, move .

epeat half turns and increase the pace of turns untilmistakes are made.

Quick turns (ready, front turn, move and ready, rear urn, move). See figures 1.11 and 1.12 on page 10.

oaching Points for Quick Turns

Front turn—lead with a punch.

Rear turn—lead with an elbow.



Stay low and keep the head level.

Commands: front turn, move; rear turn, move .

INE DRILL: QUICK STARTS, STEPS, TURNS, ANDTOPS

urpose: To develop skill in starting, turning, andopping.

quipment: Full court.

rocedure: All players are divided into four groupsehind the baseline at one end of the court with the coachn the middle ( figure 1.19 ). Coaches call out the options

hat players are to perform. Coaches teach offensivepacing and timing concepts using the 12-by-19-foot (3.7-y-5.8-meter) free-throw lanes as a reference. Coachesart the first group together; next players start when player head is 15 to 18 feet (4.6 to 5.5 meters) up the courtoptimal spacing). The lines are already 15 to 18 feetpart.



ptions

All players use a quick-start technique from a quick ance. When players step on the court, they should be

eady and in a quick stance.

Stutter steps: Start from the baseline and go to the

pposite end line, keeping the hands up and making thehoes squeak. Use the floor to your advantage; use short,hoppy steps.



Change-of-pace moves: Alternate two or three slow andast moves after a quick start. Be quick and use a variedumber of steps (avoid the same patterns).

Quick stops: At the free-throw line, half-court line, andpposite free-throw line.

Quick turns: Full front and rear turns (two half turns) after uick stops.

Split-vision jog: Four players start simultaneously andog at half speed, focusing on the far basket while usingeripheral vision to stay in a straight line from side tode.

Stride stops and 180-degree change of direction.Progressive stride stops: Progressive forward andackward moves are made from the baseline to the free-hrow line (stride stop, reverse), back to the baselineeverse), from the baseline to the half-court lineeverse), back to the free-throw line, and then to thepposite free-throw line, back to the half-court line, andhen to the opposite baseline ( figure 1.20 ).

Spacing jog (a more advanced skill that also can be usedwith change-of-pace moves): The first four players startn command and move at their own pace, staying even



with the leader (usually from the left line). The nexterson in line starts when the player ahead is 15 to 18 feet4.6 to 5.5 meters) away (proper spacing betweenffensive players) and maintains that distance-. This

pacing jog is especially challenging in combination withhange-of-pace moves. The four players stay in a lineom left to right and are spaced 15 to 18 feet apart fromde to side and behind the group ahead of them.

oaches may hold players in any quick-stop position toheck position and correct mistakes. Players may simulateribbling a ball or sprinting without the ball (on offense).defensive quick stops are used, the feet should be active

t all times.

he coach can advance to a whistle-stop drill: Four layers start and, on each short whistle, stride stop (or uick stop) and then reverse and sprint until the next

whistle. The next group of four players always starts onhe second whistle after the previous group. The drill

ontinues until a player reaches the opposite baseline andll players have run the floor. This is an excellentonditioning drill.



oaching Points

Each variation is done in one circuit (down and back).

The first player in each line should come to a quick-ance position on the baseline and be ready before being

equired to move. Players should listen for the direction

nd the go command from the coach.Players should keep floor spacing equal side-to-side andown the court when initiating movement.

Unless directed otherwise, subsequent groups of four egin moving when the previous group reaches the near ee-throw line (about 15 to 18 feet [4.6 to 5.5 meters]



part).

All groups move to the opposite baseline and re-form,with the first group of four in quick stance, ready to comeack in the opposite direction.

Review critical cues for starts, steps, stops, and turns.

INE DRILL: QUICK JUMPS

urpose: To develop basic jumping skills for reboundingnd shooting.


rocedure: Players are in four lines on the baseline withhe coach near the half-court line. One down-and-back ircuit of quick jumps can be added. The first wave of layers sprints forward from basic position on the goommand. Whenever the coach gives a thumbs-up signal,layers execute a quick stop into a quick jump. Theyontinue to repeat quick jumps in place until the coachgnals to run forward again with a hitchhiking sign. Therst group sprints again as the next group starts from basicosition on the end line. This pattern is repeated until allroups reach the opposite end line. The coach must be inont and visible so that all groups of players can see thegnals. An alternate is to require three quick jumps at the



ee-throw line, the half-court line, and the opposite free-hrow line. A regular power-rebound jump and chinninghe ball (with both hands under the chin) can also be donet the free-throw line, the half-court line, opposite free-

hrow line, and opposite baseline, resulting in four ebounds for each floor length.

RITICAL CUE:

he arms up, the hands above the waist.

oaching Points

Circle tight with the hands for quick jumps.

Jump quickly with a pop, and land ready to repeat.INE DRILL: REBOUND JUMPING AND TURNS

urpose: To develop jumping skills for reboundingtuations.

quipment: A ball for each line.

rocedure: The first person in each line steps forwardwith a ball. Using basic jumping techniques, players toss a

all in the air in front of them, pursue and capture the ballsing the 2-and-2 rebounding technique, and chin the ball.



he players’ elbows should be up and out in order torotect the ball while they land in a quick stance. Theyhould then execute a rear turn before stepping and passingo the next player in the line.

oaching Points

Coil and gather with the arms low; the arm explosioniggers the leg explosion for power jumps; capture andhin the ball.

Rear turn: Lead with an elbow; turn on the PPF.

Stay low and level.

INE DRILL: QUICK STANCE, STARTS, STEPS,UMPS, TURNS, AND STOPS

urpose: To develop body-control movements byxecuting all skills properly, quickly, and at the right time.his is an ideal practice warm-up drill.

quipment: Full-court floor space.

rocedure: Players stand in three or four lines on theaseline. The coach is positioned in the midcourt area and

ommands a half or full circuit of body-control moves.layers get in and maintain a quick stance, play, and stay





maginary dribble drive with the preferred hand for tworibbles and makes a quick stop (chinning the ball or aying in triple-threat position). Then the player executesrear turn and an imaginary one-handed push pass

tepping and passing, exaggerating the follow-through).he next player in line is in a quick stance, with bothands near a respective shoulder, giving two spot targetsor the imaginary pass. That player assumes the two-anded catch position with both feet in the air (ball in their and feet in the air) and then repeats the direct-drive

move. The coach then goes on to the crossover drive,ribble, and pass. For a right-handed player, the moves

would require a crossover drive to the left side, a left-anded dribble, a quick stop, a rear turn on the PPF, and arossover, imaginary one-handed push pass using theonpreferred hand. Coaches should use starts, stops, andurns as a progression drill when the ball is added after aching or reviewing passing and catching. The rule for onpreferred body-control movement is three times as

many repetitions as on the preferred side.

oaching Points

Passing: Pass with the feet on the floor; pass with a step;ass with a ping to a specific target; exaggerate the

ollow-through.Catching: Catch with the feet in the air; catch with a click



wo hands and two eyes); catch in a quick stance.

Emphasize the critical cues for starts, steps, stops, andurns.



hapter 2

dvanced Body Control



Basic basketball (the fundamental skills) is critical touccess— this includes learning to move without the ball.”

red “Tex” Winter, longtime Assistant Coach, Chicagoulls and Los Angeles Lakers

ne of the most difficult coaching tasks is to teach playerso carry out actions that don’t involve the basketball—the

magnet of the game. An individual player on offense playswithout the basketball over 80 percent of the time.

his chapter illustrates the importance of individual skillshat do not involve possession of the basketball. Manyoaches find that young players on offense are oftenmagnetized” by the ball and almost obsessively attracted

o it ( figure 2.1 ). Time must be spent teaching them thatmovement without the ball and proper offensive spacingnd timing can be just as important as moves made withhe ball in terms of setting up scoring opportunities.oaches can help motivate players to carry out purposeful

movement without the ball and to understand that proper pacing and timing are keys to successful team offense.



oncepts of Moving Without the Ball

o move effectively without the ball, players must master nd remember certain fundamentals on the court.

Be alert and remember that all moves begin on the floor .

Move with authority (distinct moves), balance, anduickness.

Move with a purpose and with proper spacing and timing.layers must be aware of teammates’ movements and

maintain focus on the offensive strategies of the wholeam.



Read the defense and the ball. All individual movement,which is dictated by the team play situation, must bearried out in relation to the position and movement of theall as well as the opponents’ defense. Get open by

moving to clear areas on the court for receiving passes.Communicate all cuts and moves by voice and withands. Players cannot talk too much.

Get open or get out. The primary purpose of movementwithout the ball is to get open to receive a pass from theallhandler. Try to get open; if it is not possible, get out of he way. Keep proper spacing of at least 15 to 18 feet (4.6o 5.5 meters) apart (12 to 15 feet [3.6 to 4.6 meters] for ounger players and 18 to 21 feet [5.5 to 6.4 meters] for

ollege or professional players).

Get open in the perfect catching position—15 to 18 feetom the ballhandler. Ideally, this also will be in a floor osition affording a player the option to pass, shoot, or

ribble. Catch the ball facing the basket or catch the ballnd then use a turn (pivot) to face the basket. Teach catch-nd-face technique for offensive players in the frontcourthe following sequence: rim (look at the rim for the shotnd to see the whole floor), post (look inside to feed theost), and action (move the ball or dribble-drive to theasket). This sequence must become automatic and bexecuted very quickly in order. RPA (rim-post-action)



very time players catch the ball.

Be an actor. Movement without the ball is a continuousompetition between offensive and defensive players.

Keeping opponents guessing requires using believableakes (and giving time for reaction) to bait the defendersnd play the role of decoy.

Lose the defenders. Move out of the defenders’ fields of ision, and force them to turn their heads. Most defendersave their backs to the basket and their eyes on the ball, soffensive players should move behind them to the baselinend away from the ball (see figure 2.2 ). Cuts can best be

made from this position where defenders cannot easilynticipate moves. This technique is especially effective

gainst zone defenses that focus on the ball.

Run through the ball. When moving to catch a pass,layers should maintain the open position by movingoward and meeting the pass unless they are making a

reakaway move ahead of the defender or a back cutehind a defender ( figure 2.3 ). Beat the defender to theall.

Get close to get open. Because this rule goes againstommon sense, players make the mistake of trying to freehemselves by staying away from a defender. It is actually

more effective to stay close and then break away quickly



o get open, as shown by O 2 and O 3 in figure 2.4 . Thisffective move allows the offensive player to execute anction move that precedes and is quicker than theefender’s reaction move. An effective fake-and-break V-

ut or L-cut to get open is often a slow-to-quick actionmove.

While applying all concepts, keep proper spacing (morehan 15 to 18 feet [4.6 to 5.5 meters] apart unless cuttingr screening) and make moves at the right time (better latehan early).







ut, place body weight on the foot opposite the desiredirection of movement (sink the hips into the cut), point thead foot, and step with that opposite foot. For example,lant and push from the right foot and step to the left with

he left foot. Usually, one side of the V is the move to theasket, away from the basket, or to the defender. The other de of the V is the quick change-of-direction cut to getpen. Beginners can also use short stutter steps during theake (for balance) and then a quick plant-and-break step atright angle. When teaching young players, use the term

ake-and-break for the V-cut to get open. The first part of he V-move is toward the basket or the defender (the fake);

should be carried out slowly and quickly followed byhe last part of the V (the break) to get open. On the break,oth hands are thrown up in the direction of movement.he move is needed to catch the ball (communicate withands that you are open) when players are using a screenr preparing for a shot. The break move is usually towardhe ball but can also be toward the basket, as in O 2’s back-ut move on X 2’s overplay ( figure 2.4 on page 25). The V-ut is a sharp change-of-direction cut from 60 to 90egrees (called an L-cut).



ack cuts are important moves—15 to 18 feet (4.6 to 5.5meters) away from the ball—that are used when defendersverplay the passing lane, as shown previously in figure4 . To execute this move, the cutter should get close to

et open and make a slow-to-quick V-cut or L-cut moveirectly to the basket (rim cut) while communicating withhe outside hand (the arm down, closed fist) on the fake,nd the lead hand on the break (open hand, the armorizontal). This move is shown clearly in figure 2.5 when

he cutter moves from inside-out on a V-cut and is stillverplayed. The cutter needs to create enough space on theerimeter for the back cut by baiting the defender, at least



o the three-point arc, while maintaining 15 to 18 feet of pacing from the passer. Players should make back cutshard and fast) but never fake back cuts; faking themsually confuses the passer and leads to a turnover.

RITICAL CUE:

lways make a back cut; never fake a back cut.

ront and Rear Cuts

hese are types of V-cut moves made after a player hasassed the ball to a teammate and wants to challenge theefense by cutting to the basket (making a rim cut) for aossible return pass. The pass-and-cut move—sometimes

alled give-and-go —is one of the most valuable offensivemoves. The give-and-go was the first two-player offensivemove that was developed in the game. It takes two forms:he preferred front cut, which allows the offensive player o receive the ball in front of the defender (an excellentcoring position), and the rear cut, which lets the offensivelayer cut behind the defender to gain an advantage goingo the basket ( figure 2.6 ). A front cut uses a V-cut to set uphe defense, whereas a rear cut is a direct, straight-line cutsed as a change-of-pace or slow-quick move. Both frontnd rear cuts are to the rim and end exactly in front of theasket. The front or lead hand on the cut is held out inont and horizontally to indicate the cutter’s intention to



he passer (communicate the cut with the hands), as shownn figure 2.7 .

RITICAL CUE:

ommunicate cuts with the hands.



ecoy Moves

ecoy moves are basic moves used to keep defendersusy, such as distracting defensive players from helpingefend against a ballhandler or trap the ball. Teachlayers to be actors and distracters, misleading defenders

with deceptive eye movements, physical bluffs, and other

isual or auditory distractions.

hot Moves





elementary-school players should concentrate on learningmore basic moves and concepts without the ball).

ypes of Screens

creens can be classified according to location (on or off he ball), type of use (back screens [back to the basket] setehind or on the blind side of a defender and downcreens [back to the ball] set in front of or to the side of aefender), and kind of body contact used to screen (frontr rear of the body). See figure 2.8 .

oaches should develop their own theories of howcreens should work: screening a certain spot or area onhe floor (position screen) or screening the defender

player screen). A player screen is usually more effectiven freeing the offensive player, but it may result in moreouls for illegal screens, or blocks . The authors prefer layer screens: screen an opponent rather than a spot or aammate.



etting Screens

etting a screen is a basic move: Players should use aoisy, quick stop, with the feet shoulder-width apart andhe hands out of the screen ( figure 2.9 ). The screen shoulde set perpendicular to the expected path of the defender nd be forceful enough for the defender to see and hear it.

creening players should be loud, low, and legal—setwith a quick stance after a quick stop—and capable of eing heard when set and when the defender makes contact

with it. Players should get low, be ready for contact, andlay and stay low, sitting into contact. A legal screen

ncludes correct position and legal use of hands. A downcreen can be set skin-to-skin, but a back screen shouldllow at least one step for the defender to change



irection. To avoid illegal hand contact, a player shouldse one hand to grasp the other wrist (usually of thehooting hand, for protection) and place the hands in frontf the body over the vital parts. Against good defensive

ams, the cutter is usually covered, but the screener isften open during a defensive switch or help.

ther tips include using down screens (toward the basket)when defenders are sagging, back screens (away from theasket) where there is pressure or defenders areverplaying, and flare screens (away from the ball and theasket) when defenders are collapsing inside. Be readyor contact and screen the defender. Players should alertammates they are screening for by hand or voice signal.

RITICAL CUE:

et loud, low, and legal screens.



Using Screens

he most difficult screening skill is to prepare theefender to run into the screen (players should use aammate as a screen or obstacle) with a V-cut, usually

arted toward the basket as shown in figure 2.10 . Anmportant cue is to wait for the screen: Coaches canequire the cutter to wait until the screener calls go as theser comes to the screen on a V-cut. This move isdvocated by Tommy Lloyd of Gonzaga University. Other

oaches insist that the cutter grasp the jersey or trunk of he screener before cutting. These techniques force theutter to wait and read the screen.



RITICAL CUE:

o use a screen: wait, use a V-cut, listen for the goommand by the screener, or grab and brush the screener.

layers should cut razor close so that they brush shoulderswith the screener. On screens away from the ball, playershould be in a low position with the hands up as they passhe screen, ready to receive a pass. Players should throwhe hands up as they move past the screener on the break.iming is crucial in effective screen plays: Players must

wait for the screen to be set before making moves andead the defender’s position to make the correct cutpposite.

When two players set and use a screen, they both arecoring options. The cutter reads the defender’s positionwhile waiting and then cuts accordingly to get open. For xample, a defender trying to get through a screen causes aop cut (outside shot) move with a reaction inside (a low

ut) by the screener. The two scoring options are insidend low or outside and high moves by the cutter andcreener (in response to the cut). With less determined or killed defenders, the cutter is usually open. With greatefenders, the screener is usually open for the score.



n-the-Ball Screens

he pick-and-roll is a basic two-person play used at allvels. This play was a staple for one of the best inside-utside combinations in basketball history, Karl Malonend John Stockton of the Utah Jazz. Pick-and-roll occurs

when a screen is set on the ballhandler. When an effectivecreen is used and defenders do not switch, the dribbler ispen for a shot (dribble-drive layup or set and jump shot),s shown in figure 2.11 . The sequence occurs when O 1 V-uts to get open as O 2 passes and sets the ball screen on

efender X 1 (sprint to set the screen quickly). In thisption, X 1 tries to fight through the screen (defenders do



ot switch assignments) but is impeded and O 1 is free for he shot (layup shot or set and jump).

When a screen (pick) is made on the ballhandler and theefenders switch assignments, the screener is open on aoll move to the basket. The pick-and-roll for the screener

shown in figure 2.12 . When the ballhandler uses thecreen, the screener makes a half rear turn and shuffleides to the basket, keeping between the ballhandler and

he original defender X 1. The screener should use a proper ear turn in order to maintain vision on the ball at all

mes. The ballhandler must make at least two dribblesast the screen to draw the switching defender X 2 (the



ribble draw) and then make a pass (usually a bounceass) to the screener on the roll move to the basket. Onccasion, the defenders may double-team or trap theallhandler. When that occurs, the screener should “pick

nd pop”—step back and outside for the return pass andhe outside shot.

n all screen plays, two scoring options are alwaysossible when an effective screen is made: theonscreener is open if the defenders don’t switch, and thecreener is open if the defenders switch. Advancedlayers should be taught to look for both scoring options.

RITICAL CUE:

lways look for two scoring options on all screen plays— utter first and screener second.



nother advanced option on all twoperson screen plays isor the screener to slip the screen or fake the screen andut to the basket as the defenders choose to switchefensive assignments in early anticipation of the screen.his option for on-the-ball screens is shown in figure13 .

ff-the-Ball Screens

his type of screen is set away from the ball and occurs asbasic two-player pattern plus the passer. Off-the-ball

creens are classified by the cutter’s reaction to theefender’s choice of combatting the screen:



A pop cut is used when the defender attempts to fighthrough the screen ( figure 2.14 ). O 1 passes to O 2 andcreens away from the ball on the defender of O 3, X3. O3

ets an open shot outside if no defensive switch is made

option a). If X 1 switches defensive assignments, thecreener O 1 gets the open shot inside by cutting (flashing)o the ball as the switch is made (option b). Players shouldommunicate the cut with both hands up coming past thecreen.

A curl cut is used when the defender trails the cutter round the screen ( figure 2.15 ). In the first option, defenseays, and the cutter gets the open shot inside (curling to

he basket). When the defenders switch, the screener O 1

ets the outside shot cutting to the ball (option b). Larryird, former Boston Celtic and Hall of Fame player,



xecuted this screen cut to perfection. Players shouldommunicate the cut with the inside (lead) hand forward

when coming around the screen.

A flare or fade cut is used when the defender nticipates the pop cut ( figure 2.16 ). When the defendersay (no switch), the cutter is open by flaring away from

he ball and outside (option a). The screener may reset thecreen to pin the defender inside as the cutter pushes off he screener on the flare cut. When the defenders switch,he screener is open (option b) on the inside flash cutlip) to the ball. The cutter communicates the U-cut (flare

ut) by backing out with both hands up.

A back cut is used when the cutter makes a pop cut andhe defender fights through the screen ( figure 2.17 ). Inption a (no-switch defense), the cutter makes the pop cut,



overplayed, and reacts by making a cut to the basketsing the back screen of O 1. The movement sequence for he cutter is to the basket (in), pop cut (out), and back cutn) to the basket. When no switch is made, the cutter gets

he shot inside going to the basket. In option b (switchingefense), the screener O 1 gets the shot flashing to the ballutside as the switch is made. The cutter communicates theut with a closed fist down on the outside hand as the out

move is made. The back cut can also be done without the

se of the pop cut: As the cutter waits while movingoward the screen, the defender anticipates the pop cut andheats over the screen ( figure 2.18 ). When the screener ays go , the cutter makes a quick back cut directly to theasket with a fronthand communication for the layup. On

he switch, the screener may slip cut to the free-throw lanerea. An important reminder for players using a back-cutption is to always make a back cut and never fake a back ut.





RITICAL CUE:

Make the back cut; never fake the back cut.

COACHING POINTS FOR MOVING WITHOUT

HE BALL

Use the floor when beginning a move.

Move with authority.

Move with a purpose.



Read the defense and the ball and react.

Get open or get out of the way; don’t stand still.

Know and use the perfect catching position (15 to 18 feet4.6 to 5.5 meters] from the ball).

Be an actor; take the initiative and use believable fakes.

Lose the defender.

Run through the ball (meet the pass).

Get close to get open.

Alert a teammate when setting a screen.

Set loud, low, and legal screens; sprint to set a screen.

Set a pick or screen at a right angle to the expected pathf the defender.

When using screens, wait for the go signal, use V-cuts or o to the screener, and brush past the screen (shoulder tohoulder or contact).

Pick-and-roll and the two scoring options for on-the-ballcreens.



Off-the-ball screen cuts: pop, curl, flare, and back.

Two scoring options on every screen: cutter andcreener.

Make the back cut; never fake the back cut.

ROUBLESHOOTING

Moves without the ball—where spacing and timing are

ritical—are considered big picture moves, advanced andifficult team plays that require patience and attention toetail. It is usually better to be too late than too early on

most of these moves, especially cutting moves.

Movement mistakes occur when a player without the ballommits an error. Players need to focus their attention onecovery, call out for help from teammates when needed,nd get in position immediately for the next play,specially when an offensive error results in a steal.layers should avoid making two mistakes in a row andarn to play through their mistakes. Mistakes areecessary for learning; analyze them and then forget them.

rills for Moving Without the Ball

hese drills are designed to teach players the mosthallenging moves, those without the ball. Players tend to



e eager to develop ball skills and reluctant to drill onmoves without the ball.

INE DRILL: MOVE WITHOUT THE BALL

urpose: To teach by simulation basic moves without theall.

quipment: Half court (minimum).

rocedure: The players should assume a basic four-linerill position on the baseline. The first player in each line

moves down the court without the ball, imagining the ballo be in the center of the court ( figure 2.19 ).

ptionsV-cuts to get open (designated to the basket and to the



all or to the defender and the ball): Repeated V-cuts,ollowed by quick stops to simulate catching the ball, areerformed for the length of the court. Communicate the cut

with the hands up.

V-cuts to get open, followed by a backdoor cut: Playershould use proper footwork and hand position.ommunicate with the hands—up when getting open, theutside hand down and fist closed for the backdoor cut.

Front cuts: A simulated pass to the center of the court isollowed by a front cut (V-cut, move away slowly, fast cuto the ball) and a quick stop at the free-throw lines and thealf-court line. Communicate with the inside hand acrossnd up.

Rear cuts: A simulated pass to the center of the court isollowed by a rear cut (change-of-pace, slow to fast) andquick stop at the free-throw lines and half-court line.ommunicate with the hands up or the lead hand forward.

Quick stops are used at each free-throw line and at thealf-court line. At the completion of each quick stop,layers should challenge the imaginary defense by using aatchand-face move—first a quick stop and then a pivot inrder to face the basket and see the whole court.

V-CUT DRILL



urpose: To teach players the basic moves without theall in a 2-on-0, 2-on-2 situation.

quipment: One ball per basket per group.

rocedure: The basic two-line formation for this drill isne line of guards or point position players out front and ane of forwards or wing position players on the side (i.e.,

wo lines of outside players).

ptions

Use a forward V-cut to get open (fake and break) and,fter receiving the pass from the guard, use a catch-and-ace (the basket) move.

Guard can make a front or rear cut to the basket (cut to them) to catch the forward-to-guard return pass and then go

o the end of the forward V-cut line (give-and-go), or theorward can make a live-ball, dribble-drive move to the

asket ( figure 2.20 a).Forward then rebounds the ball and passes to the nextuard in line and goes to the end of the guard line.

Figure 2.20 b shows a forward backdoor move (advancedkill) performed during a guard dribble move. Theallhandler, dribbling toward overplaying defender, keys





ICK-AND-ROLL DRILL

urpose: To teach players the screening and cuttingptions for on-the-ball screens.

quipment: One ball per basket per group (four or more).

rocedure: Two lines of outside players 15 to 18 feet4.6 to 5.5 meters) apart use the screening pattern of passnd screen the ballhandler’s defender. The progressionhould be the following:

2-on-0: cutter (dribbler) scoring option alternating withhe screener scoring option (roll or step outside for shot or







nside)

Curl cut (cutter curls inside, screener pops outside)

Flare cut (cutter U-cuts outside, screener slips inside)

Back cut (cutter back cuts inside, screener pops outside)

3-on-3:

Defense stays (cutter options)

Defense switches (screener options)

Live offense and defense

Make-it-take-it (offense scores, they keep the ball)

oaching Points

Sprint to set a screen as the teammate is signaled.

Cutter waits (verbal go ) for the screen.

Set screens that are loud, low, and legal.

Signal cuts with the hands, and use verbal calls on alluts.



There are two scoring options on each screen.



hapter 3

allhandling





Passing and catching are offensive team skills, whileribbling is an individual offensive skill; therefore theass should be the primary offensive weapon.”

alph Miller, Hall of Fame Coach

allhandling encompasses all offensive moves with theasketball—passing, catching, dribbling, shooting,ndividual moves, and rebounding. In this chapter’siscussion, ballhandling includes only the skills of assing, catching, and dribbling.

he arm mechanics of the ballhandling skills of passing,ribbling, and shooting are almost identical—the arm andand motion is the same for each skill. Passing and

atching are the most important individual offensiveundamentals with the ball. Shooting can be considered aspass to the basket and passing as a shot to a catchingammate. Dribbling, which can also be considered as aass to the floor, is a secondary offensive weapon that

hould not be misused or overused, which is often thease. Players should pass first and dribble last.

RITICAL CUE:

ractice ballhandling skills (pass, dribble) on theondominant side two or three times as much as on theominant side.



nother ballhandling principle must be applied in order tochieve balanced development of ballhandling skills withhe dominant and nondominant hands. Players need to

work on the weak hand two or three times as much as on

he strong hand.Getting into triple-threat position (offensive quick stance)—where a player with the ball may shoot, pass, or dribble—should become automatic (see figure 3.1 ). In triple-hreat position, the player with the ball pits and protectshe ball (pulls the ball close to the armpit in order torotect it from the defender). Players should avoidangling the ball away from the body; they need to keepheir game tight. This protected area is also called thehooting pocket . Players should always use the catch and-ace move with the ball: catching it, moving it to triple-hreat position, and then pivoting and facing the basket toee the whole floor (especially open teammates for ossible partners for passing and catching). Offensiveuick stance is attained with quickness and balance.

layers must think quickly, move at top speed under ontrol, and be ready to pass or catch first and dribbleast. When players become ballhandlers, they should firstook to pass the ball to a teammate (unless they are openor a scoring opportunity within their range) before

hoosing to dribble, which is the final option for movinghe ball. The primary movement concepts of quickness andalance dictate the preferred order: passing before



ribbling.

assing and Catching

assing and catching are the most neglected fundamentalsn basketball. Players have to develop these skills in order o mount a successful team offense. Effective passing andeceiving in the form of the scoring assist are measures of ffensive teamwork and important tools for controllingame tempo on offense. An important measure of offensiveam efficiency is the number of scores from assists (teamlays from passing or catching) compared to scores from



he dribble drive (individual plays). The team scoreshould always exceed individual scores.

RITICAL CUE:

Get in triple-threat position, pit and protect the ball, andace the basket using a front or rear turn whenever youave the ball.

layers who are good passers and catchers or receivers

ave an excellent chance to be important team members. Inoaching, good passing tends to take the pressure off aam’s defensive play and break down the opponent’sefense. Because passing is the quickest way to move theall and challenge the defense, it should be the primary

weapon of offensive attack, thus applying the priorityrinciple of balance and quickness.

arvin “Magic” Johnson led his college and NBA teamso championships by becoming one of the greatest passersn the history of the game. John Stockton led the great Utahazz teams of the 1990s by doing the same thing. Steveash of the Phoenix Suns does the same thing today.

onvince players that passing and catching are primaryffensive team plays; they are the most effective way of chieving the offensive objective—moving the balluickly and getting it to an open player to set up a scoring



pportunity.

assing Principles

layers need to look for the pass before dribbling. Whenatching, follow the rimpost-action (RPA) rule. Whenlayers catch the ball within the operating area of theffensive basket, they should catch and face the basket toook for the shot (rim), look to pass to an inside postlayer (post), and then move the ball (action). A player’srst instinct is to dribble; continual emphasis on the shotnd pass are required to overcome this instinct. Sinceribbling is an individual skill, practiced each time alayer touches the ball, a natural preference for it tends toevelop.

RITICAL CUE:

ee the whole floor, look to pass first, dribble last.

Good passes can only be made when coaches also teachther fundamental elements of passing:

RITICAL CUE:

ass with the feet on the floor and a quick stepping foot.

Feet on the floor: Pass with the feet on the floor in mosttuations. Pass with a quick step for quickness (using the



epping foot).

Quickness: The ball must be passed quickly (before theefender has time to react). The pass should be snappynd crisp, but not too hard or too easy. A quick step issually made in the direction of the pass to provide addedorce. When a quick pass is thrown, a ping sound occurs.

When the throw is too hard, the pass slaps loudly as it isaught; when the throw is too soft, no sound is heard as itcaught. The first passing guideline is to pass with a ping

.e., a crisp pass, not too hard or too soft). This conceptwas made popular by Fred “Tex” Winter, longtimessistant coach for the Chicago Bulls and Los Angelesakers.

A target: Each pass must be thrown accurately to a spotarget (usually away from the defender). A raised handway from the defender is commonly used as the target;layers should have both hands up when catching, onearget hand and the other arm up to ward off the defender

figure 3.2 ).

Timing: The ball must be delivered when the receiver ispen, not before or after. Pass with a ping at the right time.

When learning to pass, exaggerate the follow-through.

Deception: The passer must use deception to confuse theefender, who is reading the passer (especially the eyes)



nd anticipating the pass. Use ball fakes and keep visionn the whole floor as the passer sees the spot target.

Shorten all passes (run through the ball) by meeting or oming toward the ball (unless on a breakaway).

assers should visually locate all teammates as well asefenders (see the rim of the basket in frontcourt, the net inackcourt), concentrating on the potential receiver without



aring. This can best be done by surveying the wholeoor area (broad focus) with the ball in triple-threatosition. When they catch a pass, players should alwayse prepared to shoot when open (catch and face the

asket) and within range; if unable to shoot, they shouldy to pass to an open teammate before dribbling (rim-ost-action).

RITICAL CUE:

ass to a spot target at the right time.

layers must learn to give up the ball unselfishly byassing to an open player. Ballhandlers also can dribblerive and pass (penetrate and pitch); they can create an

pportunity for an assist by making a dribble move thatllows them to pass to an open teammate to score. Whenlayers are passing, the choice should be to make the easyass through or by the defender. Teach players not toamble on passes, to be clever, not fancy. Most of the

me, a player using the dribble drive should use a quick op before passing the ball at the end of the penetration or rive. This applies the rule of passing and stepping witheet on the floor. John Stockton, Gonzaga University and

Utah Jazz All-Star player, became the all-time assistecord holder in the NBA by making the easy pass (i.e.,he simple play).



RITICAL CUE:

ass with a ping, not too fast or too slow.

he most important passing principles are the following:

RITICAL CUE:

Make the easy pass.

Pass with the feet on the floor (use the stepping foot).

Pass to a spot target at the right time.

Pass with a ping (snappy and crisp) at the right time.

Pass with deception.

hoosing the Correct Pass

he quickest passes are air passes. Simple geometry (the

hortest distance between two points is a straight line)roves that the air pass is quicker than either the lob passr the bounce pass, as shown in figure 3.3 . Therefore, their pass is the primary pass to use. All perimeter passesround the defense should be air passes.

ob passes are used only when passing to teammates on areakaway fast break, the lob allows them to run to catch





pecial Passing Situations

ituations related to passing include eliminating the passcross under the defensive basket; an interception theresually results in a score by the opponents. Other danger reas are along boundary lines and in court corners ( figure4). When a pass comes back out on the perimeter from

he baseline, players should reverse the ball quickly to thether side of the court to test the defense and check for thepponents’ alertness on the help side of the defense (testhe second side or reverse [swing] the ball to makeefenders move).



ypes of Passesn basketball, the type of pass used must fit the situation.



or example, chest air and one-handed baseball passesre best used in open court or perimeter situations wherepeed is paramount, but the one-handed push pass is thereferred close quarters or backdoor pass.

hest Pass

he chest pass, the basic air pass for effective, efficientall movement when an offensive player is guardedoosely or in an open floor area, can be used for longer istances because the starting position for the pass iseached by moving the ball from triple-threat position tohe center of the chest, close to the body, in a thumbs-uposition. To throw the pass, a player then extends thelbows and pronates (rotates inward) the arms to a

humbs-down ending position. Players should push thehumbs through the ball to produce backspin on the ball.layers should also take a step forward to pass when theretime, but passing without stepping is quicker. Most of

he time, step (quickly) and pass. On longer passes, the

all is rolled in a circular move—out, down, and towardhe body—before release. The target of the pass is thehroat (neck) area of the receiver who is stationary andefended from behind (aim for the face) and toward theeceiver’s outside hand (two-handed targets, see figure

2) when the receiver is near a defender.RITICAL CUE:



hest pass—thumbs-up to thumbs-down position.

hest Bounce Pass

his pass is recommended primarily for backdoor movesnd emergencies, when the passer must get out of a trap or

when the defender is playing in the passing lane. Passingps include making the pass to a target two-thirds of the

way to the receiver and following through to that spot onhe floor, as for a chest pass. The pass should be thrownard enough that it bounces up to the receiver at hip levelusually about two-thirds of the way to the catcher).tarting with the ball in a thumbs-up position, passershould push the thumbs through the ball and follow througho a thumbsdown position ( figure 3.5 ). The backspin is

mportant in this movement because it increases the anglef rebound on the bounce pass, making it easier to handle.or power, players also may step forward (using theepping foot) with the pass.



verhead PassWhen a player catches the ball, it is always moved quicklyo triple-threat position (catch and face the basket). Theall can then be moved quickly overhead to pass over theefense. A valuable pass over the defense to reverse theall to the second side of the floor (called a skip pass) isspecially effective against zone defenses. The position of



he ball allows the passer to show the ball and use passakes. Players need to keep the ball up, starting with andeeping the elbows locked or extended, and to throw theass with the wrists and fingers; the ball should be

verhead with little or no windup behind the head.he technique involves starting with the thumbs back and

hen pushing the thumbs through the ball, finishing with thehumbs forward ( figure 3.6 ). The overhead pass tends torop, so the ball should be thrown to a high target (usuallyhe receiver’s head); the pass is hard to handle whenropping. For more power, players should step forward

with the pass.

RITICAL CUE:

verhead pass: thumbs back to thumbs forward, the ballp, the elbows locked.

distinction should be made between overhead passesor longer and shorter distances. The longer overhead passsually occurs on a defensive rebound and outlet, a skipass from one side of the court to the other (corner topposite wing, wing to opposite wing, or other long passr over-the-top situations). Shorter overhead passnstances include high post to low post or top-downerimeter to post passes and other perimeter passtuations, most often to the next receiver. Longer



verhead passes necessitate a power step with the pass,ull use of both arms and thumbs, and a complete follow-hrough. Overhead passes should be used as air passes,ot bounce passes, because of the high starting position for

he pass release.

ne-Handed Baseball Pass baseball pass is used to throw a long pass (usually over



alf-court length) with the dominant throwing arm. Playershould keep two hands on the ball as long as possible andse a stance with the body parallel to the sidelines andeet parallel to the baseline, and then they should plant the

ack foot, point and step with the front foot, and throw theall from the ear, similar to a baseball catcher’s throw.roper follow-through includes carrying out a fullronation and extension of the arm, ending with the thumbown ( figure 3.7 ). Players should throw this pass only

with the dominant arm, using the other hand to catch theake pass and stabilize the ball. The turning (pivot) foot onhis pass is always the back foot, with the stepping foot ashe front foot (an exception when using the PPF concept).

RITICAL CUE:

aseball pass: both hands on the ball as long as possible.



ne-Handed Push Pass

he one-handed push pass (flick pass), the most importantffensive pass, is a quick pass used to pass through or by alosely guarding defender. This pass is used near

efenders and at 15- to 18-foot (4.6- to 5.5-meter)istances. It may be an air or bounce pass and should besed from the triple-threat position; the key is theentelbow starting position (needed for power). Theasser should work one side of the defender’s body,

specially past the ear, where the biggest gap usuallyppears, and make the pass above or below the defender’srms after finding an opening. Vertical fakes are used as



layers read the defender ( figure 3.8 ). Players should fakeow and pass high (air pass) or fake high (maybe a shotake) and pass low (bounce pass), reading the defender’srm position and making short, quick fakes. The first look

always past the ear, using an air pass when theefender’s arm is down.

RITICAL CUE:

ass quickly by the ear hole when the arms are down;work the ball vertically on one side of the body.

When players move from the preferred side in triple-threatosition, the ball is moved quickly (rip through) from sideo side (pit to pit) to work the other side of the defender’s

ody: a circle tight move, which is preferred to a high or ow sweep for quickness and balance.





he passing lane).

layers should catch the ball with feet slightly in the air whenever possible. The receiver should catch the ballwith both feet in the air and then come to a quick stop withhe ball in triple-threat (normal) or “chinit” positionunder duress), ensuring body control, ball possession,nd a quick return to quick stance (where either foot cane used as the pivot foot, the quick-stop advantage).inally, all catchers should catch and face their offensiveasket in order to see the whole floor and the rim (net).

RITICAL CUE:

atch the ball with the feet in the air.

wo-handed basketball is a good habit to develop inlayers. They should always catch the ball with bothands. Of the three methods of catching the ball, the first is

with two hands up (thumbs together), used when the passnear the middle of the body and above the waist ( figure9a). The second is with two hands down (the thumbs

part), used when the pass is near the middle of the bodynd below the waist ( figure 3.9 b). The third method is thelock and tuck, used when the pass is to either side of theody: Players block the ball with one hand and tuck it withe other; both hands should immediately be placed on theall ( figure 3.9, c and d ).



RITICAL CUE:

atch with a click; use both hands and eyes.


http://slidepdf.com/reader/full/basketball-skills 154/685s the pass is caught, the receiver should let the wrist and



lbows give, which is sometimes called developing soft ands . Also, the eyes should be focused on the pass untilis in both hands. Players need to catch the ball with their

yes. The combination of catching with two hands and

sing both eyes is called catching with a click . Whenossible, the catcher should catch the ball with the wristack and move to the shooting pocket ( figure 3.10 ).

inally, the pass catcher should meet the pass or shortenhe passing lane by meeting or coming toward the ball toatch it with the feet in the air, except on a backdoor cut tohe basket on defensive overplay. The important catchingrinciples are the following:

Catch passes with the feet in the air.

Catch passes with a click (two eyes, two hands).

Meet the pass; run through the ball.



COACHING POINTS FOR PASSING AND

ATCHINGTeach triple-threat position; pit and protect the ball



while turning to catch and face up the floor.

Help passers develop quickness, the use of a spot target,nd proper timing.

Teach players to pass with the feet on the floor and toass with a ping.

Teach players to pass and catch with two hands handlinghe ball as long as possible.

Teach players to catch the ball with the feet in the air ball in the air, feet in the air).

Teach players to catch with a click (two hands, two

yes).Teach catchers to move the ball to the shooting pocket or hinning position.

Teach players to catch and scan immediately to see thewhole court (catch and face the basket or catch the ballwith the feet facing the basket).

Train catchers to be ready for bad passes and to stay inance with the hands up and the body ready to move.

ommunication of Passing and Catching



is the responsibility of both passer and catcher toomplete each pass, to strive for perfection, but to settleor success. Successful passes depend on communication,specially by the catcher. Every potential pass receiver

hould always be ready to catch a pass (quick stance withhe hands up), to call the passer’s name to show openness,nd to communicate with the hands (both hands up whenpen, one hand inside for a curl cut, closed fist on theutside hand for a back cut). The passer must decide

whether to make the pass. Some coaches prefer to have theasser call the catcher’s name as the pass is made. Passerseed to have eye and voice contact with catchers beforend as the pass is made. Players cannot communicate too

much.

RITICAL CUE:

atchers: Get open, be ready, call for the ball, catch theall with the feet in air, and face the basket.

ribblingribbling is a touch, not a sight, skill. Players should lear

o dribble up the court without watching the ball byocusing on the offensive basket (see the rim), lookingver the whole court (using peripheral vision). Seeing theet in the backcourt allows the dribbler to see the wholeourt and open teammates. Seeing the rim in the frontcourt



ccomplishes the passing guide and gets players in theabit of looking for the shot every time they catch the ballim-post-action). The primary objective in the frontcourtto create a move that allows a player to pass to a

ammate for a score. When players are dribbling, thismove might be a live-ball move, a basket penetrationmove past an opponent using the dribble drive to theasket, or ball movement by passing to get a teammatepen. Dribbling is also an acceptable option, preferablyor advancing the ball up the court when a pass is notvailable, maneuvering for a better position for a pass to aammate, executing an offensive play or pattern, andetting out of heavy defensive traffic or a defensive traptuation (two defenders on the dribbler).

RITICAL CUE:

ribble only to make a live-ball move, penetrate theefense, get a teammate open, advance the ball, execute alay, or get out of trouble. Dribble with a purpose.

ribbling Technique

layers should execute the dribble by first extending thelbow and flexing the wrist and fingers, dribbling with the

wrist, hand, and a little forearm motion. The dribble iseally a pass and catch to the floor. The fingers and padsf the hand control the ball (the ball should be kept off the



eel of the hand); the fingers are spread comfortably andhould be cupped around the ball ( figure 3.11 ). Playershould massage the ball, dribble it firmly, and stay lownd sit into the game while dribbling. They should make

he dribble a short pass for quickness.layers should maintain maximum contact with the ball.he rules require the hand to stay on top of the ball: Theribble is legal as long as the hand does not leave itsertical position to get under and carry the ball or as longs the ball is not cupped by a large hand ( figure 3.12 ). Theall must leave the dribbler’s hand before the pivot footaves the floor when starting a dribble on a live-ball

move.

is strongly recommended that the quick stop be used torminate the dribble ( figure 3.13 ). This is the best methodf avoiding traveling violations and protecting the ball

while conserving critical time and space for passing or hooting. In traffic, players should pick up the dribble, use

quick stop, and chin the ball.





When chinning the ball, players should get into a quick ance with the ball under the chin, with the fingers up and

he elbows out and up (players make themselves big androtect their territory).

RITICAL CUE:



ribbling is a touch skill; see the net and the whole courtr the rim and half of the court.

layers should learn to use either hand to dribble,eveloping the weak hand but using the preferred hand

whenever possible. They should practice two or threemes more with the nonpreferred hand. They alwayshould use the dribbling hand away from the defender

when closely guarded and protect the ball with the bodynd the opposite hand (arm bar) when dribbling against alose defender. They should keep the ball low and to thede of the body and stay in a quick stance by sitting into

heir game ( figure 3.14 ).



ribbling Strategies

he general dribbling rule is that, when the ball is put onhe floor, the dribbler should always be movingurposefully. On drives to the basket, the dribbler goesast the defender. The objective is to use one dribble to



core in the frontcourt; bouncing the ball once or dribblingwhile not changing floor position (called dropping the

all ) should be discouraged. A dribble penetrationpenetrate and pitch ) is best accomplished just after the

layer has received a pass, thus avoiding forcing theribble into defenders who are prepared for theenetration.

key guideline is for players to stay away from troublewhile dribbling. Players should avoid dribbling into

affic (between two defenders); dribblers should keeplert for traps by watching for defenders and avoiding theorners of the court ( figure 3.15 ).

layers should keep the dribble under control and

onclude a dribble with a pass or shot, preferably after auick stop (step and pass with the feet on the floor). Aribbler should use the right move at the right time and seehe whole court as well as teammates and defenders.



ypes of Dribble Moves

he right type of dribble should be used at the right time. low or control dribble should be used around defenders

when the dribbler is closely guarded, and a high or speedribble should be used in the open court when a player isdvancing the ball. All dribble moves should changeirections at sharp angles.

ow Dribble. A control or low dribble is the first andasiest dribble to teach players. They should use aaggered stance—bent knees with the ball-side foot back.he opposite hand ( arm bar ) is used for protection from



he defender—but not to push the defender back or hook he defender, only to protect the ball. The basic body

motion is a sliding movement similar to defensive slidesr short steps, running motion.

layers protect the ball by dribbling on the side of theody away from the defender, keeping the ball low andribbling hard and fast near the back foot.

ower Dribble. An advanced version of the low or ontrol dribble, the power dribble, is executed by using aiding foot (step and slide or push-step) motion and lowribble so that the ball is protected by the front leg and theip and front arm bar. The ball is dribbled below the knee,igh near the back leg, as far away from the defender as

ossible. The dribbler advances up the court with push-ep moves. As the player goes forward, the ball is near or

n front of the back foot ( figure 3.16 a); as the player goesackward, the ball is near or behind the back foot ( figure16 b). From this position, a player can use advanced

ribble moves (described later), such as a pull-back rossover, a spin dribble, or a fake spin dribble, to createpace and to attack the basket. Players should maintainision up the floor over the lead shoulder: see the net (onhe goal) in the backcourt or see the rim in the frontcourt,

which allows the dribbler to see the whole floor.RITICAL CUE:



Use a power dribble when using a dribble against extremeefensive pressure.

peed Dribble. For a speed or high dribble, playershould push the ball out in front and run after it, keeping ithead of them. The ball can be dribbled higher—near

waist level—to attain more speed. The faster themovement is, the farther out in front and the higher thelayer should dribble the ball.

hange-of-Pace Dribble. A change-of-pace dribble or ribble hesitation is accomplished by changing speedsom a low or control dribble in a stop-and-start motion.



When slowing or stopping, dribblers should straighten upightly to relax the defender. This move should be used to

move past defenders who take the slow pace or stop fake.his is another slow-to-fast move to get dribblers in the

lear and to keep them open.n the change-of-pace or hesitation dribble, players can

make it look like they are going to shoot or pass as theyraighten up or hesitate. If players are within shooting

ange, they can fake pulling up for a jump shot; if out of hooting range, they should look to the other side of theourt as if they are rising up to pass to that side.

RITICAL CUE:

hange-of-pace is a slow-to-fast move.

rossover Dribble. A crossover or switch dribble is aasic move used in the open court when there is sufficientoom between the dribbler and defender and the dribbler

as momentum to move by the defender ( figure 3.17 ).layers should never cross over the ball in front of thegs on a stationary defender. They should attack one sidef the defender and use the crossover dribble when theefender has stopped the initial attack. In this dribble, theall is pushed low and quickly across the body. Theroper technique is to push the ball from right to left (or ice versa) as a zigzag move or a V-cut from right to left



or vice versa) is made ( figure 3.18 ). This move is usedwhen the defender overplays the path of the dribbler onhe ball side. Teach players to make the move before aefender gets too close (need room to cross over) and to

xplode past the defender as the move is made.RITICAL CUE:

ross over quick, low, and close to the body.

ead-and-Shoulders Move. The head-and-shoulders or n-and-out move is advanced. It is a dribble move to getround a defender using the preferred hand ( figure 3.19 ).



layers should dribble the ball with the preferred handnd continue the move by a fake opposite with a zigzag

move on the opposite foot as a head-and-shoulders fake ismade to that side, keeping the ball in rhythm with themove. The move past the defender is made with the



referred foot. The rhythm is right-left-right to step bywhen players are dribbling on the right side of the body)nd left-right-left for preferred left-handers. Thedvantage of this faking move is that the dribbler can face

nd see the defense while executing a dribble move to getround a defender with the preferred hand. The sequenceor a right-handed person is push from the right foot as theribble is made; fake left with the left foot, head, andhoulders; extend the right foot with a long step forwardnd past the defender as the ball is pushed out in front; andep with the left foot and go to the basket and past theefender using hip contact to protect the ball.

ead-and-Shoulders Crossover Move. A head-and-houlders crossover or inout-in, another advanced move,

a dribble move to cross the ball over from the preferredand to the other hand while the dribbler moves past theefender on that side while still facing the defense ( figure20 ). This move begins like the headand-shoulders move.he crossover dribble is kept low and made across the

ody at the same time as the zigzag move is made from thereferred side to the other side. The footwork is right-eft-right-left , in order to cross over from right to left andeverse when going from left to right. The dribble rhythm

timed with the footwork movement. The move must be

made before the defender is close enough to reach therossover dribble. This is the companion to the head-and-houlders move. The sequence for a right-handed person



foot, head, and shoulders left; come back right (shortep); take a short step with the left foot as the ball isrossed over in front of the body from right to left; andring the right foot across and go to the basket past the

efender.



pin Dribble. A spin or whirl dribble is used for maximum ball protection when the ballhandler is closelyuarded. During this move, the body is kept between theall and defender as shown in figure 3.21 . Theisadvantage of this move is that the ballhandler brieflyoses sight of portions of the court and of defenders andammates and may be susceptible to blind-side traps or



ouble teams. Spin dribble footwork uses quick-stop,ear-turn pivot, and sharp-angled zigzag moves from righto left (or vice versa). As the 270-degree rear turn is maden the left (or right) foot, the right (or left) hand pulls the

all with the pivot until the turn is completed, and the firstep is made with the right (or left) foot. The ball is keptlose to the body—the pull is similar to pulling a pistolom a holster. Have players pull the ball and keep it tightear the hip and leg to avoid the defenders’ reach-aroundr slap-around moves. After the rear turn is completed, theall is switched to the opposite hand and full court visionregained. This move changes direction from an angle

hat is forward right to forward left (or vice versa) as theall is changed from the right hand to the left hand (or viceersa).



RITICAL CUE:





ne defender is an important advanced dribble movefigure 3.22 ). This move has the advantage of allowing theribbler to meet defensive challenges successfully whileeeing the whole floor. It also allows a less athletic

allhandler to compete well against aggressive, quicker efenders. The dribbler needs to go under control untilapped or in trouble, back dribble out hard to createpace, and then attack the other (usually outside) defender y crossing over with the ball and going by quickly (an in-ut-by move).



ehind-the-Back Dribble. The popular behind-the-back ribble is used to change hands (usually from preferred to



onpreferred) and go past a defender who is overplayingn the right (left). This is done by changing directionightly to the left (right) and going by on the dribbler’sft (right). Plant the inside foot and step past the defender

with the outside leg. As the left (right) foot is movedorward, the ball is moved from right to left (or viceersa) behind the back, coming up under the left (right)and for a continuation of the dribble. Players can learnhe coordination of the dribble and footwork by aationary position side yo-yo V dribble ( figure 3.23 );layers dribble with one hand back and forth with thepposite foot forward. When the ball is controlled fromont to back, it can be moved behind the back as a step is

aken with the left foot ( figure 3.24 ).



etween-the-Legs Dribble. The between-the-legsribble is used to avoid overplay and to change the ball

om one side (hand) to the other. When the ball is beingribbled with the right hand, it can be changed to the leftand between the legs when the left or right foot isorward (best with the right foot forward). This move iseversed for a left-hand dribble. The ball is kept low and

rossed over between the legs with a quick, hard pushcross (the ball is snapped between the legs as the player eps with the other foot) ( figure 3.25 ). Players can learn

he coordination of the dribble and the footwork bywalking forward slowly as the ball is crossed over etween the legs during each step.

RITICAL CUE:



Use a one-foot quick stop and then snap the ball on theetween the-legs dribbles.

he move is really a one-foot quick stop on the outsideoot as the ball is snapped between the legs and a sharp-ngled step is made by the defender as the ball is switchedo the other hand. The planted outside foot is then pulledast the defender to protect the ball. The between-the-legsribble is the best dribble move to combat pressure, seehe whole court, and move by a defender.



COACHING POINTS FOR DRIBBLING

Keep the head up. See the net and the whole court or them and the half court.

Control the ball with the fingers and the pads of theands.

Massage the ball and dribble firmly; pass and catch tohe floor.

Around or close to defenders, stay low and protect theall (sit into the game, keep tension on the legs, use arm

ar).

Use a quick stop and chin the ball when ending theribble or pit and protect the ball, and be ready to passfter the quick stop.

Pass first; dribble last.

asic Ballhandling Drills

hese drills involve ballhandling skills and are usually

njoyed by players. Coaches need to be insistent on quick nd proper execution and timing. Players tend to learn to



xecute these skills at a slow speed and then progress tomoves at game speed.

ALLHANDLING DRILLS

urpose: To teach players to control the ball and becomeamiliar with the ball—see it, hear it, and feel it.

quipment: One ball per player and a 6-foot (1.8-meter)ircle of floor space.

rocedure: Players spread out in their areas and executehe following drill options—working for proper executionrst and quickness second.

igure-Eight Speed Dribble: Start the drill with either he right or left hand. Start dribbling in and out betweenhe legs in a figure-eight pattern. Start slowly and keep theall as low as possible at all times. Players shouldradually pick up speed after they begin to master the

rill. There is no time limit to the drill, although 20 timesround in 1 minute is excellent or 10 times in 30 seconds.

lur: Start the drill with the legs about shoulder-widthpart. One hand should be on the ball in front of the legs.lip the ball in the air and reverse the position of theands. Catch the ball in the fingertips and try to go as fasts possible for 30 seconds. The ball appears to sit



etween the legs if the move is executed properly.ssessment: Excellent: 81 to 100, Good: 61 to 80, Fair:

0 to 60.

traddle Flip: Start with the legs shoulder-width apart,with the knees bent and the hands in front holding theasketball. Let go of the ball or flip it very slightly up inhe air between the legs. Bring the hands to the back of thegs and catch the ball before it hits the ground. Flip theall again in the air and bring the hands back to the fronts quickly as possible. Drill as fast as possible withoutropping the ball. Continue the drill for 30 seconds.ssessment: Excellent: 81 or higher, Good: 61 to 80, Fair:

0 to 60.

hythm: Take the ball around the right leg. Grab the ballwith the left hand in front and the right hand in back. Drophe ball. Quickly reverse hands and catch the ball after oneounce. Move the ball back to start around the left leg.he opposite drill is to start with the ball in the left hand.

ontinue the drill for 30 seconds. Assessment: Excellent:3 to 40, Good: 21 to 32, Fair: 10 to 20.

ouble Leg and Single Leg: Take the ball behind thegs and around the front. When the ball reaches the right

and, spread the legs and take the ball around the right legnly. Close the legs and take the ball once around bothgs and then open the legs and take the ball around the left



g once and then back to two legs again. The ball alwaysmoves in the same direction. Then start with the ball in the

ft hand. Continue for 30 seconds. Assessment: Excellent:1 to 70, Good: 36 to 50, Fair: 25 to 35.

Around the Waist: Take the ball in the right hand andmove it behind the back and catch it with the left hand; inne continuous motion, bring the ball around to the front tohe right hand. Do the drill continuously for 30 seconds, asast as possible. Execute the drill by starting with the balln the left hand. Assessment: Excellent: 51 to 70, Good:6 to 50, Fair: 25 to 35.

Around the Head: Place the ball in the right hand and,with the shoulders back, take the ball behind the head and

atch it with the left hand and bring it around to the front tohe right hand in a continuous motion. The opposite drill iso start with the ball in the left hand. Continue the drill for 0 seconds. Assessment: Excellent: 51 to 75, Good: 41 to0, Fair: 30 to 40.

igure Eight From the Back: Start with the ball in theght hand. Take it between the legs to the left hand; with

he ball in the left hand, take it behind the left leg andetween the legs to the right hand. The opposite drill is a

gure eight from the front, which takes the ball from theght to the left hand through the front of the legs. Continuehe drill for 30 seconds. Assessment: Excellent: 66 to 85,



Good: 46 to 65, Fair: 30 to 45.

igure Eight With One Bounce: Start with the legshoulder-width apart and the knees bent. With the ball inhe right hand, bounce it between the legs and catch it withhe left hand behind the legs; with the ball in the left hand,ring it around to the front and bounce it between the legsnd catch it with the right hand. The opposite drill is toake the ball behind the legs and bounce it to the front rightnd left hand. Assessment: Excellent: 41 to 50, Good: 31o 40, Fair: 20 to 30.

INE DRILL: PASSING AND CATCHING

urpose: To teach passing and catching techniques and all

asic passes.

quipment: One ball per line and half-court floor space.

rocedure: Players are in four lines behind the baseline

t one end of the court with the coach at the top of the key,irecting the drill. The first player in each line starts atee-throw line distance facing the baseline as the firstatcher (in a ready-to-catch stance). The ball starts withhe player on the baseline. Passes are made as the passer uickly moves to replace the catcher. Critical cues are for layers to pass with feet on the floor and catch with feetlightly) in the air; passers to exaggerate the follow-



hrough, pass with a ping, and pass to a spot; and catcherso give a target, catch the ball with eyes and both handscatch with a click), and play two-handed. Be proper firstnd quick second. Suggested progressions are the

ollowing:Chest pass: air, bounce

Push or flick pass:

Right side (air, bounce) or left side

Left side (air, bounce); go pit to pit quickly (circle tight)r right side

Read the defense; look by the ear first with air pass (fakeigh and pass low or fake low and pass high)

Passer passes and assumes defensive positiondesignated hand position)

Overhead pass: catch, pit, and protect the ball; put theall overhead

Baseball pass:

Pass with the dominant hand onlyFace the sidelines and step with the pass (move to the top



f the key or a longer distance)

Fake the pass into the hand and then pass

WO-PLAYER PASSING AND CATCHING DRILL

urpose: To teach passing and catching with playerssing a push pass with either hand, after a dribble.

quipment: One ball per pair and full-court floor space.

rocedure: Players are in four lines behind the baselinet one end of the court, with all players in the inside lines

with a ball. The player pits the ball and executes a dribblerive with the hand opposite the partner, who moves

arallel to the dribbler. The dribbler does a quick stopnd a push pass to the partner with the closest hand if sing either pivot foot. If using the PPF concept, a right-ander on the right side steps across to use the left-handass with the left PPF. On the left side, that player wouldep with the right foot (left PPF) and pass with the rightand. The partner catches the ball with feet in air andepeats the dribble-drive cycle. The catcher calls theasser’s name before the pass is made. The completeequence is shown in figure 3.26 . The next pair beginsheir passing and catching sequence when the previousair is 15 to 18 feet (4.6 to 5.5 meters) ahead (near theee-throw line).



-ON-1 KEEPAWAY PASSING DRILL

urpose: Teach passing-catching between partners whomust pass by a defender.

quipment: One ball per three players and floor space of 5 to 20 feet (4.6 to 6 meters).

rocedure: Players are grouped in threes; two offensive

layers 15 to 18 feet apart, with a defender betweenfigure 3.27 ). Defensive players rotate out each 30econds or when an interception is made. The followingrogression is recommended:

he defender in position, designated hand position (up,own);



he defender close to the passer, or away from the passer eaches the passer to take the ball to the defender to takeway reaction time); and

ive defense and offense.

RITICAL CUE:

ass with the feet on floor, take the ball to the defender,se vertical fakes, be quick and accurate, catch with the

eet in air, and maintain spacing of 15 to 18 feet (4.6 to 5.5meters).

MOVING PAIRS PASSING

urpose: To teach partner passing and catching skills



while players are moving and playing against a defender.

quipment: One ball and floor space of 15 to 18 feet (4.6o 5.5 meters) in diameter per pair of players.

rocedure: Organize pairs of players with a ball and aourt area: one passer and one receiver ( figure 3.28 ). Theeceiver gets open, receives the pass with the feet in their, quick stops, catches the ball, and faces the passer in aiple-threat position. The passer then becomes the next

eceiver. The drill involves continuous passing andatching. All passing and catching rules are practiced. For xample, players pass with the feet on the floor and catch

with the feet in the air. Another phase includes catch,ribble drive, quick stop, and pass. Catchers need to time

heir cuts to get open just before the passer is ready toass the ball.



WALL PASSING

urpose: To teach players passing and catching without aammate.

quipment: One ball per player and a wall space or ossback rebounding device.

rocedure: All basic passes can be practiced against awall or a target. The tossback or passing rebounder, aommercial rebound device, is especially helpful for racticing this skill. It rewards a good pass by returning

he ball on target and informs the athlete when annaccurate pass is made. The following passes should beracticed: chest, bounce, overhead, baseball, and push.



layers should pass the ball with the feet on the floor andatch the ball with the feet in the air. The tossback devicean be used to increase speed and intensity gradually untilmistake is made (indicating learning). Players should

work toward game moves at game speed.INE DRILL: STANCE, STARTS, AND SKILLREAKDOWN

urpose: To teach players to carry out selected footwork kills from a quick stance and a quick start (direct drive,rossover drive).

quipment: One ball per line, four lines on the baseline.

rocedure: First sequence, without the ball

Quick start and quick stops at the free-throw line, thealf-line, the opposite freethrow line, and the oppositeaseline.

Quick start and quick stop into a 2-and-2 rebound (at four ocations).

Quick start and quick stop after two imaginary dribbles,ear turn on PPF, step and imaginary pass to the nexterson in line.



econd sequence, with the ball

Repeat variations with emphasis on a first step that isong and low (direct drive or crossover drive).

INE DRILL: STARTS, STOPS, AND TURNS

urpose: To teach players to combine dribbling, starting,opping, passing, catching, and turning skills.

quipment: One ball per line.

rocedure: The first player in each line is in an offensiveuick-stance position with the ball (triple-threat position).n command, the player takes two dribbles forward past

he free-throw line distance, does a quick stop, uses a rear urn on the PPF (nondominant foot), faces the catcher onhe baseline (next person), steps and makes a push pass,nd goes to the back of the line. The coach can designateny pass to be used and either direct drive or crossover rive when starting the play.

MASS DRIBBLING

urpose: To teach the basic ballhandling skills of ribbling.

quipment: One ball per player (or one ball per pair of



layers, one dribbler and a buddy coach) spread on a half ourt.

rocedure: Spread all players out in their own dribblingpace, facing the court at the center circle area. Eachlayer follows the coach’s command to execute theseribble moves:

Stationary control and low dribble

Right-hand control and low (command: right low )

Change (right to left and vice-versa) (command: change )

Left-hand control and low (command: left low )

Moving low and power dribble

Right-hand low (command: right low )

Right to left or vice-versa (command: change )

Left-hand low (command: left low )

Shuffle slide forward (command: forward )

Shuffle slide backward (command: back )layers should start with an overhead toss and trap the



all as it comes off the floor to begin the low dribble.

Rhythm push, pull (yo-yo)

On the sides of the body (side yo-yo)

In front of the body (front yo-yo)

Between the legs laterally (side to side)

oach commands should be given slowly at first to ensureroper technique at a slower speed and higher dribble;hen command changes increase in favor of speed and aower dribble until mistakes are made. Players should usehe nonpreferred hand two or three times more often than

he preferred dribbling hand. Coaching emphasis is for layers to sit into the game ( stay low ) with the head upsee the net ) and use a hard and low dribble ( pound theall ), do it correctly and then faster until mistakes are

made, and then go toward game moves at game speed.

ULL-COURT DRIBBLING

urpose: To teach the ballhandling skills of dribbling.

quipment: One ball per line (minimum) on a half court

minimum).





wo back dribbles, crossover, and go. Repeat the sequencever the whole floor.

Players use a specified dribble and quick stop under ontrol on the coach’s signal.

Zigzag or crossover dribble or spin dribble: Playersribble down court from a triplethreat position start in agzag, using V-cuts and a crossover or spin dribble.

Two-ball dribbling (advanced): Players can dribble twoalls while executing these selected dribble moves: lowhythm (both hands), low nonrhythm (both hands), highhythm (both hands), high nonrhythm (both hands), high toow (right high and left low and vice versa). Players

hould start dribbling hard and low, then high, thenternate rhythm (one high, one low), then add changes of irection and speed, and, finally, use differentombinations.

The two-ball dribbling progression should be theollowing:

Stationary: low rhythm, low nonrhythm, high rhythm, highonrhythm, high to low and reverse, windshield wiperside yo-yo), front to back yo-yo.

Dribble on the move to half court (use all five





One hand and one ball (left and right)

Pound

Around the world (circle pattern)

High to low

Two hands or two balls

Pound

Around the world

High to low and low to high

Two-ball stutter (nonrhythm)

Two balls (one pound, one moving)

Two balls (both circle)

ALLHANDLING BASICS

urpose: To develop basic dribbling, passing, andatching skills.

quipment: Basketballs, tennis balls, floor space.



rocedure

Taking infield: This is a favorite ballhandling drill fromaseball Hall of Fame shortstop Ozzie Smith. To adapt it

o basketball, a player, with a tennis ball, should find awall space and get into a low and wide quick stance withoes pointed slightly outward and about 20 feet (6 meters)om the wall. Player throws the ball against the wall hardinches (15.2 centimeters) above the floor and catches the

all with a click (two hands, two eyes) as it caroms off theoor. The player gradually moves toward the wall to

ncrease difficulty. Players should always throw sidearmuring this exercise, not overhand, to protect the rotator uff muscles.

Dribble and juggle: This drill is designed to work ononpreferred hand dribbling and requires players to avoid

watching the ball while dribbling. The player dribbles aasketball with the nonpreferred hand while tossing andatching a tennis ball. Players can increase difficulty by

ossing the tennis ball higher and catching it in differentways and by adding various dribble moves while the

nnis ball is in the air. Teaching tips are to get low andwide and pound the dribble hard. Players should keepontrol of the dribble at all costs, even when they lose

ontrol of the tennis ball; they should never give up their ribble.



Partner dribble and toss: Pairs of players talk to eachther while dribbling with the nonpreferred hand andlaying underhand toss and catch. Players should never ive up the dribble.

Partner dribble and throw: Pairs of players throw theall overhand to each other while dribbling with theonpreferred hand. To increase difficulty, they should

move away from each other in a random fashion.

Partner three-ball passing: Players can use twoasketballs and one tennis ball or two tennis balls and oneasketball. They pass to each other with a one-handedush or a flick pass, using the preferred hand to begin andhen switching together to the nonpreferred hand toncrease difficulty. Talking is critical. The ball is in their, the feet are in the air on the catch, and the pass shoulde to the nonpassing shoulder of the catcher. The player

who starts with two (of the three) balls starts the drill withhe first pass.

Partner bad pass reaction: Pairs of players with one ballre 15 to 20 feet (4.6 to 6 meters) apart. They make sharp,risp, inaccurate passes to each other. The catcher catches

with a click and then captures and chins the basketball.

he coach may also throw underhand (softball style)ullet passes to test catchers. The catcher should be in auick-stance catching position. Players should catch the



all with the feet in the air, move the feet and get the bodyn front of the pass.

Partner back to the passer: Pairs of players use oneasketball and space themselves 15 to 20 feet (4.6 to 6

meters) apart. The player without the ball has his or her ack to the passer and is in quick-stance catching position.he passer makes a crisp pass while calling the catcher’same. The catcher must catch the ball with both handsfter making a quick jump turn to face the passer. Thelayers exchange roles and repeat. They should pass asast as needed to test their teammates. The catch should be

with a click.

Pull-back crossover progression: With one ball, the

layer, starting in a stationary position with the footpposite the dribbled ball forward, follows this sequence:

Push-pull on right side, get a rhythm.

Crossover to left side, repeat.Push-pull two or three times, crossover, repeat.

Same move, but with a baby step, then do a lunge steporward.

Two or three dribbles forward, two or three dribbles



ack, crossover, and repeat. Players should point the leadoot in the direction they are going.



hapter 4

hooting



The main thing on offense is that we get a good shotvery time down the floor.”



om Pete’s Principles , Pete Carril, former Princetonoach, now Naismith Hall of Fame Coach

hooting is probably the best known fundamental skill inasketball—every player is interested in scoring. If givenbasket and a ball, even a novice invariably dribbles and

hoots.

hooting, the fundamental skill that players enjoy andractice most, can be practiced alone. It is an action thatroduces immediate feedback. Most coaches contend thatll players can become good shooters through long hours,ays, and years of practice. Of course, great shooters mustlso possess special physical talents. Any player,owever, can become a good shooter and an excellent

ee-throw shooter.

ne of the two basic objectives of basketball is getting aood shot in order to score a basket. The other objectivepreventing an opponent from doing the same. This

hapter contains guidelines for teaching players how to getgood shot on every attempt and how to become better corers (making a high percentage of shots taken) throughhysical practice (with proper technique) combined with

mental practice to build confidence.

ield-Goal Shooting







roper shooting technique can be developed only withufficient basic skills and strength. Coaches can use a

maller ball and lower basket when teaching shootingkills to players in grades below 7 (ages 11 to 12 andounger). Proper mechanics can be learned early, inrades 4 through 6 (ages 9 to 11), and then applied readilyo a regulation ball and basket. Young players should lear

roper mechanics that can be easily carried out. Thisdjustment of equipment ensures that they will learn tohoot properly and build confidence more quickly.

omplete guidelines on modifying the game for younger layers (including equipment recommendations) arevailable in a companion coaching book, Basketball Skill rogressions, NABC’s Handbook for Teaching (Coacheshoice 2003) by Jerry Krause, Curtis Janz, and Jamesonn. This book also details what basketball skills toach and when to teach them (i.e., a sequential,rogressive approach). Even though some youngsters wanto play with the big ball and the higher basket, they must



e sold on solid progressions and correct mechanics at anarly age. Using the big ball and the 10-foot (3-meter)asket too early in their learning can be harmful to their kill development.

assing and catching and quick stops are the mostmportant shooting fundamentals. Players should learn toet a shot by first moving to get open (use proper ootwork). Then they must catch and face the basket iniple-threat position and be prepared to shoot (alsoootwork).

each players to attack and get shots as close to the baskets possible on a dribble drive. They should challenge theefense by probing for the basket—the ultimate shot is the

ayup.

cronyms, such as BEEF and ROBOT, can be used tossist players in learning some of the key concepts of hooting. Younger players can learn proper shooting

mechanics using the BEEF principle:—Balance, the most important foundation of every shot.he shot starts on the floor, before the player catches theall, with proper footwork—with the knees bent and theeet ready first. Kevin Eastman, longtime college androfessional coach, states the importance with the phrasethe feet make Js (jump shots),” which means that proper



ootwork is needed to make jump shots.

—Eyes. To be accurate, players must pick up the targetarly (full focus for at least 1 second) and have a narrowocus on the spot target (the preferred spot target is theenter of the back of the rim or the upper corner of theackboard rectangle); the “eyes make layups.”

—Elbow. Generally, players should limit all arm motiono a vertical plane, especially keeping the elbow up, in,nd under the ball (except for pedestal-pocket shooting).

—Follow-through. Players should use full extension of he arm (locked elbow), held for one count on a field goalr until the ball goes through the net on a free throw. The

wrist is fully extended, with fingers pointed down (make aoose neck, put a hand in the cookie jar, or make a firmut floating parachute with one hand). The follow-through

must be firm, but relaxed. The proper release angle is 60egrees above horizontal. Finish high (release it high and

t it fly). Shoot up, not out is the critical guideline for roper arch on the shot. Shooting high and soft isspecially important on backboard shots. A 55- to 60-egree release angle on the shot produces an optimal entryngle into the basket of 45 to 50 degrees.

RITICAL CUE:





hrough practice using computer-programmed musclememory data.

he arc conclusion is that players generally need higher rc on their shots that is consistent with their strength toroduce accurate shots. Great shooters have consistenthots—start, finish, and arc. Each shooter must find anptimal arc (balancing accuracy and strength) in order to

maximize the chance for scoring.

layers should also strive to become shooting ROBOTs— coring machines:

—A player is in effective scoring range (minimumractice goal of over 50 percent for two-point field goals

nd the equivalent 33 percent for three-point field goals)s well as shooting in rhythm (feel the shot).

—A good shot requires that the shooter be o pen (noand in the face).

—A good shot is always taken on balance. The shotarts from the floor, so players should get the feet ready.ccording to John Wooden, Naismith Hall of Fame player

nd coach, balance largely depends on footwork (and headosition). Shooting can be evaluated by the position of theeet before and after shooting. The feet should land slightlyorward—never back, right, or left—after the set or jump



hot (about 6 inches [15.2 centimeters]). The head is a keyo shooting balance; players should keep it slightlyorward, especially before the shot.

—Good shots are one-count shots where a player’s feetre ready and the ball is shot in a single positive motion tohe basket from the shooting pocket with hands ready (nowo-count ball dip or swinging a leg unless needed for hythm).

—No teammate has a better shot. Players should leavehe feet and go up to shoot, and pass only when a teammateeally has a better shot.

GENERAL COACHING POINTS FOR HOOTING

Shot starts on the floor—feet ready, hands ready (feet

make jump shots).Offensive quick stance—weight on whole foot for uickness and balance, point shooting foot at basket.

Full focus—early target on rim or backboard for 1econd (focus).



Shooting hand—ball in whole hand, lock and load intohooting pocket.

Bookend hand—on side, moves out and up on the shot.

Release it high and let it fly—shoot up, not out, with a0-degree angle of release above horizontal; thrust fingershrough the ball to get backspin (feel).

Full follow-through—firm but relaxed (field goal, 1

econd; free throw, until the net).

To build confidence, remember the makes, forget themistakes.

Use confident self-talk; focus (before the shot), feelduring the shot), and get feedback ( yes or swish on madehot; shot location on missed shot) after each shot.

Use quickness without hurrying. Be quick preparing for he shot, but don’t hurry the shot.

Maintain vertical alignment; keep the ball in the planewith the elbow in, up, and under the ball (unless using theedestal shooting pocket). Players need to use a two-anded pickup to get the ball up and to the shooting pocket

uickly.

Use physical and mental practice (see, hear, and feel the



erfect shot).

Use the BEEF principle.

Become a shooting ROBOT and apply the ROBOToncepts.

Take game shots at game spots at game speed.

Practice shooting from shots, the pass, and the dribble.

uilding Field-Goal Confidence

fter mastering the physical technique, players canoncentrate on the mental aspects of shooting. Confidencedefined as the mental edge, built on careful preparation,

hat produces consistent success as demonstrated inractice and game competition. This definition implieshat players can build shooting confidence by proper reparation that includes key elements of mentalreparation and techniques.

he most important mental-edge techniques are shotreparation, shot execution, and after-shot skills:

Shot preparation: Players should pick up the spot target

arly and focus on it with narrow concentration for 1econd. Players must learn to ignore distractions and see



nly the ball and the net in their minds. This full focus isarned using the verbal prompt focus .

Shot execution: Studies have shown that skillmprovement can occur when players become more awaref the feel of a shot from start (shooting pocket) to finishull follow-through). During each shot, the verbal prompt

eel reminds players to increase their awareness of thehot.

After-shot skills: Psychocybernetics research points tohe importance of controlling self-talk after each shot touild confidence. When players are shooting, the feedback “remember the makes and forget the mistakes.” The

rocess requires a shooter to emphasize and celebrate the

hots that are made and to play down, with little emotion—to “analyze and forget”—the missed shots. Playershould never be too hard on themselves over a missedhot. On a miss, a player is asked only to note the shotocation and then continue with play. The verbal prompts

re the following:

Made shot— yes, net, swish , or money celebration .

Missed shot—note shot location ( short, long, right,eft ). Great shooters can be more specific.

RITICAL CUE:



emember the makes, and forget the mistakes.

Summary: During practice, players need to use theerbal prompts for each shot— focus, feel, feedback ( yesn makes, shot location on misses). Confidence is builtaily and requires many successes at high percentagesver long periods.

RITICAL CUE:

ocus, feel, feedback ( yes on makes, shot location onmisses).

roper practice can make a shooter into a scorer—theecret of good shooting. Have players spend ample time

hooting with proper form. Practice makes permanent (noterfect); therefore, players must learn toractice(physically and mentally) properly—game shots atame spots at game speed. They can use mental practicelone—3 to 5 minutes visualizing successful shooting

tuations and specific shots, imagining the look, sound,nd feel of a perfect shot (see it, hear it, feel it). Playershould repeat the cues focus, feel, yes, or net a minimumf 25 times daily as they visualize the perfect shot. Thereatest progress can be made by combining physicalractice with mental practice.

hooting Mechanics



he specific physical techniques of shooting, calledhooting mechanics, include the movements of the body,eet, and hands during shooting.

he movements are the same for the one-handed set shotnd the jump shot. The essential difference is that the jumphot is executed by shooting the set shot just before theeak of a jump. Proper shooting mechanics should beaught and practiced. The medium arc shot (about 60egrees at the angle of release) is the best compromiseetween the best arc for shooting (an almost verticalajectory) and the available strength for accuratehooting. Most beginners shoot with a release angle lower han the optimal 60 degrees. With the regular side shootingocket, the shooting foot, elbow, wrist, and hand are all inhe same vertical plane with the basket as the ball isrought up past the face ( figure 4.1 ). Hand and arm

motions are the same on all set or jump shots—the power omes from the legs. Backspin on the ball produced by thenger thrust increases the angle of rebound off the rim

.e., producing a more vertical bounce) and gives the shotgreater chance of going into the basket. It also stabilizes

he flight of the ball. Players can produce backspin byhrusting the fingers through the ball on release.

n addition to these general points of shooting mechanics,layers should be taught specific fundamentals such asmaintaining proper body position, holding the ball, and



xecuting the steps of the shot.





alance With Feet Ready

good shot starts with the feet ready (knees bent) and theominant foot slightly forward and pointed toward theasket in a quick-stance or offensive triple-threat positionfigure 4.2 ). The player’s head is balanced and slightlyorward, with the body generally facing the basket (thehoulders are not exactly square to basket—the dominanthoulder is slightly forward). Players should point thehooting foot at the basket and sit into the shot (the feet

make Js). On pedestal-pocket shooting (explained later),he feet are square to the basket.

ootwork is the foundation of the shot that producesalance. Dan Hays, Hall of Fame coach from Oklahoma

hristian University, uses a unique way to teach proper ootwork for set and jump shots. Players stand with feetogether and touching. The shooting foot is moved slightlyorward so that the nonshooting toe aligns with the middlef the shooting foot. Then the shooting foot is moved

aterally to a balanced feet-ready position for shooting.

arget

When the ring of the rim is the target, players should focusn the imaginary center of the ring (the perfect target) or he best substitute for this imaginary spot, the middleyelet loop on the back of the ring as viewed through the



et. Because accuracy tasks require a spot target, mostmisses are short, and most made shots are near the back alf of the basket, the back of the rim is the preferred spotarget. Some coaches prefer the front of the rim. For

ngled shots (45 degrees with the backboard), players canse the upper corner of the backboard rectangle as the spotarget. Coaches should remind shooters to hit thatackboard target on the way down in order to have theame arc on ring and backboard shots (which tend to beoo low or flat). On a rim or backboard shot, playershould pick up the target early with a full focus of oneount. The best court areas to shoot the board shot arehown in figure 4.3 . The rim shot and the backboard shothould both have the same arc on the shot; generally, theop of the ball on a medium range shot is the same heights the top of the backboard. Player guidelines are releasehigh and let it fly , shoot high and soft with backspin

especially on backboard shots), and shoot up, not out .

RITICAL CUE:

he feet ready—the hands ready (the ball in the shootingocket).





RITICAL CUE:

ull focus—early targe (the rim or the backboard).

he eyes should be kept on the target at all times (excepto follow the flight of the ball after release, as a weeklyrill to check proper backspin, as described later).

hooting Hand

he next step is for the shooter to grip the ball properly.he fingers of the shooting hand should be spreadomfortably, with the ball touching the whole hand excepthe heel ( figure 4.4 ). The angle between the thumb andrst finger is about 70 degrees (not 90 degrees). Players

hould form a V, not an L, between the thumb and indexnger. Players (facing the coach) can hold up the shootingand and spread the fingers as much as possible (90-egree angle) but then relax the hand slightly (thumb andrst finger in a V) and put the ball onto the whole hand bylacing the ball in the shooting hand while holding thealm up in front of the body ( figure 4.5 ). When handlinghe ball, players can move it to shooting position byrasping the ball with both hands on the side and thenotating the ball so that the shooting hand is behind andnder the ball. This technique is called locking and oading the ball into the shooting pocket.



his technique places the shooting hand in the sameosition for each shot for consistency: The shooting pocketalways in the same starting position.

o lock and load the ball into the triple-threat shootingocket (the same starting position for each shot), playershould first place the ball on the whole hand in front ando the side of the body ( figure 4.5 a). Then the nonshootingand grasps the shooting hand wrist in order to lock it intohe starting position ( 4.5b). The nonshooting hand is thenlaced on top of the ball or the hand in order to load theall into the shooting pocket ( figure 4.5 c).



RITICAL CUE:

he hands ready—the ball to the shooting pocket.



fter moving the ball into shooting position, the shooter hould bend the wrist back and load it in, forming an L at

he wrist and at the elbow (see wrinkles on the back of thewrist). Set the ball on the hand and hold an imaginary traywith the shooting hand. This position for the side shootingocket is shown in figure 4.6 . The locking and loadingchnique ensures that the starting position is the same on

ach shot for consistency.

he elbow (the L) is kept up, in, and in front of the wristfigure 4.6 ). Beginners may have a lower starting elbowosition, but the elbow should still be in front of the wristnd above the shooting foot. Younger players tend to drophe ball too low to gain momentum, pull the wrist in frontf the elbow, and, in the process, develop an inefficient



hooting mechanic. Shooting power comes from the legs;he arm shooting mechanics stay the same. The mostommon error that players make with the shooting hand or rm is having the elbow out when the shooting foot is

ointed at the basket and when they are using the armpit or houlder shooting pocket. Elite players may modify theocket by moving higher. This pedestal pocket , as a

middle shooting position, is described later.



alance or Bookend Hand

he balance (or bookend) hand is only used to steady theall, not to shoot it. The bookend term, which moreroperly describes the position and function of the



onshooting hand, was first developed by Dan Hays of klahoma Christian University. The bookend hand is keptn the side of the ball to avoid thumb drag; it does not uide the ball. As the shot is released, the bookend hand is

moved slightly up and out of the way and then finishes in aertical position off the ball, with the fingertips at thevel of the wrist of the shooting hand. The elbow remainsightly flexed. Common errors of the bookend hand are

he thumb push (to shoot the ball), the heel pull (to holdnder and drag the ball), and rotation of the off hand withhe shot (it should be a stationary guide). These errors cane caused by extending the nonshooting elbow during thehot. Figure 4.5 c shows the correct shooting-pocketosition and the position of the bookend hand. Theosition of the bookend hand can also be described asointing that thumb at a right angle to the shooting thumb.

oaches can illustrate the concepts of the whole hand andocking and loading without the ball by asking players tolace the shooting hand in front of the body (palm up) and

pread it to the whole-hand position. Players shouldmagine that a ball is sitting on the hand, as shown ingure 4.7 a . Then they should grasp the shooting hand

wrist with the nonshooting hand and rotate it in until itwon’t rotate any further (locked in position, as in figure

7b, but without the ball). Finally, they should place thealance hand on the shooting hand (palm to palm) and loadhe imaginary ball into the final shooting pocket (as in



gure 4.7 c). All this can be done without a basketball inrder to ensure that players understand the feel of the samearting position on each shot (the shooting pocket). The

hot can be simulated by pushing the elbow button,

hooting the imaginary ball, and holding the follow-hrough.

RITICAL CUE:

he bookend hand on the side—move it off the ball and upightly before release, keep the balance elbow bent. Point

he thumb back with the fingers up in a vertical position.

elease



hooting up and over by pushing the elbow button, ashown in figure 4.7 d , requires thrusting the fingers up andorward through the ball or snapping the wrist. Playershould visualize shooting out of the top of a glass

lephone booth or over a 7-foot (2.1-meter) defender.ackspin is produced when the fingers thrust the ball upnd over (push through the ball and snap the wrist) ( figure8). The ball comes off the index and middle fingers last.

ackspin produces a soft shot that can hit the rim, slowown, and bounce in. The backspin keeps the ball aroundhe shooting target. Players can check the backspin weeklyy shooting a vertical shot without a target or followinghe flight of the ball after the release of a regular shot.layers should not develop the habit of watching the ball;

hey should focus on the target instead.

he proper release angle is about 60 degrees aboveorizontal. For most players, the release angle is too low,

which decreases the size of the available target from

bove and lowers shooting percentage. Coaches shoulduide players to release it high and let it fly ( shoot up,ot out ).

common shooting problem centers around the arc of thehot after its release. Lower arcs tend to reduce thevailable entry area of the ball as it passes through them. Thus, many players struggle with attaining an optimal



hooting arc. The higher the arc is, the greater are themuscle forces needed to propel the ball, resulting in moreorces and less accuracy. Players and coaches should beware of attaining optimal release angle and shot arc with

smooth, rhythmic release that uses minimal forces. Thehot with a 55- to 60-degree angle of release produces anptimal basket entry angle of 45 to 50 degrees.

he importance of Arc in Shooting

Here is how the ball sees the hoop as it enters the baskethe basket entry angle):

Coming from an angle of 90 degrees from the horizontal,he target area is 100 percent.

Coming from an angle of 51 degrees from the horizontal,he target area is 55.6 percent.

Coming from an angle of 31 degrees from the horizontal,

he target area is 33.3 percent. (For a clean shot, theminimum entry angle is about 35 degrees.)





tudies at the University of Calgary have shown that theecommended range for the ideal release angle is between2 and 55 degrees. To shoot at an angle higher than 55egrees requires extra velocity or ball speed, which has a

etrimental effect on accuracy. Because of learningippage, the best compromise between force on the ballnd accuracy is an optimal release angle of 55 to 60egrees.

his principle applies more easily to pedestal-pockethooting from an overhead or a middle starting spot. Ashe ball is pushed up (not out) from the pedestal pocket,he ball is thrust up and over with the fingers touching theall last to produce ball backspin ( figure 4.9 ).

RITICAL CUE:

elease it high and let it fly (release the ball high, up, andver, at 60 degrees with backspin).

ollow-Through

he final step in shooting is full follow-through withomplete elbow extension (lock the elbow), arm pronationr turnout, and wrist flexion (controlled relaxation).layers should visualize making a goose neck, putting their ngers in a cookie jar, putting a hand in the basket, or

making a parachute with a firm floating hand and holding



hat position ( figure 4.8 ). The hand and fingers are firm butelaxed. A full follow-through ensures that the endingosition is the same for each shot.

RITICAL CUE:

ull follow-through and hold it (field goal, one count; freehrow, until net or swish ).

hooting skill is first built on proper mechanics and

chnique as described earlier. Players must developorrect technique as a physical foundation for the shot:

Feet ready for balance.

Ball into shooting pocket (same starting point); use wholeand grip (form the V), lock and load the ball (two-handedickup), bookend balance hand.

Release and full follow-through (same ending point);hoot up at 60 degrees (not out), hold follow-through.

Balance at the end of a shot—head forward.







ypes of Shots

lthough the basic mechanics of shooting are found in theet and jump shot, they are also applied in close shotsncluding layups) and long shots (like the three-pointhot). The same mechanics are used in post player shots as

well.

ayups

ll players should learn to shoot both left- and right-anded layups while jumping from one foot. The techniqueto jump from the left leg when shooting right-handed andom the right leg when shooting left-handed. A high jumpmade by stamping on the last step to minimize the

orward long jump and to maximize the high jump.oaches should have players use the backboard whenever ossible; exceptions may be the baseline dribble drivend the dunk shot. The dunk shot should be used only whenplayer can dunk the ball without strain and defensive

affic is minimal.Approach. Attacking or accelerating to the basket is aositive approach that players can use readily. When alayer is shooting a layup, the attack move is made byaking the ball up in a two-handed pickup motion (bringhe free hand to the ball when dribbling, chin the ball near he shooting shoulder—usually opposite the jumping foot



—and keep the ball chest high on the side away from theefender). Use a two-handed pickup (see figure 4.10 a) toit and protect the ball away from the defender. Playershould keep the ball away from the hip and avoid dangling

he ball away from the power position (near the upper hest or shoulders). The two-handed pickup and chinmove is used to prevent players from rocking the cradlefigure 4.10, b and c) and exposing the ball to the defender s it is brought across the body. The last dribble is timed

with the last jumping step on the inside foot when thelayer is using a dribble-drive move; this is often calledn opposition move when a player shoots a right-handedayup with a jump from the left foot (opposite foot) ashown in figure 4.11 . On a left-foot jump, the right (or pposite) knee drives up toward the basket (like a knee onstring with the same side elbow). Coaches should teacheginners to use a gallop move with a layup. For a right-anded dribbler and shooter, the last one-two gallop movewith the right foot and the left foot as the jumping foot,

n that order. The final layup shooting reminder is for

layers to pick up the target early (usually the backboard)nd focus for at least one full second; eyes make layups.

ump. The opposite knee (to the jumping foot) is thenaised high when the player is jumping ( figure 4.12 ) and

raightened just before the peak of the jump. Other tipsnclude using the backboard to your advantage, shootingoftly with a feather touch (shoot high and soft), and



ocusing on the ball and the target. For one-foot jumpayups, coaches can teach the primary overhand, or push,palm facing target— figure 4.12 ) and the underhand, or coop, layup, which produces a softer shot and is executed

with the shooting hand palm up ( figure 4.13 ).RITICAL CUE:

ne-foot layups: Opposition, two-handed pickup, high andoft shot on the backboard.







ower Layup. This layup is really a quick stop with the

layer facing the baseline into a two-foot layup. The quick op is made for power and balance and is used in trafficr under defensive pressure when control and power are



eeded. The power layup is a slower but stronger movehan the one-foot jump layup. On approaching the basket,he shooter lands facing the baseline or backboard witheet pointed to the baseline in a quick stop (one-count

anding on both feet). See figure 4.14 . The player chins theall on the outside shoulder away from the defense andxplodes vertically from both feet to the basket to shoothand facing or hand under) a onehanded layup off theackboard.

hree-Point Shots

hooting the three-point shot requires some adjustment.hree-point shooters must develop a sense of where thene is without looking down (respect and know the line).

ong shots produce long rebounds, and reboundingammates must adjust accordingly. Knowing the time and

core in a game is important for all shots, but especiallyor the three-point shot (the trey). This shot should only bettempted as the player is moving toward the line with a

uick stop or after a plant and pivot ( figures 4.15 ). Thesemovements provide the greater force needed for this shotnd allow beginning players to take it without straining.mphasis should be placed on getting momentum fromending the knees more for extra power from the legs,

sing the elbow L, and on releasing the shot on the way upwith a full follow-through. For most players, the three-oint shot is more of a set shot.



RITICAL CUE:

o shoot the trey, get power and momentum from the legs,nd emphasize full followthrough with elbow in lineegular pocket).

Homer Drew of Valparaiso University teaches his playerso get the three-point field-goal shot from the pass in six





edestal-Pocket Shots

Modifications can be made for players with higher rength levels (especially core and upper body) and

nside players who shoot most of their set and jump shotsloser to the basket. For an in-depth treatment of thesechniques, see The Perfect Jump Shot by Scott Jaimet

Elemental Press, 2006). These recommendations are aeparture from shooting techniques described previouslynd may not be suitable for most players, but they have thedvantages of high arc, added balance, symmetry, andncreased relaxation during shooting. This technique is for lite players with high levels of upper-body strength.

aimet advocates a focus on four important factors:

alance, rhythm, extension, and symmetry. The one-handedet or jump shot described in the previous section dependseavily on shooting rhythm, full extension, and balance.alance depends primarily on footwork but is morehallenging with the ball’s shooting pocket on one side of

he player’s body. The shift of the ball to a positionirectly overhead and near the middle of the bodyacilitates balance. This overhead or forehead shootingocket is the pedestal-pocket position. Players should griphe ball, form a V with the shooting hand, and then lock

nd load the ball to the pedestal pocket with a two-handedickup, as shown in figure 4.16 . The whole hand is alwayslaced under the ball on the shooting pocket on the







edestal pocket is that the shooter can more readily pick p the shooting target early and get a full focus on thearget without visual obstructions from the arms or theall. Players should form the shooting tent and put the ball

n the pedestal pocket, above the head and between the eyend ear. Coaches should emphasize that the elbows shoulde at eye level and the arms at right angles at the elbows.

Having the ball in the pedestal pocket and the elbows highmakes it easier for players to shoot the ball up (not out).When players shoot from this trigger spot, the arms areully extended (the shooting arm at the elbow and the

wrist) with a full follow-through that is firm but relaxedor pulling the trigger and folding the tent as the ball ishrust upward and released at the peak of the jump (or onhe toes for the set shot).

RITICAL CUE:

ight angles at the elbows and the thumbs at right anglesn the ball (pedestalpocket shot).

ote the symmetry of the feet and arms when players aresing the pedestal-pocket shooting technique ( figure 4.16 ).he body faces the basket directly in a balanced,ymmetrical position before, during, and after the shot.he complete sequence of the pedestal-pocket shot ishown as follows:



Use a quick stop (or plant and turn) into a balanceduick and square stance, facing the basket. Sit into the shotnd square to (face) the basket; grip the ball with wrist

wrinkles ( figure 4.16 a).

Grip the ball with wrist wrinkles and use a two-handedickup in a tight arc to move the ball quickly to theedestal pocket—form the tent ( figure 4.16 b). Lock andoad the ball into the pedestal pocket; put the ball in theigger spot with thumbs forming a right triangle.

Use full focus on the target for one full count (see therget through the V under the tent) while jumping with fullxtension.

COACHING POINTS FOR PEDESTAL-POCKETHOOTING

Face the basket with the shoulders square to the basketnd the feet parallel in quick stance. Sit into the shot; usehe legs for power.

Lock and load the ball in a tight arc into the pedestalocket. Use a quick two-handed pickup with wrinkled

wrist.





layer maintains contact with the lower body and seals theefender with a half rear turn or leg whip ( figure 4.18 b),mmediately followed by a two-handed, two-foot bouncend hop move with the ball and to the basket. Figure 4.19

hows this move with the one dribble taken from a two-anded chinit position near the lead foot as a two-footump is made with a quick-stop landing. The post player ands facing the baseline and shoots a power shot byxploding up to the basket or backboard from the chinitall position ( figure 4.20 ).







he post power shot can be used in two ways: without the

ribble (only leg whip), when the player is catching theall in the lane, and with the dribble, bounce, and hopwo feet to two feet move) when the player is catching theall outside the lane. Both shots, called angle baskets,llow the offensive player to use a body position

dvantage to make a post-player angle move to the basket.ost Hook Shot



he preeminent player who used the post hook shot wasew Alcindor (now Kareem Abdul-Jabbar), who playedt Power Memorial High School (New York City), UCLA,nd in the NBA, where he developed and mastered the

kyhook . His Los Angeles Lakers coach, Pat Riley,escribed his post hook shot as “the most awesomeweapon in the history of any sport.”

layers in the United States used to dominate the world byarning to play with the back to the basket and using size

nd position. The skyhook fits Kareem perfectly because itan act of faith by an extremely driven, willful person.s Jabbar states, “Everybody wants to see the ball as theyt it go, to have it on-line from the start.” But the postook shot won’t allow players to see the ball as theyelease it from behind and then over the head. As Kareemescribes it, “It requires triangulation and rhythm, touchnd repetition.” The lesson is that the post hook shotequires faith, willpower (a strong mistake mentality), andonsiderable practice (Wolff, 2002).



ometimes called the baby hook or modern hook shot, the



ost shot is used by players who receive the ball in a lowost position with the back to the basket. The best locationor a post shot is just outside the free-throw lane near thelock ( figure 4.21 ). This low to medium post position is

ust outside the lane, near the first or second free-throwane spaces. The post player generally locates on or near he post line, a straight line between the passer and theasket.

n receiving a pass with the back to the basket in the post,he player should capture and chin the ball with two hands.he offensive player in the low post area should have theall in the two-handed power position under the chinchinit). Any player receiving a pass should be in quick-ance position and chinning the ball. The footwork for theost shot involves making a partial rear-turn pivot into theane, using the baseline foot as the pivot foot. The other oot is used to step into the lane as far as possible in aalanced position facing away from the basket. Ideally,his foot is parallel to the baseline. When the nonpivot foot

its the floor, the pivot foot is raised as the knee is liftedigh and rotated to face the basket, as in a normal layup.he ball is then moved from the chinning position past thede of the head, pushed overhead, and released with fullrm extension (elbow locked) and pronation. This move is

d by the inside elbow. The complete post shot sequenceshown in figure 4.22 and includes these essential steps:







figure 4.22 a).

Catch and chin the ball; capture and chin the ball to theower position— possession is more important thanosition ( figure 4.22 b).

Make a partial rear turn using the baseline foot as theivot foot, and step into the lane with the stepping footarallel to the baseline ( figure 4.22 c).

Move the ball up and over the head with full extensionnd pronation of the arm, and keep the ball close to theody until the release ( figure 4.22 d ).

Rotate and shoot the post shot ( figure 4.22 e).

Land in quick-stance position and assume that the shotwill be missed; put both hands up and assume a quick

ance for a possible offensive rebound ( figure 4.22 f ).

ost Jump Hook Shot

variation of the post player hook shot, the jump hook issimpler shot than the post hook shot, requires less skill,easier to teach, and has a quicker release. All players

an be taught this shot, which can be used close to the

asket and can be shot over taller defenders.

RITICAL CUE:



ump hook: Point inside shoulder at basket, release ballverhead, complete full follow-through.

he teaching progression for the shot is as follows:

Shot mechanics (preferred and nonpreferred hand) inont of basket facing the sideline (home base). This is

hown in figure 4.23 as the player shoots from a deeprouch or wide-stance position, with the ball on theutside shoulder chin location, to a shot directly overhead.mphasis is on the overhead release, with full armxtension and wrist snap, and the inside elbow or shoulder

pointed at the basket. Nonpreferred hand repetitions areaken two or three times more than preferred hand shots.



Jump hook from home base (with the jump)—release theall on way up near the peak of the jump and come down

n a ready position with the arms up (assume a miss).

Jump hook—right and left hand from five spotsbaseline, 45 degrees, home base, 45 degrees, baseline),s shown in figure 4.24 .



Jump hook at five spots over dummy defenders or hooting pad (both hands up).

Power move to the middle—one dribble power move toome base (in front of the basket or in the lane) and jumpook ( figure 4.25 ) or home base, shot fake, and jump hook figure 4.26 ).

The final version of jump hook shot is to catch the balln the air and turn, landing in the lane, (i.e., the pass to theost player is made into the free-throw lane). As the passmade, the post player catches the ball with both feet in

he air and turns to see the basket as the nonshootinghoulder is pointed at the basket. The ball is chinned near



he shooting shoulder. The jump hook is shot from a two-oot power jump and released directly up from thehooting shoulder with a locked elbow and flexed wristollow-through. The sequence is catch and turn, jump hook

p and over, land in quick stance, and assume that the shotwill be missed.



hot Fakes

eing prepared to shoot by having the feet and handseady (triplethreat position and shooting pocket) allowshe player with the ball to be quicker and more aggressiveffensively. It also prepares players to use the complementf the shot—the shot fake.

roper technique for the shot fake is for players to take theall (from the pit or triple-threat position or pedestal



ocket) quickly and vertically (vision is kept on thehooting target in a quick 1-inch shot fake). The body staysn quick-stance position as the player makes a short, quick ertical fake upward with the ball with the eyes on the

asket. Players should give the fake time to work rather han rushing into the move. The shot fake can be usedwhen players are facing the basket, when they have their acks to the basket, or when they are executing a jumpook. A test of the shot fake is whether the player’s heelsay down on the floor and the legs stay locked in arouched or explosive position. Players need to stay in theance as they use a shot fake ( figure 4.26 on page 95).



ree-Throw Shooting

ield-goal and free-throw percentages are the number oneatistical factors related to winning. Players and coacheseed to realize the importance of scoring, to know correct



hooting techniques, and to practice these skills properly.ree-throw shooting is especially critical for the

ollowing reasons: it is a mental as well as a physicalchnique (confidence is important), the game stops during

he skill, and little improvement has been seen in free-hrow percentages for over 35 years (NCAA Basketballrend Statistics, 2006). Free-throw shooting is truly aam skill that each player should be able to master, atast to national averages, regardless of age level or ender.

eams should practice free throws in proportion to their mportance in games; 20 to 25 percent of scoring, shotsaken, and games decided happens at the free-throw line.or practices evenly divided between defense andffense, 10 to 12 percent of total practice time should bepent on free throws. Ten percent of 60 minutes is 6

minutes, so a minimum of 5 minutes per hour—the 5-minute free-throw rule—should be spent on free-throwractice for every hour of practice or game time during the

eason as well as in the off-season.

RITICAL CUE:

pend 5 minutes per hour on free-throw practice.

Game percentage goals, as shown in table 4.2 , should beet relative to age. These measures indicate whether



layers should adopt the book guidelines completely or dapt them to improve free-throw shooting. Practiceandards should be 5 percent higher than game goalsecause of slippage in normal game performance.

RITICAL CUE:

Groove the shot first; then compete (against goals,efenders, and situations).

ree-Throw Technique

n free-throw technique, the key differences from field-oal shooting are making an alignment on the dot or spotoot position), having a set ritual, pausing at the bottom of

he shot, and exaggerating the follow-through. Playershould keep the free throw simple and the same each time.he complete free-throw technique is shown in figure27 .

layers should know how a good shot looks, sounds andeels and eventually be able to shoot free throws with their yes closed. A shot should be executed with controllednsion—not too relaxed or too tight. The importanthysical mechanics are the following:



Find the spot: Align on the center of the free-throw lineach time—the shooting foot, elbow, hand, ball, and eye

re aligned in a vertical plane with the basket. Thehooting foot should be in the same spot every time andointed toward the basket or slightly to the left of a lineerpendicular to the free-throw line. Place the toe of theominant or lead foot (the right foot for right-handers andhe left foot for left-handers) in the exact center of the free-hrow line. Hardwood courts have a nail hole at the center or measuring purposes. On other courts, mark that spot.ut the lead foot near the center and point the lead foot at

he corner of the backboard on the same side (right foot,ft backboard edge and vice versa). Place the other foot

n a comfortable position, with feet shoulderwidth apart inbalanced, staggered stance. The open stance at the free-



hrow line is preferred to the parallel or square stance.eing slightly open relaxes the shoulder muscles and puts

he shooting arm directly in the vertical plane to theasket. For a pedestal-pocket shooter, the eyes and the

all should be centered on the dot or spot, with the feet inclosed, square stance ( figure 4.28 ).

RITICAL CUE:

Get on the spot or dot.



Full focus: The focus should be on the center of the ring

r the center eyelet at the back of the rim. A player shouldocus on the target and think nothing but net or make theefense pay for fouling . The focus on the target shouldegin early and be held for one full second (focus, feel,eedback mental approach).

Bounce at the bottom: At the bottom of the shot, thelayer should pause for an instant of physical and mentalalm and focus and then bounce at the bottom for rhythm.fter the pause, all motion should be up and over toward

he basket. This is called a one-piece shot, with allositive motion toward the basket. Players should keep thehot simple and eliminate down and up motions, replacing



hem with simpler positive motion.

RITICAL CUE:

ull focus—pick up the spot target early and hold it for 1econd (the back of the rim is preferred).

Ritual: A ritual should be developed for the completehot. Coaches should help each player do the same thinghe same way every time—it is much easier to groove a

attern that is always the same. A deep breath just beforehe shot should always be part of the ritual (breathing inhrough the nose and out through the mouth). Playershould include the same grip on the ball. Most players putheir fingertips across the seams of the ball. They should

e slow and deliberate with the ritual while keeping itmple; it is sometimes best to eliminate dribbling from

he ritual. Finally, a verbal prompt of nothing but net issed to clear the mind.

Full follow-through: Full extension and pronation areeys to the follow-through. The shooter should come up onhe toes—get power from the legs. The upper arm shoulde 55 to 60 degrees above horizontal on the follow-hrough. Release high and hold the follow-through until theall hits the net. Put a hand in the basket. Come up andnish on the toes or jump slightly forward. Stay in the shotnd keep body weight forward with the hand in the basket.



COACHING POINTS FOR FREE-THROWHOOTING

Keep the shot simple and the same—simplify the motionnd do it the same way each time.

Groove the shot daily (e.g., take 20 shots and record theumber of makes).

Compete (e.g., 1 shot, bonus, 2 shots, 3 shots)—makevery shot a game shot in the player’s mind and setompetitive shooting goals.

Record—keep written records and practice at 5 percentigher than game goal.

Take the time—spend 5 minutes per hour on free throwsor every hour of practice or play.

OACHING POINTS FOR PHYSICAL TECHNIQUE

Find the spot—get on the dot in the same way each time,with the same alignment with the lead foot on the nail hole.

Perform a ritual—make it simple and the same each time;nclude a deep breath (in through the nose and out through



he mouth), the same grip on the ball, and a verbal prompto clear the mind and get a mental picture of the expectedutcome.

Bounce at the bottom—a positive motion to the basketone-piece shot) with rhythm (bounce two or three times).

Use a full follow-through—firm but relaxed hold until theall hits the net (keep body weight forward; stay in thehot).

OACHING POINTS FOR MENTAL EDGE

Ritual—for comfort and confidence (use verbal promptothing but net to clear the mind, deep breath, and same

all grip). See and say net to form the proper mentalicture.

Full focus—early target pickup, preferred middle spot onhe back of the rim for 1 second.

Feel—say feel during the shot and become more awaref the shot from start to finish.

Feedback—after every shot, remember the makescelebrate with yes) and forget the mistakes (analyze and

orget them using verbal prompt for shot location: short,ong, right, left ).



ree-Throw Confidence Building

layers can develop confidence in free-throw shootingwith a gradual, long-term approach using specific mental

chniques, including the previously described ritual.layers need to groove their techniques early in practicend during the season by shooting consecutive free throwsroperly, picking up the spot target early, and using fullocus (verbal prompt focus ) for 1 second. Coaches canach players to concentrate on every shot using positive

houghts, such as making the opponents pay for every foul,hinking net or swish (shots that hit only net ), and seeinghe net ripple as the ball goes through. Shooters develophot awareness by using the verbal prompt feel duringach shot. A positive shooting attitude also is developedy celebrating successful shots and evaluating missedhots using proper feedback (verbal prompts: yes on

makes and short, long, right, or left on misses). Thehooter blocks all negative thoughts and uses only theositive. Confidence is developed from careful

reparation and demonstrated skill in competition. Playerseed to shoot free throws in competitive situations, to

make every shot a game shot.

RITICAL CUE:

Mental techniques—before the shot, see and say net or othing but net during the ritual.



lementary school age players should use a smaller ball,ower baskets (8 feet [2.4 meters]), and a shorter free-hrow line (9 feet [2.7 meters]). Junior high school playershould shoot from 12 feet (3.7 meters) at a basket set at a

eight of 9 feet (see Basketball Skill Progressions ).hooting Drills

oaches should be creative in developing shooting drillshat are sequential, progressive, and include all of theasics of shooting: footwork and balance drills withouthe ball, spot shots, shots from a pass, and shots from theribble. Emphasize correct execution first and then gamehots at game spots at game speed.

INE DRILL: SHOOTING ADDITION

urpose: To teach shooting in a simulated game situation.

quipment: Half court (minimum), four balls (minimum).

rocedure: Form groups of players in four lines in theaseline formation. This is a form shooting exercise

without the ball or a defender (the ball is added later).layers should execute a quick stop in shooting positionfter jumping from the foot closest to the basket. Later, therill may be done using a ball and an underhand spin passr a dribble.



ptions

Straight line—shots are taken without a target at the free-hrow lines and the half-court line and the oppositeaseline, with players focusing on the basket at thepposite end of the floor.

Offensive zigzag—a shot is taken at the location of eachhange-of-direction spot. Most movement should beateral to make it easier for players to select the footlosest to the basket.

ROUBLESHOOTING

ollowing are some common shooting errors:

roblem: Off balance shots, with side drift or movingackward on the shot.

orrection: Proper footwork (feet about shoulder width,t into the shot) with balance is the antidote. Balanceduick stops or stride stops (plant and turn or pivot) correcthis problem.

roblem: Low arc shots.

orrection: The shooting pocket is too low or too far inont of the body (dangling the ball). Raise the side



hooting pocket or use the centered pedestal pocket. Shootp, not out, to shoot up and over the basket, not at theasket.

roblem: Late target pickups.

orrection: Use full focus and early target sighting. Sighthe target while dribbling or right after catching the ballfocus ).

roblem: Poor alignment or direction problems.

orrection: Shooters need to face the basket with either aightly staggered stance (side shooting pocket) or parallelance (pedestal pocket). With the regular side pocket,

heck the vertical stance alignment of the ball and thehooting hand, shooting elbow and shoulder, and shootingoot and knee. With the pedestal pocket, be sure the trigger pot is centered overhead and that the arms and the bodyre symmetrical.

roblem: Slow release on the shot.

orrection: This is often caused by players using a slowall pickup to the shooting pocket (side pocket), danglinghe ball low, locking and loading to the pocket too slowly,r making the down and up motion in shooting (a twocounthot). Quicken this move, tighten the arc to the shooting





roups of four begin on the go command; the next four layers begin when there is 15 to 18 feet (4.6 to 5.5

meters) of space between them and the preceding group.he coach designates a basket to the side of the court (use

he intersection of the sideline and the half-court line).layers move forward under control in the basic positionntil the coach gives the shot command. Then each player n the court simulates catching a pass with a quick stop or hooting off the dribble and makes a shot to an imaginaryasket. On the go command, all players continue up theourt until the coach throws another imaginary pass.layers must be ready to shoot with balance and control atny time, shooting to the right going down and shooting tohe left coming back.

Line shots with the ball—the first four players startogether and use proper technique to shoot four imaginaryhots (the free-throw line, the half-court line, the oppositeee-throw line, and the opposite baseline with the ball).layers shoot at the opposite basket and then shoot as

hough the basket were to the side. With the basket to thede, they hop from the basket-side foot and land facing theasket. With the ball, they catch and turn in the air to facehe side and then shoot. Players can shoot from a pass tohemselves (two-handed underhand spin pass with

ackspin thrown at the location of the intended shot). Thenlayers can shoot from a dribble. The shot is taken with aigh 60-degree arc slightly in front of the shot location—





ppropriate direct or crossover drive and dribble from thewing position. Emphasis—early target, opposition, two-anded pickup, high jump (rebound the player’s own shotefore the ball hits the floor)—can add dummy defender

r cone halfway to the basket.Two-line layups (12 players with three balls per basket).

Dribble in and the opposite line rebounds

Pass from the opposite line

ote: a progression on layups from a pass is to carry theall in a shoulder and chin position as each player gallopsnto the basket.

ribble chase layups: Players form pairs, each with aall. The player with the ball stands behind the baselinend outside the free-throw line. The partner (the catcher)the outlet between the free-throw line and the half-line.

he passer uses a baseball pass to the outlet catcher, whoeceives the ball, faces up floor, and speed dribbles to thether end for the layup as the original passer chases theribbler down from behind (cannot foul but can go for theall. This occurs in pairs at opposite ends simultaneously;alf of the groups are at each end. Rotate clockwise andhen change to counterclockwise to ensure ample practice

with the nonpreferred-hand dribble and layup.



wo-minute team layups: Use four coaches or programssistants as passers located at the top of the key level justutside of the free-throw lanes. Divide the team or groupnto two lines located behind each baseline under each

asket on the full court. Start with two balls and add twomore later. The sequence is the following: the first player n line gets a make or misses a layup and outlets to theoach on same side while fast-break sprinting to the other asket in the sideline lane. Then the player receives theall back, near the half-line, from the first coach, passesn the move to the second coach, receives the return passor the layup, and goes to the back of the line at thepposite end of the court. The player at the opposite endoes the same actions simultaneously (two balls going).he coach may add two balls for higher skill levels.

oaching Points

One-foot layups—opposition (jumping foot and shootingand).

Two-foot layups—power up from a one count or a two-oot quick stop.

Two-handed pickup and chin on shoulder away from theefender—the balance hand drives or picks the ball up tohe shoulder (prevents rocking the cradle).



High jump, not long jump (stamp hard on last step).

Early target—hit it high and soft, use the board almost allf the time.

IELD-GOAL PROGRESSION

urpose: To self-teach progressively the skill of shootingwith a warm-up drill that provides a player with feedback eeded for improving shooting in all basketball situations.

ome form of field-goal progression needs to be usedaily by all players to reteach or review physical and

mental techniques.

quipment: One ball per player (when possible), basket,

r two players per ball (a partner can act as a coach).

rocedure: Each player takes a ball and reviews shootingccording to this progression. Five repetitions of each of he options are carried out each time.

ptions

Two-handed ball slaps develop the feel of having theall in the whole hand. Place the hands on the side of theall, toss the ball up slightly, and slam the hands againsthe ball while catching it five times. Players should do thisach time they pick up a basketball and enter the court.



One-handed arm swing to the shooting pocket, shoot, andetrace (without ball). Players may also use the bookendand. Repeat five times.

TV shooting without ball—player on the back with thehooting elbow on the floor and an imaginary ball on theorizontal hand (like a TV tray). Shoot vertically and holdhe follow-through. Repeat five times.

TV shooting with ball—same as the previous option butwith the ball. The ball must be shot at least 6 feet (1.8meters) up (ensure full follow-through). Hold the follow-hrough for 1 second and then catch the ball coming down.epeat five times.

Wall or backboard shooting without a basket target—startwith the ball in the shooting hand and the open hand facingp (form the V), lock and load into the shooting pocket,lace the bookend hand up but not touching the ball, andhen shoot up and high on the wall or the backboard.

Form shots, or shoot it straight shots, are one-handedertical shots without a target that start with the ball in thelayer’s hand in a palm-up position. The player shootinghe ball aligns the shooting foot on any line on the floor,otates the ball into the shooting pocket with the balanceand off the ball and slightly to the side in a verticalosition, shoots with good thrust (for backspin), snaps the



wrist, holds the follow-through until the ball hits the floor,nd checks where the ball bounces (on or near the line toee if the player is shooting the ball straight and 6 to 8 feet1.8 to 2.4 meters] in front of the player to ensure he is

hooting up, not out). Five repetitions are taken.Close to the basket shots or soft touch, or killer, shots areaken with a target (the rim and the backboard). Remindlayers to practice from the inside out, starting close to theasket and gradually moving out. All shots are inside theee-throw lane. A minimum of five shots are taken per

pot (higher goals for intermediate and advanced).

The circle shots drill emphasizes footwork: each player moves in a circle, carrying the ball with two hands held

hest high (pit and protect the ball), using proper quick-op footwork (hop from basket-side foot, the player lands

with the feet aimed at the basket and ready to shoot, andhoots a short shot) while shooting at five spots inside theee-throw lane, as shown in figure 4.29 . After five shots

re taken moving clockwise, each player shoots five shotsmoving counterclock-wise. Shots taken at 45 degrees areoard shots (spots 2 and 4); rim shots are taken at spots 1,, and 5. No dribbling is allowed—circle shots focus onaving the feet in position and the hands ready to handle

he ball. Rotate the circle after every shot. When playersre moving clockwise, the proper footwork is to hop fromhe basket-side foot in order to land with the feet ready to



hoot from a quick stop, facing the basket with theominant foot forward and the hands ready (ball inhooting pocket). Counterclockwise motion is done byopping from the left foot; clockwise movement uses

opping from the right foot.

nother version of a footwork drill that can be used as awarm-up is simple and quick and encompasses passickups and footwork for shots from a pass as well asootwork from a dribble. The Hays footwork drill,eveloped by Dan Hays at Oklahoma Christian, is carriedut from elbow to elbow at the free-throw lane (could be

om side to side anywhere near the free-throw lane, 15 to8 feet [4.6 to 5.5 meters] apart). The shooting footwork



om a pass version begins at the left elbow; the player aces the opposite sideline and, using a two-handednderhand pass to herself with backspin, tosses the ballear the opposite elbow and moves toward the pass while

erforming proper footwork (hop from basket-side footnd land with a quick stop facing the basket). The player naps the ball to the shooting pocket with a two-handedickup move. The player picks up the spot target early,ses the verbal prompt focus , and tests body balance bysing a short, quick shot fake (legs bent and locked, heelsown) but does not shoot the ball. Then the player faceshe opposite sideline, uses the bounce pass to herself at theeight of the chest or the shooting pocket, and repeats theass footwork, going from right to left. Now the hop footthe right foot. This process is repeated 10 times; 5 to the

ght and 5 to the left. This action simulates, in a warm-up,atching the ball and being ready to shoot from a pass withalance and quickness, moving to the right or to the left.

RITICAL CUE:

Use field-goal progression daily—five repetitions of slapsr slams, form shots, and soft touch or close shots. Shotsom the pass and the dribble should also be used duringach practice.

ollow with 10 repetitions of shooting from a dribblesing the outside-hand dribble; the right hand goes from



ft to right and the left hand goes from right to left. Theocus is on making a good self-pass (the last dribble) ashe players hop from the basket-side foot. The last dribble

a hard dribble that gets the ball to the shooting pocket

ccurately and quickly (dribble pickup) at the same times the basket-side foot is used to hop into a quick stop. Nohot is taken, but a shot fake is made as a balance check.

Shooting from a pass involves players tossing a high,wo-handed underhand pass to themselves in a desiredpot and using proper footwork to land in triple-threatosition, facing the basket and ready to shoot. Shots from aass are preceded by the pass pickups footwork drillround the three-point field-goal line (clockwise andounterclockwise). No shots are taken—the focus is onootwork and using a shot fake to check balance ( figure30 ). On pickups, the ball is snapped quickly into the

hooting pocket from a two-handed pick or grab. Wheneceiving a pass or on completion of the dribble, players

must get the ball quickly into shooting position. Players

hould make a pass to themselves, hop from the basket-de foot, land facing the basket with the feet ready, use a

hot fake to test balance, and then repeat the sequence.



Shooting from the dribble —from a triple-threat position,5 to 20 feet (4.6 to 6 meters) from the basket, a player

makes a dribble-drive move to the left or right, makes auick stop, and shoots from a desired spot. Preliminary

work should be done on pickup technique. The footwork or shots from the pass and the dribble is identical. With aribble, the last hard dribble occurs as the basket-sideoot is used to hop into a quick stop facing the basket (withe lead foot forward). Coaches can have players take theast dribble with either hand, jumping from the oppositeoot with a quick stop at the same time and landing in the

iple-threat position. Players go from baseline corner toaseline corner, tracing the three-point arc using proper



ootwork and practicing the dribble pickup techniquenap the ball into shooting position) prior to actually

aking shots from the dribble. Players should practice thechnique with clockwise and counterclockwise motion.

layers should dribble with the outside hand, hop from theasket-side foot as the last hard dribble drives the ballnto the shooting pocket (two-handed pickups), land facinghe basket with a quick stop (with the feet ready), use ahot fake to test balance, and then repeat the sequence.

OFT TOUCH OR KILLER SHOOTING

urpose: To review shooting mechanics and buildonfidence in players by shooting on a regular basisecommended as a warm-up for each practice).

quipment: One ball and one basket per player. Not morehan four players per basket.

rocedure: Soft touch or killer shots are taken at five

pots (five shots at five spots) with specific goalsppropriate to skill level. For example, beginners mighthoot or make one shot at each spot (two backboard shotst 45 degrees and three rim shots—corner, middle,orner); see figure 4.31 . The mental goal is to develop theabit of full focus (pick up target early and see or hold for ne count). Intermediate players might be able to makewo or three shots at each spot; advanced players could set



goal of only swish shots at the five spots (make three or make up to five in a row). Of the two soft touch options— ne-handed and two-handed—either or both are used, butspecially the one-handed version, in which the player

oes to the spot, places the ball in the whole shooting handhe palm up), locks and loads the ball into the shootingocket, places the balance or bookend hand to the side of he ball (not touching), and shoots the shot. Coaches canmphasize these points: have the feet ready, sit into thehot, put the ball in the shooting pocket, use full focusverbal prompt focus ), and execute a full follow-through.ach player goes through the checklist to review theasics on each shot. The same drill of five shots in fivepots can be done with the use of the balance hand added.he essential four steps of field-goal progression shoulde performed each time that a player steps on the floor toractice. Every time a player picks up a basketball, it’s anpportunity to relearn shooting (the essential slams, formhots, Hays footwork drill, and soft touch).

layers should always use soft touch shooting to applymental practice and use verbal prompts ( focus, feel during shot], feedback [after shot, yes or net on makes;hot location on misses]).

GROOVE IT SHOOTING DRILLurpose: To evaluate shooting effectiveness and range.



quipment: Ball, basket, and court area.

rocedure: At any spot or shot, shoot and make aminimum of 5 out of 10 shots (preferably, 7 out of 10hots) with that move and from that location. Thereferred spots or shots are shown in figure 4.31 .

ptions: To groove the shot at each spot, start at fiveocations outside the arc with a live ball.

Pass right and left—repeat a set of 10 shots until reachinghe goal for made shots.

Use a shot fake and dribble right and left with proper oot-work; shoot sets of 10 shots until the goal is met.



Face away from the basket in front of the five spots at 10eet (3 meters) from the basket. Toss a two-handednderhand self-pass at 12 feet (3.7 meters), use a two-anded pickup and a PPF rear turn to face the basket, and

hoot using mental edge technique ( focus, feel, feedback ).layers should keep track of their personal records for onsecutive makes at each spot.

AIRS OR IN-AND-OUT SHOOTING

urpose: To teach shooting in a 2-on-0 game simulationrill that covers all shooting situations.

quipment: Basket and one ball per pair of playersplayers can also work in groups of three or four).

rocedure: This continuous competitive shooting drill,hown in figure 4.32 , incorporates all of the principles of

movement: passing and catching, shooting, and offensiveebounding. Players are grouped in pairs (there may be

ne or two pairs per basket). The basic rules are asollows:



All pairs begin on the coach’s command, starting with theasser under the basket with a ball; a teammate gets openor the shot, calls the passer’s name, and receives a passor the shot.

Shooters rebound their own shots until a basket is madealways assuming that the shot will be missed) and thenain possession to pass to a teammate for a shot.

The receiver must always get open and call the passer’same.

Passers make a quick, on-target pass at the right time to aammate for a good shot and go quickly to another ocation near the edge of their shooting range, ready to



move only when a teammate has scored and hasossession of the ball.

ptions

Groove: each player gets open and shoots for 30 secondswhile a teammate rebounds; players take turns shootingnd rebounding, changing roles every 30 seconds.

The shooter makes five baskets and switches positions

with a teammate.

The 10-scores game to 10 made baskets (or 5) involveslayers moving with shots from a pass and from a dribble.

The coach designates the type of pass (push, overhead,ir, bounce) and type of shot (regular or shot fake andhot). This drill is excellent for practicing passes with theonpreferred hand (passers can use only this pass toncrease repetitions with the nonpreferred hand).

Pressuring the shooter involves the rebounder passing andmaking a poor defensive closeout while applying someype of false pressure (go by, shout, hand in face, contact)fter the pass to the shooter. The defender cannot block or lter the shot or foul the shooter. At least once a week, usehe variation of having defenders pressure shooters withands up to help shooters develop the greater arc needed



or shooting over defenders.

Three-pass shooting involves shooting from an outlet passpasser posts up), a pass to post (passer cuts), and a returnass for shot ( figure 4.33 ).

The beat the star variation places shooters inompetition with a designated star shooter with aebounder partner. The game begins with one free thrownd continues with players shooting set or jump shots.coring rules for free throws give challengers 1 point for uccessful shots and 3 points for the star on misses;hallengers score 1 point for successful field goals and thear gets 2 points for misses. The game can be played to1 or 21 points.



MAKE-IT-TAKE-IT ROW SHOOTING

rocedure: To teach the skill of shooting in a self-testingormat adjusted to standards set by the coach.

quipment: Basket and one ball per player.

rocedure: All tasks in this drill are self-testing andequire the player to meet effective scoring standards. All

moves are to be carried out consecutively without rest toractice shooting in game situations.

layers make dribble-drive layup moves from left andght corners (with a foot on the sideline), each hash mark,



nd the top of the key. They are allowed only one dribblend must make three baskets in a row from each spot.rontcourt players with the ability to dunk the ball must doo by dribbling only once. The objective is to cover the

reatest distance possible with a layup scoring move.fter each row of three shots is made, the player earns theght to shoot free throws. The percentage goal must be

met on free throws (four out of five for college players;hree out of four for high school; two out of three for junior igh) or the player repeats the move and free throws.

Advanced Options

Shoot from a spot with a selected move until two shots inrow are missed.

Consecutive swish—shoot from a spot with a selectedmove until a swish shot (the ball hits the net only) is madewo shots in a row.

Forty-point scoring—start three different scoring movesom five different spots along the three-point line: on theaseline on both sides, the wing on both sides, and the topf the key. The first shot is a three-pointer from a spinass. If the player makes it—3 points. The second shot is auick one-dribble pull-up jump shot worth 2 points. Thehird shot is a drive after a shot fake and a power layup athe basket—2 points. Players finish with five free throws



—1 point each. A perfect score is 40 points; 7 points per ve spots and 5 points per five free throws.

Three-point contest—shoot five three-point shots from theame five spots as the 40-point scoring drill. Players get 1oint for every shot made, except for the fifth shot (2oints). A perfect score is 30 points.

NDIVIDUAL DRILL FOR GROOVING THE SHOT

urpose: To teach players to self-assess the mechanics of he shooting hand and the balance hand while increasinghot range.

quipment: Ball, basket, and teammate or coach to

ebound and provide feedback.

rocedure: Player shoots along a straight line directly inont of the basket moving toward the free-throw line and

he half-court line. Start in close at about 6 feet (1.8meters) in front of the basket and in the free-throw lane.

lace the ball on the whole shooting hand (heldorizontally facing up). Using only the shooting hand,otate and move the ball to the shooting pocket (lock the

wrist in and bend the wrist back—place the ball on thehooting tray or form an L). With the bookend handirectly to the side of the ball (but not touching), shoot aigh arching shot and hold the follow-through for one full



ount. Continue moving away from the basket while usingorrect form. Players can find their effective range (over 0 percent) quickly.

his drill is also a good check of vertical plane alignmentf the shooting hand, elbow, and shoulder (keep the ballraight) as well as using the legs for power. Keep the shot

he same with the arms; get lower for power. The partner an help the shooter check position and mechanics. Thealance hand should finish high. As the shooting elbow isocked and the wrist is flexed for follow-through, thengers of the balance hand should be vertical at the leadf the shooting wrist. The pedestal-pocket shot with bothands can also be used, often at much closer distances.

IELD-GOAL CORRECTION DRILL

urpose: To focus on specific problem areas withhooters.

quipment: Ball, basket, and coach.rocedure: Focus on one problem at a time: footwork,alance, shooting hand, balance hand, or follow-through.ractice from inside-out: 3 feet, 6 feet, 9 feet, and 15 feet9, 1.8, 2.7, and 4.6 meters) from the basket. View thehooter from the side and from behind.



ptions

Footwork and handwork—players move right and leftarrying the ball in the shooting pocket, use a quick stop tohoot, and then dribble right and left to shoot.

Balance—check head and foot position before and after he shot; head straight or toward the basket (not left, right,r away).

Shooting hand and balance hand—check shooting hand atart (elbow in and L, wrist L) and finish (60-degree

elease, hold follow-through firm but relaxed). Check alance hand at start (side of the ball, vertical or rightngle to the backboard and the floor) and finish (pull

ightly off the ball, the elbow stays flexed, the shootingand above the balance hand, fully extended, or thengertips of the balance hand at the level of the shooting

wrist).

Swish game (plus three, minus two)—count a swish shots 1 point, a make that hits the rim is 0, and a miss is –1. Acore of +3 wins the game and a score of –2 loses; the

winning and losing scores can be modified according tokill level.

Do a consecutive swish—players shoot until they fail towish two shots in a row, keeping track of row swishes.



Shoot until two or three are missed in a row—record theumber of field goals made.

REE-THROW PROGRESSION

urpose: To provide players with a daily drill designedo reteach and review free-throw shooting fundamentalsuring each practice period.

quipment: Ball, court area, and basket.

rocedure: The free-throw progression drill is alwayshe same and consists of the following parts, each with aarning reminder:

Five slams—as players pick up a ball, they grab the ballnd slap or slam the ball hard with both handsmultaneously on the sides of the ball.

earning Reminder

Shoot the ball with the whole hand—spread the fingersnd form a V with the thumb and first finger. Feel it.

Five form shots on any spot without a shooting target.ut the shooting foot perpendicular to any line on the courte.g., the sideline) and at any spot, and shoot five freehrows using perfect technique. Hold the follow-through



ntil the ball hits the floor.

earning Reminders

Find the shot.

Get a ritual.

Bounce at the bottom.

Use a full follow-through (exaggerated).

Shoot up, not out.

Use the legs for power, up on the toes.

Keep body weight forward.

Shoot at least 10 soft touch, or killer, free throws. Fromposition 6 feet (1.8 meters) in front of the basket, shootee throws with complete physical technique. When the

oach or the player is satisfied with proper technique, addhe mental edge technique for confidence building. Setppropriate goals for free throws made from 5 makes to 8r 9 makes, to 10 swishes, depending on the skill level.

earning Reminders

Apply the four physical technique essentials.





KNOCKOUT SHOOTING

urpose: Practice shooting in a competitive situation.

quipment: Two balls and three to eight players per asket.

rocedure: Form one line at a selected distance and spot.he first player shoots and rebounds his own shot and, if

he shot is made, passes back to the next teammate in frontf the line without a ball. If the shot is missed, the player ollows and rebounds the shot. If the next shooter makeshe shot first, the player is knocked out—to run a lap,print to the opposite wall and back, or some other penaltyefore returning to game. Play for 1- to 3-minute periods.

he coach can also set up the game with permanentnockout until a final winner is determined.

OW PLUS FREE-THROW SHOOTING

urpose: To provide competitive shooting practice.quipment: Ball and basket.

rocedure: Any player may compete against the game byelecting a move, shot, or situation and practicing it until aumber of field goals are made in a row and a free throwmade, coupled to the goal. This approach to shooting



ractice is modified from that taken by many greatffensive players, one of the most notable being Billradley, who used this approach in high school (Crystality, MO), college (Princeton University), and

rofessional (New York Knicks) basketball to becomene of the best offensive scorers in the game.

or example, a player might select a left move, consistingf a shot fake or a dribble drive, with a pull-up jump shott 15 to 18 feet (4.6 to 5.5 meters), starting at the top of theey. The goal might be two in a row plus a throw. Thatlayer replicates the move and shot at game speed untilwo field goals are made in a row. The player must thenollow with a made free throw before going on to another

move or shot situation. If the free throw is missed, thelayer must start over and repeat until that goal is metwo in a row plus a free throw). Elite players might useoals as challenging as five in a row or more plus a freehrow to compete against the game.

OOTWORK AND FIELD GOALS (OR FREEHROWS)

urpose: To provide competitive shooting practice.

quipment: Ball, basket, and half-court playing area.

rocedure: Goals can be set for this game as



onsecutively made shots (field goal or free throw) or tovoid two consecutive misses over a period of time (e.g.,minutes) or for a given number of attempts (10, 15, or 0). The player with the ball may select any field-goal

tuation (shots from a pass or shots from a dribble) andny move (pull-up jump shot, layup, or runner). A free-hrow situation could also be selected.

he competing player begins the drill facing away fromhe baseline, positioned directly under the basket in theiple-threat position. Using a shot fake, the player xecutes either a direct drive or crossover drive moveany live-ball move) for two dribbles, to get as far pasthe three-point line as possible, and then terminates with aontrolled quick stop. On landing in a triple-threat quick ance, the player executes a PPF rear turn to face theasket in triple-threat position. At that time, the player ither tosses a two-handed underhand pass to a shootingpot (shoots from a pass) or uses a shot fake and aribble-drive or live-ball move (shoots from a dribble)

nto a competitive move (a layup or a pull-up jumper).he player assumes that every shot is missed and either

etrieves the made shot out of the net or follows themissed shot until it is made. On two-handed capturing andhinning the ball from the net, the player, who is now

acing the baseline, executes a PPF rear turn to face awayom the basket in a new direction and repeats the cycle.he sequence is as follows: capture and chin the ball, use





Mental practice shooting—carry out at least 25 perfecthots daily in a quiet, focused place.

Field goals.

Verbal prompts— focus (the back of the rim target), feel he shot from successful start to finish, from shootingocket to held follow-through), and feedback ( yes, net,wish, and money on made shots). There are no misses inhe mind to analyze and forget.

On backboard shots— focus (high), feel (soft), feedback n make.

Visualization—every shot is perfect in the mind; see it,

ear it, and feel it. Players should paint the perfect picturen their minds.

Free throws.

Verbal prompts—see and say net or swish (or nothing ut net ) during the preshot ritual (e.g., bouncing ball,ocus, feel, feedback [ yes or net ]).

Soft touch with mental practice—on each soft touch or lose shot, use verbal mental practice prompts.

Rim shots—focus, feel, feedback ( yes or net ).



Backboard shots—focus high, soft, feedback.

Mental practice personal record test—chart status androgress weekly. From a 12- to 15-foot (3.7- to 4.6-meter)istance, shoot as many shots as possible in 5 minutes tottain the greatest number of consecutive makes in thatme.

Rim shots—move from the baseline around the court tohe opposite side of the free-throw lane on the baseline.

Keep track of consecutive makes in 5-minute periods inwo situations.

Use a two-handed underhand toss to the 12-foot (3.7-meter) spot; catch facing away from basket. Using the PPF,

ace and focus, shoot ( feel ), and use feedback whileepeating. Time and record for 5 minutes (personal recordor doing catch-and-face).

Use a two-handed underhand toss to the shooting spot

while catching and landing facing the basket, and then useerbal prompts ( focus, feel, feedback ) while shooting.ecord the number of consecutive makes in 5 minutes

personal record for facing the basket).

Backboard shots.

From the 12- to 15-foot (3.7- to 4.6-meter) distance on



he 45-degree angle with the backboard, players should goom side to side (two spots) while shooting backboard

hots from two situations: catch and face, followed byace and shoot. Use verbal prompts on each backboard

hot; focus high, soft ( feel ), yes or net (feedback). Recordhe number of consecutive makes in a 5-minute period.

Catch and face (personal record for the backboard)— and facing away from the basket, turn and face, and shootpersonal record for facing the backboard). Record the 5-

minute personal record.

Land facing the basket and shoot (personal record for 5-minute periods).



hapter 5

utside Offensive Moves

laying the Perimeter



Drive and dish (penetrate and pitch), pass and catch, andreate scoring chancesor teammates should be the definition of a point guard.”



erry V. Krause

ny discussion of individual offensive moves shouldegin with the reminder that basketball is first andoremost a team sport. Although every game situationrovides opportunities for individuals to use offensive

moves, the player with the ball must coordinate offensivemoves closely with four other players. Coaches need tolace limitations on individual offensive moves to ensurehat players use their strengths.

utside moves are offensive moves around the perimeter f the court while players are facing the basket. The four ypes of individual outside moves are the following:

ive-ball moves (when the offensive player with the ballill has a dribble available),

dribbling moves (when the offensive player is in therocess of dribbling),

dead-ball moves (made at the completion of the dribble,when a player has used the dribble and stopped, inossession of the ball), and

completion shots (shots taken after a dribble).

roficiency in live-ball moves should be coupled with the





layers should always protect the ball and keep it close tohe body in a power position (pit and protect the ball),sing the body as a shield. They provide this protection iniple-threat position ( figure 5.1 ) by keeping the ball near nd under the shoulder with the dominant hand behind theall (wrinkle wrist position and bent elbow), during ave-ball move by dribbling the ball on the side opposite

he defender, by using a catch-and-face technique (chinitnd pivot to triple-threat position) in defensive trafficfigure 5.2 ), and by avoiding dangling the ball with the

lbows locked or extended. Dangling the ball meansanger—players lose arm quickness with the ball, power



o protect the ball, and may lose the ball to a defender figure 5.2 c).

onserving time and space with balance and quickness isbasic guideline for outside moves with the ball. All

moves should be quick and made in a straight line towardhe basket whenever possible. The offensive player should

make slight shoulder contact with the defender whilemoving past on the dribble drive ( figure 5.3 ) and then useuick shot and pass fakes while maintaining a quick ance. The live-ball move (using the dribble drive past aefender) should be made with a quick first step, long andow, past the defender in a straight line toward the basket. catchy phrase for players to remember during dribble

rives by the defender on a live-ball move is shoulder tonees, feel the breeze . It is important to get the head andhoulders by the defender’s trunk. Then, on contact, it is aoul on the defender. This technique is called winning theattle of the first step.





he attack-the-front-foot or hand rule is applied when theefender is in a staggered stance (see figure 5.3 ). The

most vulnerable part of the defender is the front-foot or theont-hand side because the defender must pivot before

ngling back to cut off the dribble penetration of theffensive player. So the offensive player should be awaref the defender’s front foot and hand and use a live-ball

move to that side of the body whenever possible. Theribble drive war is won when inside hip contact is made

with the defender to prevent recovery on the drive.



he player should attack the basket on the dribble drive byccelerating to the basket under control. Now or never

means that the live-ball move is best made immediatelyfter the player receives a pass, before the defense candjust, and while the defense is moving (drive against



momentum or in the opposite direction of the defender). If n doubt whether the dribble drive is open, the driver hould pass the ball (pass first, dribble last).

he primary objective of any live-ball move in the power one is to score a layup with one dribble (more than tworibbles are seldom needed). Players should read theefense to anticipate chances to use a controlled dribblerive as a reaction to a defensive adjustment. Learning toet by the defender and control the dribble drive wellnough to permit a last-second pass to an open teammater a pull-up for a shot, helps players challenge the defenseven more. Penetrate and pitch is an excellent perimeter

move needed by all perimeter players. Players using theribble drive are looking for the options of the layup, theass when a help defender appears (using a quick stoprst), or a pull-up jump shot or completion move if nother defender is waiting at the basket.

ermanent Pivot Foot Moves

hese moves should be used when a permanent pivot footPPF) is used for all live-ball moves. The left foot shoulde used for right-handed players and vice versa. Theollowing moves to get by the first defender should beaught as basics: the direct drive, the hesitation move, theocker step, and the crossover drive.





n front of the lead foot before the pivot foot is lifted.inally, a step is taken past the defender with the PPF tottack the basket. The breakdown count consists of thexplosion step with the dominant stepping foot (down) and

he player pushing the ball ahead to the floor on theribble drive ( figure 5.3 ). Playing rules require the ball toe out of the hand before the pivot foot is lifted (Americanules). For international play (FIBA rules), the ball mustit the floor on the first dribble before the foot is lifted,

which requires a longer and lower first step.

esitation or Step-Step Move. This is a secondaryominant-side move that is executed by establishing theiple-threat position and making a short jab step at theefender and basket with the dominant foot. If the defender oesn’t react to the jab step, a second long and lowxplosion step, as a direct-drive step, can be made pasthe defender. The breakdown count consists of a jab step

with a short pause (slightly forward and down), a long andow explosion step (go move), and a dribble drive

nitiated by pushing the ball ahead to the floor as hipontact is made ( figure 5.4 ).



ocker Step. Another dominant- or preferred-side movethe rocker step: a direct-drive jab fake and return to

iple-threat position, followed by a direct-drive move.he sequence is to establish triple-threat position, make airect-drive short jab step, and then return to triple-threatosition where a shot fake may be used to lure the

efender forward. When the defender moves toward theffensive player in reaction to the return to the triple-threat



osition, the offensive player should then make a direct-rive move. The rule is to drive against a defender’s

momentum. The breakdown count consists of a jab stepdown), a move rocking back to triple-threat position (up),

long and low explosion step against the defender’smomentum (down), and a dribble drive (go) started byushing the ball ahead to the floor ( figure 5.5 ).



rossover Drive. The basic countermove to the oppositede, when the defender overplays the dominant side,onsists of establishing the triple-threat position and thenrossing the dominant foot over to the other side of andast the defender while keeping the ball close to the bodynd swinging it across (circle tight) at the same time. The



all then is taken from the nonpreferred triple-threatosition and is pushed ahead to the floor with the player’sonpreferred hand to begin the crossover dribble drive.he dominant foot is pointed toward the basket. Players

hould keep the pivot foot stationary while the crossover ep is made with the same stepping foot. The breakdownount consists of triple-threat position, swinging theominant foot over to the other side (long step) as the ballsnapped over from pit to pit while placing the

onpreferred hand behind the ball (circle tight), andushing the ball ahead to the floor on the dribble drivefigure 5.6 ). The ball should be moved across the bodypit to pit) high in the chest area. Some coaches prefer theigh sweep and low sweep, but this is too slow and takeshe ball too far from shooting or driving position. Someoaches also teach a jab step to the preferred side to setp the crossover, but this move is slower and tends to

make the reaction crossover move lateral rather thanoward the basket.

he direct-drive and crossover moves are the basic live-all moves that are sufficient for most players to combat

most defenders. Beginners can usually depend on oneasic go-to move (direct drive) and one countermovecrossover), with the secondary moves being the rocker

nd hesitation to the preferred side (the side most playersre more comfortable using).



Moves With Either Pivot Foot (Advanced)

hese moves can be taught when either foot is used as theivot foot in live-ball moves. Both right- and left-handedlayers should be able to establish a pivot with either footsing this method.

irect Drive With the Direction Foot. This move, usedo dribble drive past a defender, consists of making thexplosion step with the foot on the side the player isriving. The sequence is for players to make a quick stopacing the basket and, when driving right, to use the leftoot for a pivot foot and take an explosion step past theefender with the right foot. Also, when driving left,layers should step with the left foot, using the right foot

s the pivot foot. The ball is pushed ahead on the floor onhe dribble drive. The breakdown count consists of taking



long and low explosion step, with the foot on the samede as the dribble drive (right foot to the right side, left

oot to the left side), and pushing the ball ahead to theoor to start the dribble drive. The ball must be out of the

and before the pivot foot leaves the floor. Theisadvantage of this move is that hip contact on theefender occurs on the second step.

irect Drive With the Opposite Foot. This move is usedo drive past a defender on either side by using thepposite foot to step across and shield the ball as a longnd low direct drive is made. The opposite-foot drive isxecuted by making a quick stop facing the basket and,

when driving right, stepping past the defender with a left-oot explosion step and pushing the ball ahead on theribble drive. The breakdown count consists of taking anxplosion step past the defender, with the foot opposite thede of the dribble drive, and pushing the ball ahead on theoor for the dribble drive ( figure 5.7 ). This move has thedvantage of getting the head and shoulders by and making

ip contact on the defender during the first step.



rossover Drive. Players can also learn a countermove

sing either foot as the pivot foot (fake right, cross over ft with the left pivot foot; or fake left, cross over right

with the right pivot foot). This is carried out by making auick stop facing the basket, making a jab step androssover with the same foot to the opposite side

winging the ball across and close to the body), andnally pushing the ball ahead to the floor and starting aribble drive. The breakdown count consists of a jab step,crossover step with the same foot while bringing the ballcross the body, and a dribble drive started by pushing the

all ahead to the floor ( figure 5.8 ).



undamentals of Dead-Ball Moves

hese maneuvers are used at the completion of a dribblemove when the quick stop is made within 10 to 12 feet (3o 3.7 meters) of the basket. Dead-ball moves can be used

when players are moving either left or right, but they muste within close shooting range for the moves to beffective. Players in possession of the ball should avoid

ead-ball situations whenever possible unless a pass or hot is anticipated. In other words, the live dribble shoulde maintained.

ead-ball moves using either pivot foot should be made

fter a quick stop, either from a pass or, more commonly,t the termination of the dribble. Remind players to see thewhole court as the quick stop is made in order to read the





rossover Step-Through Move (Advanced). Thisdvanced countermove, used to step past a defender byaking one way and going the opposite way for a layup or post shot, is done by making a quick stop facing the

asket, taking a jab step with either foot, a crossover step,nd a move past the defender with the opposite foot tottempt a layup or a post shot. The breakdown countonsists of jab step, crossover move, and layup or posthot ( figure 5.9 ).

tep-Through Move Into Power Shot or LayupAdvanced). Even though the step-through and jab-step

moves can be legally used to get layups, they areometimes called traveling by officials. To prevent thisall, players can use a step-through completion move andnish the move with a two-foot power shot so that theivot (turning) foot leaves the floor at the same time as theepping foot, as shown for a right-handed player in figure10 . Coaches should take every opportunity to educate

nd inform officials about this move before their players

se it.

pinner (Advanced). A pivoting rear turn and layup or ost shot is most effective from a dead-ball quick stop atght angles to the baseline when the player is stopped by

defender in the direct path. Coaches can teach thisdvanced move by having a player make a quick stopacing the opposite sideline at the free-throw lane while









ROUBLESHOOTING

roblem: Poor execution when learning.

orrection: Demonstrate again and slow down to getroper execution first.

roblem: Trouble executing moves with the nonpreferredde.

orrection: Practice two or three times more often withhese moves.

roblem: Traveling violations on perimeter moves.



orrection: Reteach the rules of movement and footwork s boundaries of performance.

roblem: Ballhandling skill difficulties with perimeter moves.

orrection: Prescribe added practice on passing andatching, dribbling, and basic ballhandling.

roblem: Challenges with perimeter moves when

efenders are present.

orrection: Develop sequential progressive practices— layers should use slow but correct moves first, get ahythm, gradually increase speed until mistakes are made

acknowledge, understand, learn from), and execute gamemoves at game speed. Coaches can add dummy defender or all situations and, finally, add live defender(s) with allariations.

erimeter Drills

hese drills should be adapted to a coach’s style of playnd to situations encountered by perimeter players in thatyle of play. As always, they should be sequential androgressive.

uidelines for Perimeter Drills



When working alone, use an underhand spin self-passefore moves, always face the basket in triple-threatosition with a live ball.

Respect the three-point arc. Keep the feet behind the arcr penetrate for a pull-up shot or finish at the basket.

On all layups, go for net or swish shots; mix up power nd one-foot layup completions.

Precede all drives by a shot fake.

Tighten your game; increase balance and quickness for ame moves at game speed.

WARM-UP FOR PERIMETER PLAYERS

urpose: To provide perimeter players with a warm-upor fundamental skills.

quipment: Two balls per player, tennis balls, half courtwith basket.

rocedure: Spend 1 minute on each of these exercises.

Dribbling sequence: one ball, two balls, dribble anduggle, pullback crossover sequence.



Imaginary defense with talk: on-the-ball, off-the-ball,ff-the-ball to on-the-ball, post defense and blockout, andansition.

Moving without the ball: offensive pass and cut, screennd slip, screen cuts, offensive rebounds, and transition.

Fast-break package sprints: without the ball.

Shooting progression: field goal and free throw (seehapter 4 ).

Fingertip push-ups and stretching, especially a long andow drive stretch for the groin and hyperextension of the

wrist for shooting.

Ballhandling sequence: around the body, the arms, andhe legs.

oaching Points

Use imagination to simulate game moves.

Do things right, and then do them quickly at game speed.

Become a detail player.

INE DRILL: LIVE-BALL, DEAD-BALL, AND



OMPLETION MOVES ADDITION

urpose: To teach players live-ball and dead-ball movesnd to review dribble moves.

quipment: One ball per line of players, full court.

rocedure: Form four lines of players on the baseline. Noefenders are placed on the court. Each circuit shouldventually include a beginning live-ball move, a dribble

move in the middle of the court, and a dead-ball or ompletion move at the far basket ( figure 5.12 ).

here are two other line drill options. Put the first player n each line at the free-throw line extended, with the next

layer in triple-threat position with a ball. The ballhandler asses to the opposite player at the free-throw line andloses out to play defense. The catcher makes a 1-on-1

move past the defender; use dummy closeout firstoverplay left, then overplay right). Live closeout is the

ext progression. The penetrator passes by the defender tohe opposite player and then becomes the closeoutefender.



he second option is for the first player in line to use ave-ball move, quick stop at the free-throw line, and catcnd face (using a rear turn). Then that player makes a

risp, one-handed push pass to the next player in the line.inally, the passer becomes a closeout defender to theatcher, who makes a live-ball move around the defender.epeat the action.

UTSIDE MOVES USING A SPIN PASS

urpose: To develop skill in using outside moves.

quipment: Basket and one ball per player, half-courtrea.

rocedure: Players practice live-ball moves and



ompletion or dead-ball moves from a simulated passingnd catching situation. Players use the two-handednderhand spin self-pass to begin the drill in all primaryffensive locations and situations. The sequence is first to

pin self-pass in spot locations near the edge of the three-oint field-goal line, catch the ball on the first bounce withe feet in the air, and land facing the basket. Apply RPAchnique. Players should catch and face the basket everyme they handle the ball by using the quick stop and theivot, and then attack the basket. Set goals—two or threen a row with a move, make three to five baskets with apecified move, etc. Coaches should evaluate moves— nly perfect practice makes perfect. Use PPF (basic) or ither pivot foot (advanced) technique for developingootwork. This self-monitored drill makes it possible toractice appropriate live-ball, dribble, and dead-ball or ompletion moves using the basic principles. A tossback aining device, partner, or coach passer may be used inonjunction with the spin pass technique to simulateassing and catching situations used with the outside

moves.

ptions

Catch and shoot—spin pass to self and take a quick but

nhurried, balanced shot.Catch and quick drive—spin pass to self, V-cut away,



atch and face from pass to self, dribble drive, and finish.

Catch and one dribble pull-up jump shot.

Catch, shot fake, and one dribble pull-up jump shot— uick, short shot fake (1 inch [2.5 centimeters]) with quick ance (the legs locked and the heels down).

Catch, pass fake, and shoot—only move the arms and theead on the pass fake. Keep the pass fake short and quick

—stay balanced.

Catch, pass fake, drive, and shoot (may designate aompletion move).

Catch, jab step, and shoot—create space for the shot— ay balanced and use a short jab step.

Catch, jab step (hesitation or rocker), drive, and shoot.

Catch, one dribble, change direction, and shoot—attack he basket on initial dribble, change direction (crossover,pin, behind the back) to continue penetration and finish.

Spend extra repetitions with moves to the nonpreferredde.

LOSEOUT: 1-ON-1, 2-ON-2, 3-ON-3, 4-ON-4



urpose: To practice all outside moves by perimeter layers.

quipment: One ball and one basket per group.

rocedure: Form a line of players under each basket off he court. The first player steps under the basket with theall and is the defender. A line of offensive players islaced 15 to 18 feet (4.6 to 5.5 meters) away, facing theasket. The defender makes a crisp air pass (with the feetn the floor) to the first player in the offensive line andhen closes out to defend that player. The drill begins asoon as the pass is made for both offense and defense. Theerimeter offensive player should catch the ball with theeet in the air and facing the basket, read and react to theefender’s actions, and apply fundamentals to shoot or

make an outside move.

layers may rotate to the back of the opposite line eachme. Play make-it-take-it or any arrangement of their

hoice. The drill may also be run as a 2-on-2 optionfigure 5.13 ) that then becomes a teamwork competitionwith on-the-ball and off-the-ball play. The passer guardshe ballhandler on the first pass.



-ON-1 DRILL

urpose: To provide a variety of 1-on-1 competition for erimeter players.

quipment: One ball and one basket per group.

rocedure: 1-on-1 competition allows each offensivelayer the chance to evaluate the effectiveness of erimeter play in all situations: live-ball, dribble, andompletion moves.

-on-1 Starting 15 to 20 Feet (4.6 to 6 Meters) Fromhe Basket



Have a limit of two dribbles.

Begin with a move to get open—V-cut or L-cut—and thense catch and face.

Make-it-take-it.

Play games to five baskets.

Use a 5-second limit to make a move or limit to two

ribbles.

-on-1 Starting Near the Half Court

Use a cut to get open and then catch and face with theall.

Use dribble moves to go by the defender.

Use a completion move to score, usually a layup or aump shot.

Use a teammate or coach for a passer.

Add a second hoop defender in the lane (first defender perates back to the free-throw line).

-on-1 Completion Moves That Are In the Lane



The defender allows a pass. Or use the manager or rogram assistant with the Air Dummy Defender.)

Make a move from the perimeter and catch the ball facinghe basket in the free-throw lane.

Score with a completion move (jump shot, step-throughayup, crossover layup, spinner move). This move is made

without a dribble.

Alternate games to five or make-it-take-it.

-on-1 From Offensive Positions

Have the players receive the ball at the locations of the

ast-break or set offense.ARTNER PENETRATE AND PITCH DRILL

urpose: To practice live-ball moves and passing to aammate for a score at the completion of a dribble drive.

quipment: Two players, ball, and basket (can have threeairs per basket).

rocedure: Partners start 20 to 25 feet (6 to 7.6 meters)

om the basket, spaced 15 to 18 feet (4.6 to 5.5 meters)part; point-wing or guard-forward and forward-forward



ombinations ( figure 5.14 ).

he ballhandler starts with a live-ball move into a dribblerive. The potential catcher partner times a cut to be open

when the passer is ready to pass and with proper spacing.he guard-forward partners use the cutting options of iding away (drift) or filling behind (crack back) into theriving path. The cutter looks for completion shots to theasket or outside shots—medium range or three-pointers.he penetrator or passer passes (pitches) to the partner or

akes the pass and shoots the shot. The forward-forwardartners are on opposite sides of the floor. The penetrator

rives the baseline and passes along the baseline and,sing the baseline hand, executes a push pass to the partner



atcher, who slides (drift or baseline release) to an openosition toward the baseline on the opposite side of theoor (baseline release). Except for the baseline releaseass, which is a bounce pass, all other perimeter passes

re air passes.ARTNER PASSING AND SHOOTING

ee chapter 4 for the descriptions of a variety of shootingrills after individual outside moves. An example is usingne, two, or three passes. Make six field goals on oneass, six field goals on two passes, and six field goals onhree passes.

IMED LAYUPS

urpose: To practice ballhandling and layup shooting in aompetitive situation.

quipment: Ball, free-throw lane, basket, and timing

evice.rocedure

V layups: Start drill on the right elbow at the free-throwne in triple-threat position, dribble drive to the basket,nd shoot a layup; use two hands to grab the ball out of theet and do a right-handed dribble past the free-throw line



o the left elbow and a left-handed dribble continuous for he left-handed layup, two-handed grab and left-handedribble past the free-throw line to the right elbow. Repeats many times as possible for 30 or 60 seconds. Count the

umber of made layups for the personal record.everse-V layups: Same drill, but cross the rim to shootlayup on the other side of the basket with the appropriateribbling hand. For example, start at the right elbow; use aft-handed dribble to cross in front of the basket, and

hoot a left-handed layup. Then use a right-handed dribbleast the free-throw line to the left elbow and reverse back o the other side. Time for 30 or 60 seconds; record theayups made as a personal record. This drill is a good

way to finish a perimeter workout.

ERIMETER GAME

urpose: For players to practice all of the perimeter moves with the ball in a competition against themselves

nd their own personal record.

quipment: Ball and half court, two or three players per asket.

rocedure: This drill can be done from three spots (wing,op of key, wing) or five spots (add both baselineorners). Rules: All layups must be clean (swish) to be



worth 2 points. Mix power layups and one-foot layups. Onwish set or jump shots, the player gets a bonus point. Callut the score on every shot attempt, made or missed. Putack all misses, even though they don’t count. Use free-

hrow swish rules (swish or net = +1, make but hit rim = miss = –1). The moves are the following:

Three field goals

Middle drive to cross rim

Baseline drive to rim (toes to baseline on power layup)

Middle drive to pull-up jump shot

Baseline drive to pull-up jump shot

Middle drive to quick stop, step across, power shot (or unner)

Baseline drive to quick stop, spinner or power shot

Middle drive and hop back shot

Baseline drive and hop back shot

0. Middle drive, hesitation or rocker off hop back, to rim



1. Baseline drive, hesitation or rocker off hop back, tom

2. Jab step to three field goals

3. Free throws (four)

op score = 64

epeat at all three or five spots.

oaching Points

On power layups, point all toes to the baseline.

Properly and quickly execute the fundamentals of theame for the welfare of the team.

Be a practice player first.

Game moves at game speed—practice and play with the

ntensity and poise of a championship team player.



hapter 6

nside Offensive Moves

laying the Post



Get the ball inside first—take the ball inside or to theaseline.



lace pressure on the defense to foul. Post play is a keyo success.”

ean Smith, North Carolina, Naismith Hall of Fameoach

Most coaches and players recognize the importance of stablishing an inside game with a post player receiving aass near or inside the free-throw lane area. This insideame can serve several useful purposes. It can produce theigh-percentage shot—the scoring opportunity close to theasket. The inside game also can increase opportunitiesor the original three-point play (inside score plus a foulhot)—post players in a congested inside area are difficulto defend and are often fouled when attempting a shot.

When the ball is passed to inside post players (passenetration), the defense is forced to collapse in order toontain them. Passing the ball back outside to teammatesan create outside shot opportunities (the trey).

he underlying concept in this chapter is an emphasis onnother key element of the scoring objective—getting theall inside for a higher-percentage shot and forcing theefensive team to respect the inside game in order to openp outside shooting opportunities, especially the three-oint field goal.

ost Play Fundamentals



ost play is the key to building the offense from the insideut. Playing the post is a skill that requires a minimum of allhandling and can be learned readily by players of allzes with sufficient practice time and patience. Alllayers should learn postup skills because advantage

matchups occur. Good post players get open for high-

ercentage shots by developing a variety of inside moves,onsidered back-to-the-basket scoring moves, usuallyom a low or medium post position ( figure 6.1 ). Postlayers need to learn how to get open, stay open, catch theall safely, and score simply.

enetrate. To be successful, the offensive team mustenetrate the perimeter of the defense on a regular basis



y taking the ball inside using the dribble drive (penetratend pitch, drive and dish) or the penetration pass to a postlayer. The objective of offensive penetration is to createhe opportunity for a shot taken as close to the basket as

ossible, usually inside the free-throw lane, or to force theefense to collapse and open up the outside shot. Penetratehe defense with the pass or the dribble. This principle caramatically increase efficiency in team offense, partly byrawing more opponent fouls.

ackboard Shots. Offensive players should use theackboard when shooting after most inside moves,specially when shooting from a 45-degree angle, using aower move, or in an offensive rebounding situation.ackboard shots are higher-percentage shots than rim

hots for inside play where control and congestion areommon. The rule is “when going to the glass, use thelass,” unless the player is dunking the ball. The margin of rror is greater when the backboard is used as a shootingarget. Chapter 4 discusses the use of the backboard as a

hooting target (shoot it high and soft).

Assume the Miss. Since inside players are stationedlose to the basket, they can be primary rebounders.ecause the shooter can best gauge the exact location and

ming of the shot, a post player using an inside movelways assumes that the shot will be missed and prepareso rebound from a quick stance with the elbows out and the



rms and hands extended above the shoulders (i.e., 2-and-rebounding with the hands up). An inside player can also

lock out a defensive opponent, when possible, or at leastmake a rebounding move to the middle of the lane for a

rimary rebounding spot.RITICAL CUE:

ssume a miss on every shot.

veryone Is a Post. All players are post players.lthough some of the best inside players have been

medium and large people, technique is more importanthan size. A more critical factor is relative size—eachlayer should be able to post up a defender of similar size

r smaller and to develop basic post moves. Cliff Haganwas a 6-foot, 4-inch (193 centimeters) center at Kentuckywho was inducted into the Naismith Basketball Hall of

ame as a player. In addition, many undersized postlayers like the physical play in the post area.

reate Contact. The inside area, which is frequentlyongested, offers considerable physical contact. Insideffensive players should create contact (post up onefenders to make open space for passes) and use their odies to control defenders. Players must learn to initiateontact with the hips and upper thighs while maintainingalance and stance. Stay low with a wide base, and keep



he feet active in a quick stance. Generally, defensivelayers are allowed to take one defensive position andhen post players create contact to keep them there.

RITICAL CUE:

Get low and wide, create contact when on offense in theost area.

ands Up. Passing to inside players is difficult andhallenging, and the margin for error is small because of ongestion and time constraints. Thus, inside playerslways should be prepared to receive a quick pass from aammate by using the post stance: having both hands up asontact is created ( figure 6.2 on page 136 ). Sit into the

ance, create contact with the defender, use the legs andhe lower trunk, and then give two-handed targets for theasser with both hands up (the upper arms horizontal withhe shoulder, the forearms nearly vertical, and the handsightly forward of the elbows so you can see the backs of

he hands).

atience. Many large post players are late developers andmay have poor self-image as a result of their size andelative lack of coordination. The prescription is coachingme, patience, and regular practice (repetition, repetition,epetition). George Mikan, NBA player of the first 50ears, spent hundreds of hours with his coach, Ray Meyer,



uring his college years at DePaul University. Hisworkouts focused on footwork, ballhandling (passing andatching), shooting, and coordination drills.

ost Skills

oaches should get players into a post-player stance. Thenside or post player must develop the ability to assume anxaggerated basic position, with a wider than normalase, a low center of gravity, the elbows out, the forearmsertical, the upper arms parallel to the floor as extensionsf the shoulders, and the hands up and slightly forward

with the fingers spread and pointing to the ceiling ( figure2). Post players should provide a two-handed target for

assers. The hands are kept up and ready.





osting up should take place on the post line (defined ashe straight line through the ball or the passer and theasket). The post line is shown in figure 6.3 . The insidelayer should attempt to get open inside or just outside theee-throw lane, on or near the post line. Establishingosition on the post line shortens the distance the passavels from the post feeder. Ideally, the post player hould be posted up with the shoulders square (at rightngles) to the post line, “showing numbers” to the passer .e., the passer should be able to read the jersey number

when passing to the post player). Keep the passing lanepen by showing numbers to the passer and moving theeet (active feet or footfire) while creating lower-bodyontact on the defender. Use the posterior as radar



umpers. This rule applies in all situations except whenefenders are fronting (playing between the passer and theost player).

he post line should be used whenever possible to shortenhe passing lane except when the passer is in the corner;hen the lowest foot of the post player should be on or bove the block in order to have space for a baselinecoring move. Low post players sometimes start on onede of the post line to force defenders to defend them onne side or the other.

Getting Open in the Post

he post player needs to get open on the post line between

he passer and the defender whenever possible by using aV-cut and swim move, stepping into the defender, andsing a rear turn to seal the defender (place the turningoot between the defender’s legs), or stepping across theear leg of the defender (sit on the defender’s leg or fight

he front foot) as contact is created. See figure 6.4 . Theffensive post player uses proper footwork to post up andhen maintains contact and takes the post defender further n their set direction (i.e., defender high—move her igher; defender low—move her lower; defender behind

—move her toward the basket; and defenders in front— move them away from the basket).



Getting open at the right time and staying open are primaryasks of the inside player. Because post play is a constant-on-1 battle, players must learn to create contact anday open. Once the defender has taken a position, inside

layers should make contact to keep the defender in place.hey should keep their feet active and use the whole bodyo work in a half-circle move ( figure 6.5 ). The hips anduttocks (the lower trunk) are used to sit on the defender’sgs or body and to maintain contact.



atching the Ball Inside

ost players must want the basketball. They need to buildonfidence in teammates that they will get open, catch theall safely when it is passed to them, and score simply

nside when open or pass outside when they draw twoefenders.

Maintain contact in order to feel and seal the defender use radar bumpers, not the arms or hands). The postlayer should also be able to locate the defender byeading the pass. The passer feeding the post player hould pass to the hand target away from the closest



efender. The placement of the pass helps the post player ocate the defender—the pass leads to the score. Keepinghe passing lane open is one of the toughest tasks for postlayers. Players must keep their feet active and maintain

ontact until the ball hits the receiver’s hand—showumbers to the passer (face the passer).

ost players must step into the pass and meet the ball andill hold their position by catching the ball with twoands, with both feet slightly in the air (when possible),nd then executing a quick stop (except when fronted).ossession always takes precedent over position, even

hough position is necessary to get open. Coaches shouldain players to focus on the ball until it hits their hands.

When players catch a pass, they must protect the ball bysing the chinit technique—the elbows out and up, thengers up, the ball under the chin (or from shoulder tohoulder)—which keeps post players from dangling theall and allows good ball protection.

he lob or ball reversal can be used when post playersre fronted. When the defender establishes a ball-efender-post (fronting) position, two techniques areecommended. The first is an over-the-top lob pass ( figure6), where the passer shows the ball (go from triple-

hreat position to overhead), uses a check pass to read theelp-side defensive coverage, and then quickly throws aass over the defender to the junction of the backboard



nd the rim. The post player, maintaining quick stance andeeping both hands up (the palms facing the passer), faceshe baseline and establishes contact with the defender sing the hips and buttocks (radar bumpers). The post

layer waits until the ball is overhead before releasing toatch the ball with two hands, the palms facing the ball.are must be taken to maintain contact with the lower ody and not push off with the arms (especially theorearm). The second technique is to use ball reversal tohe high post or help side. If a defender is fronting on onede of the court, the ball may be reversed (second side)s the defender is sealed off and the post player steps tohe ball ( figure 6.7 ).





aking Out the Defender

nside players must learn to take the defender out of thelay automatically. If post players are defended on the lowde, they should take defenders lower (if defended on theigh side, take them higher); if fronted, they should makeower-body contact while facing the baseline and takeefenders away from the basket. If played behind, theyhould step into the lane before posting up with a V-cut or rear turn. The idea is to allow defenders to take aosition of choice and then take them further in thatirection and pin or seal them in that position by creatingontact with the legs or the lower trunk (use radar



umpers) in a post stance.

RITICAL CUE:

atch with two hands and chinit in the post.

eading the Defense

When the defender is fronting—playing between theasser and the post player— coaches should have their

layers use a lob pass over the defender or reverse theall, pin or seal the defender, and feed the post from thepposite side. Offensive players should use a power mover reverse layup on the lob play. With the defender laying behind, the passer delivers the ball to the head

arget; then a post player should catch and face using post-acing moves. The post shot is also a possibility in thistuation.

he defender positioned on the low side (baseline side)lls the post player to use the post or wheel move or theower move to a jump hook. Similarly, the power move or

wheel move is indicated when the defender is positionedn the high side. The guideline for the perimeter passer nd the post catcher is that the pass leads to the score.

eading and reacting for the post player means learning toeel contact, reading the pass, turning to the middle, seeing



he whole court, and challenging the defense. Excellentost players with the ball attract two defenders.

ost or Inside Moves

inally, coaches should teach post players to moveggressively and be alert for open teammates. Their bjective when using inside moves is to gain a positionor a close-in shot or to free a teammate in scoringosition for a pass. This happens when the post player ttacks and must be guarded by two defenders, which cane achieved best by mastering a few basic, well-executedost moves to score simply.

ost Shot

his move to the middle and into the free-throw lane is aasic tool for the post player and an essential scoring

weapon. The move is normally made without dribbling;he footwork and the mechanics of the post shot and theump hook shot are explained in chapter 4 . One advantagef the post shot is that it is a quick move to the middle of he defense and into the high scoring area (free-throwane). Alternatives are the power move and the jump hook,

which are slower and require a dribble.

ower Move



he power move usually is used to the baseline side whenhe defender is on the high side (away from the baseline).

may also be used toward the middle when the defender on the baseline side. The sequence for the baseline

ower move is to pivot with a half rear turn on the footlosest to the defender and seal off the defensive player with the hips and buttocks. Then the post player takes a

ne or two-handed power crab dribble between the legsnear the foot closest to the basket), makes a two-footedower jump moving to the basket at the same time, andxecutes a quick stop with the feet at right angles to theaseline (belly baseline). This dribble sometimes can beliminated when the post player is in the lane and close tohe basket. Finally, the power shot or jump hook shot issed to protect the ball with the body and to score with thehooting hand away from the defense; the backboard issed whenever possible ( figure 6.8 ). This move is fullyescribed in chapter 4 as a strong move from two feet towo feet.

RITICAL CUE:

ower move—pivot, seal with a half rear turn, power ump from two feet (bounce and hop), and power layup or ump hook (from two feet).

he power move to the middle ( figure 6.9 ) is executed theame way: catch the ball and chinit (the defender on the



aseline side), pivot on the baseline foot and use a rear-urn seal, power crab dribble between the legs near thead foot as a two-footed power jump to the basket and

nto the free-throw lane is made, and finish with a two-

ooted power layup or jump hook (may need a shot fake).he most common error is to dribble or drop the ballutside the base as the rear turn or drop step is made—thisxposes the ball to defenders in the congested post area.

Make the two-handed bounce between the legs and near he front leg as a two-footed hop move is made toward theasket.

ump Hook

he jump hook is a two-footed shot, with the hand away

om the defender, that is taken in close to the basket. Thechnique is to chin the ball and move it to the shoulder

way from the defender. Then use a power jump (two feet)nd use the arm bar to keep the defender from the shot ashe ball is taken up over the head and above the defender.

he nonshooting shoulder points at the basket. The jumpook can be used with either hand; it is a safe, powerfulmove that many players prefer to use in heavy traffic or ongestion.

RITICAL CUE:

you catch the ball in shooting range, make a quarter turn



nd use the jump hook. Point the nonshooting shoulder athe basket.









hese basic perimeter moves are used when the defender playing behind the post player, especially with a

efensive gap. The offensive player pivots with a fronturn or with a rear turn on either foot to face the basket and

he defender. The front-turn options are the jump shot, theump shot with a shot fake, and the crossover post shotfigure 6.11 ). All live-ball moves may be used in thistuation. Other post player options are the rear turn onither pivot foot, followed by a jump shot; the jump shot

with a shot fake; or other live-ball moves. This rear-turnmove, first popularized by Jack Sikma, formerly of the

eattle Supersonics, tends to clear the defender and toreate a gap for the quick jump shot. See figure 6.12 .





assing to the Postor most post players, the preferred pass into the post is

he bounce pass, when passed to the baseline side. Theounce pass is hard for the defender to deflect or steal.

However, the air pass is quicker and should be used moreften to the middle or on the reverse (second side) passnd certainly on the lob pass (when the defender fronts theow post). On the direct air pass to the post, pass frombove the shoulders with an overhead pass and hit theost-hand target away from the defender above thehoulders, or use a one-handed push or flick pass past theefender’s ear from the triple-threat position. Perimeter layers should be sure they can see the numbers on a postlayer’s jersey before they make the inside pass to ensurehat the passing lane is open. The perimeter player passer eeds to pass to the hand on the open side (opposite theefender) because the pass should lead to a score. The



ass tells the post player which move to make (reading theefender). When the defender plays directly behind theost player, the pass is made to the head of the postlayer.

ROUBLESHOOTING

ollowing are some of the common errors, with theoaching response and corrections.

roblem: Post player not consistently creating contact.

orrection: Have players sit into their game, stay in aost stance, and then progressively make contact on padsr managers, dummy defenders, and then live defenders.

roblem: Trouble staying in post stance.

orrection: Have players do more practice with the postlayer line drill, develop added core strength, keep inance for progressively longer periods.

roblem: Difficulty staying open.

orrection: Reteach players how to create contact in alltuations, use progressive contact drills, and check active

eet or footfire to maintain position.

roblem: Inconsistent catching of the ball.



orrection: Increase partner passing and catching with alick (two hands, two eyes), and emphasize possessionver position.

roblem: Losing ball (after catch).

orrection: Check capture and chin technique: the fingersp, the elbows up and out, squeeze the ball, use turns tohield the ball and escape defenders.

roblem: Not scoring quickly and simply.

orrection: Work harder before the catch for a deep postosition, sit into a lower stance to maintain quickness,ractice same scoring moves over and over until they’re

utomatic, read and respond quickly, always assume amiss, score on an angle whenever possible.

COACHING POINTS FOR POST PLAY

Want the ball, call for the ball.

Teach post players inside moves (one go-to move andne countermove) that they can perform with confidence

nd, in turn, have the team take the ball inside ( in theaint ) regularly so that players can use these moves.



eams should play from the inside out.

Teach players to use the backboard on most inside shots;is a higher-percentage shot.

Consider all players who are competitive and who likeontact as potential post players.

Have post players keep the hands up inside.

Get players in post stance with a two-handed target on or ear the post line. Players should always catch the ball

with two hands to capture and chin the ball.

Emphasize that getting open usually requires contact with

adar bumpers (the lower body and thighs) using quick,rong moves.

Create contact on offense with radar bumpers to pin andeal the defender in order to get open.

Get possession of the ball over position when the pass ismade inside.

Take defenders in the direction they position themselves.

Capture and chin every pass to the post (catch safely).Train post players to read the pass, their contact with the



layer guarding them, and the position of other defenders.Generally, see and attack the middle and into the free-hrow lane.

Teach the post shot or the power move and jump hook hot as the basic shot to the middle of the free-throw laneom the chinit position to score simply.

Show post players that keeping the body between theefender and the ball during the power move is essentialo its effectiveness.

Teach players the wheel move as a power move, quick op, and post move in sequence.

In some situations, a post player may catch and face tose perimeter moves, especially in the free-throw line or he high post area or when the defender plays directlyehind.

ost Drills

hese drills should be developed progressively with noefense, dummy defense in different positions, managersefending with hand-held air dummies for contact, andnally with live defense.

OST WARM-UP DRILL



Also see chapter 3 , Ballhandling.)

urpose: To teach inside players basic skills whilereparing for practice.

quipment: Basketballs, tennis balls, half-court area,asket.

rocedure: Spend 1 minute per item, select at least sixptions daily.

Two-ball dribbling sequences

Dribbling and juggling

Tennis ball infield (low and wide, the toes to the outside,t into the game)

maginary defense slides or moves while talking to theefense

Moving without the ball on offense (alone or in pairs)

Rim to rim fast-break sprints

Crab dribbles with bounce and hop down a line (two-

anded ball bounce between the legs near the lead legollowed by a ball chin and two-footed hops down thene)



Capturing and chinning the ball from an overhead toss or spin pass to self from the floor

Round the world jump hooks (left-handed, right-handed)om 4 to 6 feet (1.2 to 1.8 meters) from the basket

Soft touch or killer shots—five spots and five shots (anyoal) or with jump hooks

Mikan series (regular, reverse, power, shot fake and

ower, freelance)

Post stance with weight plate in each hand (thumb inole) as post player moves in half circle from block tolock using active feet or footfire

INE DRILL: POST PLAYER STARTS, TURNS, ANDTOPS

urpose: To teach inside players proper footwork usinghe fundamental four-line format.

quipment: Minimum of a half-court floor area.

rocedure: Four lines of players on the baseline at thedeline, outside the free-throw lane (both sides), and on

pposite sideline. The movement options are begun with aost stance and a sequence of starts, stops, and turns:



Post stance into post start (no negative steps)

Post stance after quick stop at the free-throw line, quick ear turn and return to the baseline (quick stop into postance)

Repeat with front turns

Full-court option—post stance stops at the free-throwne, the half-line, opposite free-throw line, and opposite

aseline. Use two quick turns at each location and restartogether. Verbalize each move.

oaching Points

Post stance and startsFeet wider than shoulders

Sit into the game

90-degree elbows, the hands held high

Positive step forward

Stops

Quick stop (heel to toe or land lightly)



Full-footed stop

Turns

Execute front turns with the right and left turning foot

Execute rear turns with the right and left turning foot

Lift the heel and pivot on the ball of the turning foot

Stay low and level (head)

Rip the lead elbow on the rear turn; throw a forearmunch on the front turn

ost Pair Drills

urpose: To teach and practice basic skills for postlayers, including post stance, passing and catching, andhinning the basketball.

quipment: One basketball and player pairs spaced atast 15 to 18 feet (4.6 to 5.5 meters) apart. One player

may be positioned in the post.

rocedure: Both players assume a post stance without the

all and perimeter quick stance (triple-threat position)with the ball as they pass and catch and then capture andhin the ball on each pass. The pairs pass and catch



epeatedly for 1-minute segments.

ptions

Regular posting and passing and catching in and out.

Bad pass variation—catcher must give up position to gainossession of the ball by doing a two-handed capture andhin of the ball.

Floor pass, capture, chin, and pass out. The feeder bowlshe ball to the side of the post catcher, who captures,hins, and passes back to the feeder, who bowls the ball tohe other side of the post player. The post player shouldave to stepslide to the right and the left to capture with

wo hands and chin repeatedly and return the pass to theeeder.

Back to the feeder or the passer—the post player assumespost stance, facing away from the passer. The feeder asses to the post player, calls the player’s name, and heurns to face the passer and to catch or capture and chin theall and then to return pass to the feeder.

The feeder and the rebounder—the post player assumeshe post stance as the feeder shoots the ball or tosses theall in the air near the post player, who performs a 2-and- pursuit and capture of the imaginary rebound. Coaches



hould teach players to pursue the ball, rebound out of heir area, and capture and chin the ball with two hands.

ote: Post players should also do general skill drills,uch as those in chapters 3 and 4.

oaching Points

Post players get in and stay in a post stance.

Capture and chin the ball every catch.

Get possession over position.

Catch every pass.

Do everything from two feet with two hands.

Catch the ball with a click (two eyes and two hands).

PIN PASS POST MOVES

urpose: To teach players individual offensive postmoves.

quipment: Ball, basket, and optional tossback rebound

evice.rocedure: Post players use a two-handed overhead toss



nd chinit catch, an underhand spin pass to the floor andhinit catch, or pass and rebound from a tossback deviceo themselves at a desired post location with their backs tohe basket. Players execute three to five repetitions of each

ost move on each side of the free-throw lane. Theequence for inside or low post moves consists of theollowing elements:

Post shot—to the middle

Jump hook shot—around the lane (catch and turn; catch,rab dribble, and shoot)

Power—to the baseline (power shot on the glass), to themiddle (jump hook shot)

Wheel—to the baseline, to the middle (advanced)

Face—jump shot, shot fake and jump shot, and crossover ost move (front-turn option) or live-ball move (rear-turnption)

oaching Points

No defender is used for this drill.

The coach also may pass to the post to check post stance,ost line, footwork, hand target, catching technique,



hinning the ball, and post moves.

Another option is to make three to five consecutiveaskets before going to the next move.

Assume a miss on all shot attempts and rebound until ahot is made.

ost Progression Drill

urpose: To provide players with a self-teachingrogressive drill for offensive post moves.

quipment: Ball, basket, and optional tossback device or method of receiving passes.

rocedure: Post players begin with an underhand spinass to themselves (or pass and rebound from a tossback)nd make post moves in sequence. Five baskets are madeor each move in the sequence:

Power move to baseline—left side, low post

Jump hook move to middle—left side, low post

Post move—left side, low post

Wheel move—left side, middle or low post



Facing move—left side, low post

Facing move—high post, left elbow

Same moves—right side

fter players make the fifth basket for each move, twoonsecutive successful free throws (row five plus two freehrows) are required for them to advance to the next moveor repeat the move again).

ptions

Require three to five post move baskets in a row and twor three free throws in a row for advanced players.

No defense, position defense, air dummy defense, andve defense progression.

oaching Points

First do things right, then go toward game speed.

Assume that all shots are missed; rebound and score onmisses.

IG SPACING AND POST FEEDING DRILL

urpose: To teach triangle spacing with six players at one



asket (post feeding) and big spacing by perimeter playerst one basket from four perimeter spots, as shown in figure13 a.

quipment: Ball and basket on the half court with four layers at a time (big spacing drill). Two balls and basketn the other half court with two groups of three (post andwo perimeter players) on each side, as shown in figure13 b.

rocedure

ig spacing: Four perimeter players fill the four perimeter pots on the half court as shown. Players use a regular ballr a weighted ball to swing or reverse the ball around the

erimeter as quickly as possible (reversals can be timed).

oaching Points for Big Spacing

Players should step and pass, pass with the legs.

Players cannot space too high or too wide to reverse theall.

Players should work the ball around the perimeter.

Catchers should use a V-cut and shorten the passing lane.



Passers should pass away from the defenders—using theutside hand target with both hands up (one as a target andne to ward off the defender).

Coaches should emphasize rip pivots or turns for playerso step across the body to protect the pass and increaseass power from the legs. Use two-handed air pass.

Players should call for every pass (use the passer’same).

ptions: Add four defenders; add basket cuts; add dribblerives.

ost feeding: A post player is positioned on each side of

he lane. Two perimeter players are spaced at least 15 to8 feet (4.6 to 5.5 meters) apart, to work with the post



layer on their side of the floor (six players are working atnce). The guard on top passes to the wing on that side,

who catches facing the basket or pivots or turns to face theasket and calls out rim-post-action (to remind teammates

f the priorities with the ball—look for the shot, feed theost, action of pass, or dribble drive). The perimeter winghen passes back to the guard and uses a back screen fromhe post to cut to the basket. The post player thenmmediately down screens for the perimeter player andips or posts up again. On the second catch from the topuard, the wing player feeds the post.

oaching Points for Post Feeding

Use an air dummy defender on the post to teach passing

way from the defender (pass leads to a score).

nsist on verbal calls for passes, cuts, screens, and rim– ost–action with the ball or on the perimeter.

Emphasize all passing and catching principles as well asmoving and pivoting (turning) concepts.

Focus on back screen, down screen, and cutter chniques. Post players must always screen and slip toet two scoring options on each screen.

ptions: Add defenders later; players can change courts



o get work in both drills.

ALL-AMERICAN POST WORKOUT

urpose: To teach or practice all offensive post movesor advanced players).

quipment: Ball, half court, basket.

rocedure: Make all shots in the sequences before going

o the next move in this 30-minute workout. Do this dailyt game speed with proper and quick repetitions. Work om your favorite side of the lane.

Four baseline power moves

Four jump hooks to the middle

Four turnaround jump shots, pivoting on the baseline side,urning the foot

Four turnaround jump shots with a shot fake

Free-throw swish (+2/–2)

If player loses (–2), do push-ups or sprints

If player wins (+2), shoot a string until a miss; when amiss occurs, the swish keeps the player going



Four start low, V-cut, and flash to the free-throw line for jump shot

Four step out to the short corner for a jump shot on theaseline

Free-throw swish game

Four V-cuts and flash to the free-throw line for a shotake to a jump shot

Four short corner shot fakes to jump shots on the baseline


Four V-cuts and flash to the free-throw line for a shotake and a drive to a power shot or a dunk in the free-hrow lane

Four short corner shot fakes to a power shot or a dunk


-ON-2 FEEDING THE POST DRILL

urpose: To teach offensive and defensive post play

kills, passing to post players, and movement after theass for a possible return pass.



quipment: Ball and basket, groups of four playersminimum).

rocedure: Two offensive and two defensive playerswork on post play from various locations around the free-hrow lane. All offensive and defensive principles of postlay are applied. Two players are needed as feeders. Therst outlet pass or dribble for transition must be made

when defenders obtain possession. Have outside offensivelayers make a V-cut move for a possible return pass

when they pass to post players and call the post’s name.

ptions

Two perimeter players undefended, plus one defensive

nd one offensive post player (rotate after each score).ee figure 6.14 .

Two perimeter players and two post players—oneffense, one defense. Start the ball on the perimeter at the

op of the key. The perimeter player dribbles to either wing and the offensive post player gets open on that side—the post may cut to high post or come outside and screenor a teammate (pick-and-roll or back pick).

Make-it-take-it 2-on-2.



MIKAN DRILL

his drill, named after George Mikan, the first dominantost player in history, can be used for all playersperimeter and post).

urpose: To teach players footwork, ballhandling, andayup shooting close to the basket.

quipment: Ball and basket per player.

rocedure: Alternating layups, shoot with the left hand on

he left side and with the right hand on the right side.layers should move the feet quickly and be in a positiono shoot as soon as they rebound and chin the ball. Catch



nd chin the ball with two hands, try to swish each shot,nd follow through each time. Never let the ball hit theoor—develop and maintain a rhythm. Go at game speed.

ptions

One minute or three, four, or five in a row

Regular Mikans

Reverse layup Mikans

Power Mikans—jump under the basket on the shot, catchnd chin while jumping to the other side; repeat the moveoing from two feet to two feet

Power Mikans with shot fake (stay in stance—1-inch2.5-centimeter] fake); keep the heels down on the shotake

Freelance—1-minute consecutive shots or make 10cores using any move around the basket

-ON-5 POST PASSING DRILL

urpose: To teach post players to get open, catch the ball,

make post moves, and pass from the post position as theyead and react to defenders (especially traps). Teachefensive players to double-team (trap) a post player and



otate to the ball on passes from the post.

quipment: Ball, half-court space, and 10 players (5ffense, 5 defense).

rocedure: Position three perimeter players and two postlayers as shown in figure 6.15 . In figure 6.15 a, theefense allows the first pass (always) and the post player oes 1-on-1 (no traps). In figure 6.15 b, a trap is made.fter the first pass, all play is live.

OST SCORE THROUGH DEFENSE (OVER ANDACK)

urpose: To teach post players to capture and chin theall and score repeatedly from two feet through a defender



r blocking pad (getting fouled and scoring).

quipment: Five basketballs, one defender with alocking pad and basket.

rocedure: Five players, each with a ball, form a half ircle around the basket (five spots) at a 6-foot (1.8-

meter) distance from the basket. One defender is in frontf the basket, preferably with a blocking pad. One player n offense starts on the baseline, receives a shovel pass or oor pass (good or bad) from the player with the ball,aptures and chins ball, and, without dribbling, turns andcores through contact with a two-footed power move.his move is repeated five times (over) and five times

eturning (back) for 10 consecutive scores through

efense. Rotate and repeat.

-ON-1 POST CUTTHROAT

urpose: To practice post offense and defense in a 1-on-1

ve format. Players play to two or three baskets or for 1minute.

quipment: Three perimeter feeders (point, wing, wing),all, two post players (one offense, one defense), andasket.

rocedure: Offensive and defensive post player in the



ane with three or four perimeter players. The ball startswith the defensive post player, who passes it to theerimeter player of choice; live play begins with 1-on-1ost play in the lane. The ball can be passed anywhere on

he perimeter before being passed to the offensive postlayer.

oaching Points

Offense—post stance on post line, create contact andeal, players point to where they want the ball on theerimeter, get open and stay open, catch safely, and scoremply.

Defense—avoid contact unless a position or advantage is

ffered, keep the ball from the post.



hapter 7

ndividual Defense



My teams are built around tough defense, stingy shot election, and being hard-nosed.”

on “Bear” Haskins, University of Texas at El Paso,all of Fame Coach

ndividual defense, a great challenge for both coaches andlayers, involves developing fundamental skills thatepend less on ability than on determination. Defense canecome a consistent part of each player’s game. Both

mental and physical challenges await players developingefensive skills. The effectiveness of this phase of theame especially depends on what is taught, emphasized,valuated, and demanded .

asic individual defensive skills are needed in allefensive systems: player-to-player, zone, or combinationefenses. These essential skills are the following:

defensive stance and steps;

on-the-ball, off-the-ball, off-to-on-the-ball, on-to-off-the-all defense; and

pecial situation defense; screens, traps (double-team),nd the defensive charge.

ndividual defensive skills need to be blended into a



onsistent defensive system that includes the level of overage (full-court, three-quarter court, half-court),ressure, lane, sagging style, and assignments (player-to-layer, zone, or combination), and the influence of the

ribbler. This chapter discusses individual skills that areeared to an aggressive style of play, but coaches candapt them to other situations or to a specific defensiveam philosophy.

efense is critical to winning, more consistent thanffense, and more controllable. Hall of Fame coach Ralph

Miller stated that losses are rooted in defensivereakdowns—individual or team defense, defensiveebounding, or turnovers caused by the opponent’sefense. Defense also generates fast-break offense, easyaskets, and offensive confidence.

undamentals of Defense

efense is as much mental as physical. Players should be

ncouraged to be proactive, rather than reactive.Generally, defenders are at a disadvantage. One way toffset this edge is to use the rule that action is usuallyuicker than reaction. Coaches can emphasize the activeements of defense by the acronym ATTACK.

A—Attitude. The starting point of all defense is theetermination to become an aggressive, intelligent



efensive player. Players must develop and maintainontrol of their playing attitude, especially on defense.oaches cannot coach unless players decide to play hard uring each defensive possession. Excellent defense

equires that players give maximum physical effort.—Teamwork. The collective effort of five defensivelayers is greater than five individual efforts. The synergyf defensive team chemistry can offset the naturaldvantage of offensive players; play together to survivend thrive with team defense.

—Tools of defense. The four basic physical tools are themind, the body, the feet, and the eyes. The hands can be aelp or a hindrance. When the other tools are used first,

specially body position, the hands can be a defensivelus.

A—Anticipation. Players must use good basketball sensend judgment (mind) triggered by vision. See the man and

uard the ball—the ball is the only thing that scores.layers should see the ball at all times and use their eyeso anticipate. For example, they should see a careless passnstantly and decide to act quickly. Quickness is based onhysical readiness and mental anticipation.

—Concentration. Players should be alert and ready tolay defense at all times. They must assess the situation



nd be able to take away the opponents’ strength. Playersmust avoid resting, physically or mentally, when playingefense. Communication is an excellent way to aidoncentration.

K —Keep in stance. Defensive players must maintainefensive quick stance at all times. They should seldomamble by making moves that take them out of stance or osition, and all players must be constantly ready to takedvantage of opponents’ mistakes. Keeping in stance is the

most important physical readiness concept for defenders.oaches need to remind players constantly to get in anday in stance—be ready for the opponent’s best move.oaches and players can use this concept as a subjective

measure of defense. Great defensive players and teamsan stay in a quick stance during the entire defensiveossession.

RITICAL CUE:

Get in and stay in stance.

ssentials of Defense

n addition to being proactive defenders, players mustnow nine essentials of defense: transition, purpose,ressure, position, prevention of penetration, moving, linef the ball, blocking out, and communication.



ransition. The first task is to anticipate shifting fromffense to defense, which requires an organized transition

with communication among all five players and includesebounding balance (assume that every shot will miss and

et back on defense or go to the offensive boards). Sprinto protect the defensive basket, pick up the ball, findhooters, and recover to all open offensive players.layers going to defense should sprint toward theefensive end of the floor while seeing the ball (look over he inside shoulder—red-light situation) but may run or ide backward (yellow-light situation) once the offense isontained. Defense starts when a shot is taken on offensend ends with a defensive rebound, steal, caused turnover,r opponent’s basket. One useful rule for defenders, whenhe opponents gain possession of the ball, is to sprint atast three quick steps to defense with vision on the ball,

ooking over the inside shoulder. See the ball during thewhole transition. Transition to the defensive basket shoulde in straight lines parallel to the sideline, which helps theam cover all outside shooters better.

RITICAL CUE:

n a shot, go to defense, or go to offensive rebound.

urpose. The purpose of defense is to prevent easy scoresnd to gain possession of the ball through rebounds or eals. Defenders must learn to prevent situations leading



o easy baskets by opponents (i.e., prevent all layups).Make the offense work to get all shots (and only under ressure; i.e., give the opponents one pressured shot). Theverall goal of defense is to prevent the opponents from

coring. Since this is impossible, the best defensiveurpose is to allow the opponents only one contested shot.

ressure. Offensive play has a basic rhythm that can beisrupted by pressure. Defensive play must maintainontinuous physical and mental pressure on ballhandlers.very shot also must be pressured physically anderbally. Bother players who have the ball (live ball or ribbling), swarm the player with a dead ball (usedribble), and be ready to protect the basket and supporthe defender on the ball when defending off the ball.ressure all shots by making the shooter adjust the shot.he hand should go up through the face area to disrupt thehot. Ball pressure must be combined with off-the-ballosition and readiness.

osition. Coaches should train players to stay in a stancend be in proper court position when on defense. Sprint tohe next position as the ball moves on offense. Most foulsccur when defenders are out of position or have not

maintained individual defensive stance. Players should get

n and stay in a defensive quick stance as they maintainroper defensive position relative to the ball and theasket. Whenever the opponent passes or dribbles the



all, defenders should sprint to help the defender guardinghe ball.

revention of Penetration. Offensive players attempt toake the ball toward the basket by passing or dribbling.efenders must prevent this penetration whenever ossible. One defender always pressures the ball whilehe four other players play zone areas toward the basket torotect it and support the defender playing on the ball.efenders should prevent middle-of-the-floor penetration

oward the goal by offensive players using the dribble or irect air passes to this area when playing on the-ballefense (especially the power zone shown in figure 7.1 ).ff-the-ball defense means keeping passes and dribblerives out of the middle of the floor (especially the power one) by defending zone areas toward the basket area.efenders should play zone defense and support theefender playing on the ball. Prevent the ball and theffensive player from entering the power zone.



RITICAL CUE:

efenders move when the ball moves (sprint to help).

Moving. Players must learn to move every time the ball isassed. All five players should adjust their floor positions

with every pass. On the ball, after the ballhandler passeshe ball, the defender moves instantly toward the ball andhe basket—jumping or exploding to the ball. Off the ball,efensive players adjust their positions toward the ball

with every pass.

ine of the Ball. The line of the ball principle states thatlayers should defend their opponent only after they have

aken a position ahead of the ball and toward their efensive basket. This position is past the line of the ball,side-to-side line through the ballhandler’s location. In



gure 7.2 , X1 and X 2 need to get ahead of the ball at O 1

efore getting in proper defensive position to defend thepponent with the ball as well as the other opponents whoo not have the ball.



locking Out. Each defensive player is responsible for

locking (checking) offensive players from the basket areand gaining the defensive rebound when a shot is taken.



uccessful coaches recognize that defensive rebounding isn important part of team defense and devote appropriateme to teaching it (see chapter 8 ).

ommunication. Communication is always necessary for roup success. All players must react to each other erbally and physically to produce an effective teamefense. Essentially, the five players should act as one.oach Mike Krzyzewski of Duke University says a team ismilar to the relation between the fingers and a fist.ingers alone cannot accomplish nearly what they can do

when gathered into a fist. Communication links all fivengers into a fist, just as it links all five players into aefensive team. Especially on defense, players cannot talk

oo much.

n-the-Ball Defense

n-the-ball defense can be considered the spearhead of he defense; all good defense starts by defending the ball.

n the defensive location, the concepts of seeing thessigned offensive player and guarding the ball merge andan both be accomplished, but on-the-ball defense is alsone of the most challenging defensive tasks, one whichequires both technique and determination.

he skills, principles, and defensive concepts in thisection are based on the experiences of a lifetime of



oaching defensive stance and steps—the footwork eeded to be a successful defender when guarding theallhandler. As players become more skilled ballhandlerss well as bigger and better athletes, the advantage for

ffensive players increases. Without proper and highlykilled defensive techniques, defending 1-on-1 on-the-balltuations is virtually impossible.

hese recommended on-the-ball defensive techniquesave evolved to meet the increasing challenges of the

modern game and the advantages of offensive players. Theoncepts have been developed through collective playingnd coaching experience, but especially throughiscussions with Mike Nilson, strength and conditioningoach at Gonzaga University. Mike has incorporated theoncepts of balance and quickness into the recommendedn-the-ball defensive skills. These recommendationsllow all players to become significantly better on-the-all defenders.

efending the Live Ball

When guarding a player with a live ball (the player stillas the dribble), the defender needs to be in a defensiveuick stance with active feet (footfire). Communicate ball

when the offense catches the ball and then say ready,eady . Defenders should be taught to maintain their osition between the ballhandler and the basket (ball-



efender-basket), as shown in figure 7.3 , to preventribble penetration as they recognize and take away theallhandler’s strengths (on the preferred or dominantde).

istracting and disrupting the player with the ball whilereventing pass and dribble penetration are alsomportant. Force and encourage slow bounce or lobasses using active feet (patter step) and hands, from aance with the arms and the legs bent (for quickness andalance). Match the offensive player toes to toes, in aquared up ball-playerbasket relationship (don’t shade or



pen the defensive stance and expose the basket). The feetre in a staggered stance, with the inside foot slightlyorward and the back foot toed outward slightly. Theecommendation is for the back or the butt to be pointed

oward the basket to facilitate lateral movement ( figure4). This stance is low and wide, with the hips down, thenees spread, and the head lower than the offensivelayer’s head, level with that player’s chest. Dropping theack foot too much is an error that results in the defender pening the door for the dribble drive. It is sometimesalled matador defense because it allows the offensivelayer easier access to the dribble drive to the side of theropped foot and causes the defender to become aullfight matador—waving to the offensive dribble driver s he passes. This foot position also makes it moreifficult to move laterally with quickness in order to

maintain the ball-player-basket relationship. It alsoxposes a dribble move to the side of the front foot ( figure5) that is difficult to defend. Players should position

hemselves with their butts to the basket in order to flatten

ut or arc the offensive player laterally—to preventribble penetration. They seldom need to swing or dropep on a live-ball move if their stance and hands are in

he proper position. This position allows the defender toeep the trunk and chest in front of the ballhandler in a

all-defender-basket alignment without grabbing or olding with the hands.





he recommended hand position on the live ball is for theall-side hand (usually the front hand) above the front footo mirror the position of the ball. Mirror the ball by doinghe following:

Ball overhead—the front hand should be overhead as the

rm is extended to deflect the pass as the defender movesloser. This can be done with a quick two-foot hoporward. With the ball overhead, the offensive player educes the threat of the quick drive or shot (the ballverhead, the hand up, and move closer). Stay in a quick

ance, with the front arm extended and vertical and theack hand near the front hand or near the waist in aorizontal arm bar position, ready for contact ( figure



6a).

Ball in the shooting pocket—the hand in front and over ear the ball (if possible), ready to challenge and change ahot attempt and prevent a quick air pass by the ear ( figure6b).

Ball low—the hand horizontal and above the ball torevent a quick shot or bringing the ball up or across theody (high or low rip or circle tight move), as shown ingure 7.6 c. Playing lower than the offensive player with

he ball low is especially important because of thencreased threat of the dribble drive. The defender musteep the trunk in the ball-player-basket position to preventhe driver from lowering the shoulder and getting the head

nd shoulders by the defender on the dribble drive.



he other hand is flexed at the elbow and is in front of theody, ready to become the disrupter when the ball is

moved to the opposite side by the offensive player. Thisack hand is ready to chase the ball following a pass tohis side; get a touch on any pass to that side.



aking a stand on the ball is the phrase that coaches canse to remind players to get and maintain a ball-player-asket position on ballhandlers as they attempt to distractnd disrupt the players with the ball. Be close enough to

et a touch on the ball, about an arm’s length. Thischnique applies to defending the live ball and theribbler.

RITICAL CUE:

ake a stand on the ballhandler.

ote: On an offensive jab step, use a 6-inch (15.2-entimeter) retreat step to that side. This is a power push-ep slide to prevent the possible dribble drive.

efending the Dribbler. Defending a dribbler, the pointosition, is done with a gap close enough to get a touch onhe ball but adjusted to the quickness of both the offensivend the defensive player. On determining the direction of

he offensive player using the dribble drive, the defender ses push steps to prevent the drive and maintain or regainhe ball-defender-basket position. A slight rear turn is

made in the direction of the dribble drive as the defender ses repeated explosive push steps (usually three steps)om the power leg to prevent dribble penetration. A goodefensive reminder is that defenders should use their

mind, feet, and bodies to stop the dribbler. Anticipate the



rive direction (mind), use explosive push steps (leadwith the foot in the direction of movement) to maintain theall-player-basket position, and take contact on the chestr trunk in a legal guarding position to prevent dribble

enetration. If the dribbler gets by the defender (head andhoulders past), the defender then turns and sprints toegain the ball-player-basket position (run to recover).

ush-Step Technique. From a balanced defensive quick ance, players should thrust the lead foot (in the directionf movement) laterally as the head and body weight arehifted in that direction. That foot is toed outward slightlys the same foot position of the quick stance is maintained.lthough some coaches prefer pointing the lead foot,

eeping the feet parallel is preferable. The power for theush step comes from a forceful push from the power or ail foot. The movement of the lead and trail foot is 6 to8 inches (15.2 to 45.7 centimeters) laterally as the feetre kept at shoulder width or wider. The trail foot theneturns to quick-stance position. Usually, three explosive

ush steps are sufficient to prevent dribble penetration inne direction. Then, the dribbler is either past theefender (run to recover) or reverses direction on theribble (the defender must then use three push steps in thepposite direction). Partial rear turns may be needed to

maintain proper defensive position prior to the push steps.

he teaching segments for the lateral push-step movement



re the following:

Use a partial rear turn when needed to stay ahead of theribbler and to maintain the ball-player-basket positionfigure 7.7 a).

Explosively push from the trail foot as the lead footmoves laterally 6 to 18 inches (15.2 to 45.7 centimeters)nd the head and body weight shifts in the direction of

movement ( figure 7.7 b).

Focus on lead foot landing with balanced weightistribution (toe and heel hit at once, with 60 percent of he weight on the ball of the foot) while maintaining aarallel stance with the feet (or toes pointed slightly

utward).

The trail foot also moves 6 to 18 inches (15.2 to 45.7entimeters) as the feet maintain a shoulder-widthelationship ( figure 7.7 c).

The start and end of the movement are always from and tobalanced quickstance position (with the feet only slightly

oed out).

ush-step technique is sometimes called step and slidemotion. A verbal prompt ( push step and slide, low and wide, can’t get too low, can’t get too wide ) is a good



arning reminder.

RITICAL CUE:

ush step and slide, low and wide, can’t get too low, can’tet too wide.

hree push steps should stop the dribbler; otherwise, theun-to-recover move is needed to regain the ball-efender-basket position. The complete push-step

equence is shown in figure 7.7 .



n the point stance, the player’s nose is on the ball to gethead of the dribbler. The near (dig) hand is pointing tohe ball, with the elbow bent and the palm up. When step-iding to the right, the player’s near (dig) hand is the leftand. The lead (back) hand is in the “thumb-in-ear”osition, the elbow at a right angle, and the forearm actingke a windshield wiper. Moving right, the right hand is



he thumb-in-ear or wiper hand, used to take away or revent the quick air pass by the ear. Communicate point,oint when the dribbler puts the ball on the floor. Turn theribbler in the backcourt, adjust to the ball-defender-

asket position in the frontcourt. On a spin dribble,layers should jump back away from the dribbler a step torevent the dribbler from hooking them to go by.

raditional Method of Defending the Live Ball. Live-all defenders must be ready in a defensive quick stancen a ball-player-basket position. The forward foot may belaced opposite the dominant hand of the offensive player.that player is right-handed, defenders can have the leftg and arm forward to force the offensive player to passr dribble with the weak hand. Another option is to placehe inside foot slightly forward in the ball-player-basketosition. Coaches should have players defend with thealm of the lead hand facing the ball (see figure 7.8 ),llowing them to move easily, flick at, and pressure theall. This is a more common hand position when players

re guarding the live ball.

RITICAL CUE:

Hands on the ball and not on the offensive player.



layers should distract and disrupt with the hands as theyeep the inside foot slightly forward. Most coaches prefer o have the inside foot forward, as shown in figure 7.9 . Inddition, many coaches prefer to point the lead foot duringep-slide defensive movement to cut off lateral

movement. When a dribbler gets her head and shouldersast, run to recover.



RITICAL CUE:

ead ball— swarm or sag .

efending the Dead Ball

When a ballhandler has used the dribble, the twoecommended techniques are swarming the ball, tracinghe ball with both hands and attacking the player’s senses

while staying in a stance, as shown in figure 7.10pressure option), or dropping back toward the basket

while staying in the ball-player-basket relationship tonticipate the next pass and help the team defense (saggingption). The latter can be used especially when the



allhandler is out of shooting range. The pressure optioncalled the stick position (communication stick, stick ) to

lert defensive teammates to deny other passing lanes.

ff-the-Ball Defense



his most challenging and crucial individual defensivekill makes a significant contribution to team defense.espite a natural tendency for players to relax away from

he ball, they must learn the importance of off-the-ball

efense. Coaches should teach them that protecting theasket and supporting the defender playing on the ball iss important as attending to the assigned player away fromhe ball (see the man, but guard the ball). These multipleasks require greater attention than on-the-ball defense.

he two types of off-the-ball stances are open (pistols)ance, farther from the ball (two passes away), andlosed (denial) stance, closer to the ball (one pass away).hese stances are shown in figure 7.11 : X 2, X3, and X 5

sing a closed stance and X 4 using an open stance toupport defender X 1 guarding the ballhandler. Theommon concept is that off-the-ball defenders are in aosition of player guarded-defender-ball.

RITICAL CUE:

all-defender-player guarded position when defending off he ball.

everal other guidelines can be taught to players about

efending away from the ball. The farther the offensivelayer is from the ball, the farther the defender should be



om the assigned opponent, always maintaining a ball-efender-player position. The defender needs to keep aap (a distance cushion to provide extra reaction time), ashown in figures 7.11 and 7.12 . The closer the ball is to

he defender, the closer the defender should be to thessigned opponent away from the ball.

What the defender does before the offensive player getshe ball determines what the offensive player can do withhe ball. Defenders should keep the ball away from thessigned opponent in favorite spots on the floor. Always

ake away an opponent’s strength on the ball or off theall.



layer cuts to the ball (ball-defender-player position) inhe middle or power zone areas should be prevented.each defenders to force offensive players to go around or way from a desired position. If contact must be made, the

efender should beat the offensive player to a desiredpot, make contact using an arm bar and a closed stance,orce the cutter high, and then reestablish a gap.

RITICAL CUE:

losed (denial) stance—the hand in the lane, the thumbown, the ear in the chest, the body positioned as ballefender-player being guarded, the foot closest to the ballorward.

eeing the ball at all times allows players to defend theallhandler and support the defender playing on the ball



more easily. Players should follow the ball visually tonticipate offensive cuts and careless passes. Guard theall, and see the offensive player being guarded. The balllways scores, not the player.

layers two passes away from the ball should assume anpen stance, which allows them to see the ball and their ssigned opponents. In this position, one hand points at theall and the other points at the opponent— pointing istols —forming a flat triangle: ball-defender-player eing guarded ( figure 7.12 ).

efenders near the ball need to develop the skill of enying the pass to the player they are guarding—closedance. The defender is in a ball-defender-player guarded

osition. In a closed stance, players should place the back artially to the ball (seeing both the ball over their houlders and the players they are guarding) while puttinghe lead foot (the foot closest to the ball) and the lead handn the passing lane, with the thumb down, the fingers

pread, and the palm facing the ball. Put the ear at thevel of the chest of the offensive player. Denial pressurean vary from the hand in the passing lane (moderate) tohe elbow in the lane and the shoulder or the head in theane (high).

he back hand near the opponent is the brush hand (theack of the hand feels the opponent, ready for use as the



rm bar when the opponent cuts to the ball). Make a fistwith the brush hand to prevent grabbing or holding fouls.

he defender’s vision is down the gun barrel of thextended near arm.

n a closed stance (denying the pass to the player uarded), the offensive player needs to V-cut to get open,o the defender must stay in a closed stance and moveontinually to maintain the desired ball-defender-player uarded position. Also, when overplayed, the player uarded may cut behind the defender in a backdoor move.he proper response to the backdoor cut is to go with anday in the ball-defenderplayer guarded closed stanceosition (snap the head and change the denial hand) untilhe cutter reaches the lane, then open up and assume thepen stance to see the ball. Do not follow the cutter awayom the ball. See figure 7.13 . The communication on allff-the-ball situations of open or closed stance is helpght, help right or help left, help left . A defender in theey calls hoop, hoop .



ost Defense

echniques for players learning to guard an offensive postlayer in or around the free-throw lane include the ball-

efender-player closed stance (with the hand across theassing lane in a ball-defender-offensive player rrangement, figure 7.14 a) and the fronting stance (seegure 7.14 b). As a general rule, the ball should be keptut of the power zone (post area) using one of these twoances. In a closed stance, the hand is in the passing lane

ball-defender-player guarded) with the thumb down andhe palm facing the ball.

he most common post defense technique is the closedance, in which players are avoiding contact unless theyave a position advantage, keeping a hand in the passingane, and defending in a position on the side of the



efender. This technique is most often used with a highost (free-throw line area) or medium post. This half-frontosition is a compromise between keeping the ball out of he post area and being ready to check or block out the

ost player when a perimeter shot is taken. One addedosition rule is needed: when the offensive post is in theow or medium post position, players should take aosition above the post player when the perimeter passer

with the ball is above the free-throw line extended andake a closed stance position below or on the baselinede when the ball is below the free-throw line extended

figure 7.15 ). When the ball changes positions relative tohe free-throw line, the defender can choose to go behindhe post (easier, but more susceptible to a deep re-post) or n front of the post (more difficult, but prevents post entryasses better) to regain the closed stance with the ball-efender-player guarded position.

When in a fronting stance, the defender should see the ballnd stay in defensive stance, with radar bumper contact

he butt front) and the hands up. This allows the defender o anticipate and move for the pass to the post. Theonting stance has the advantage of keeping the ball fromost players better but also the disadvantage of giving theffensive post player a definite edge for rebounding when

perimeter shot is taken.



RITICAL CUE:



ronting post—stay in stance with the hands up and buttontact; be ready to move for the pass.

ffensive post players control defenders by establishingnd maintaining contact. Post defenders should avoidontact unless they have an advantage in position,

maintaining a safe distance from the ballhandler andontinuing to move in order to keep the offensive postlayer (and the passer) guessing.

he basic fundamentals also apply to defending a postlayer with the ball; defenders should stay in a defensiveuick stance with both hands ready. When an offensiveost player receives the ball in the low or medium postrea, the defender should be taught to take a step back and

eestablish a ball-defender-basket position to preventngle baskets. Maintaining distance gives the defender eaction time to defend against an offensive post move,revents the offensive post player from using contact toontrol the defender, and allows a teammate time to help

om the perimeter.



n-the-Ball to Off-the-Ball Defense

When a player is guarding the ballhandler as a pass ismade, a necessary and immediate transition from on-the-all status (ball-defender-basket position) to off-the-ballatus (ball-defender-player guarded position) is achievedy jumping (or exploding) to the ball (primarily) and tohe basket (secondarily) to assume a closed or openance, as shown in figure 7.16. This technique, alsoalled chasing the ball , involves attempting to touch theass with the hand nearest the direction of the pass.umping to the ball prevents the passer from using a pass-nd-cut move to make a front cut to catch a return passoing toward the basket.

RITICAL CUE:



n-the-ball defender— ball moves, move to the ballchase the ball).

ff-the-Ball to On-the-Ball Defense

When the opponents have the ball, another defensiveansition, called closing out to the ball , occurs whenlayers change status from off-the-ball (open stance) tonthe-ball coverage and are in a help defensive positionprotecting the basket and supporting the defender on the

all) when the ball is passed to the player being guarded.he correct technique for closing out to the ball isescribed following and shown in figure 7.17

RITICAL CUE:

lose out short to prevent the drive.



Sprint halfway to the guarded player with the ball (closeut short).

Breakdown into a regular defensive stance using activeeet (stutter steps) with both hands above the shouldersnd above head level. Approach the ballhandler withaution on the line between the ball and the basket torevent the drive, but be aggressive and prepared toontest a shot or pass.

Recommended foot position is with the inside foot up (theelly to the sideline or the baseline).

Close out in a ball-defender-basket path (prevent therive).

Close out short (keep a gap) with the body weight back.hrow the hands up and back to prevent the quick air pass.

he objective on a closeout is to prevent penetration (aribble or quick air pass past the head) and then pressurehe ballhandler, especially on the shot.



pecial Defensive Situations

n addition to the basic skills of on-the-ball and off-the-all defense, several other tactics can help the teamefend against special offensive threats. A situation thatccurs mostly on defense but can occur on offense is aoose ball from a bad pass, errant dribble, or any loss of all control by an offensive player. The best rule for thistuation is to get both hands on the ball; if it is in the air,se a two-handed pickup and snap the ball to a quick-stopnd chinit position. Capture and chin a loose ball (a two-anded skill). If the ball is on the floor, dive on the looseall with both hands. Rules require players to pass to anpen teammate before getting up from the floor with theall.



COACHING POINTS FOR DEFENSE

eneral

Get in a stance and stay in a stance.

Use the mind, body, feet, and eyes as the first tools of efense.

Use the hands only as a secondary defensive weapon.

Prevent easy scores; allow no layups and one pressuredhot.

Keep pressure on the ball.

Prevent penetration by the pass or dribble.

Move on every pass or dribble.

Take away the opponent’s strength.

Upset offensive rhythm.

n-the-BallGet low and stay low. Be lower than the offensive player



nose in the chest).

Maintain the ball-defender-basket position.

Guard players in a live-ball situation: front foot to frontoot, hands and feet active, and within touching distanceead or front hand up).

Keep space between yourself and the dribbler (i.e., keepgap, but get a touch).

Guard the dribbler, keep the head and chest in front, jabwith the lead hand, and run to recover when necessary.

Guard a dead-ball situation: swarm the ballhandler and

ace the ball without fouling or sag away from theallhandler.

Jump (explode) to the ball when a pass is made (chasehe ball). Always move toward the ball on every pass or ribble—sprint to help.

ff-the-Ball

Close out to the ball when it is passed to an assignedffensive player; sprint, breakdown, and prevent the drive

always close out short—prevent the drive). Close out onhe driving line to the basket.



Maintain the ball-defender-basket position.

Get in an open ( pistols ) stance far from the ball or alosed (the hand across and the thumb down) stance closeo the ball.

Keep the ball from offensive post players unless they areo offensive threat.

Be able to help and make the decision to bluff or switch

n screens, penetrations, or closeouts.

RITICAL CUE:

apture and chin a loose ball; never dribble a loose ball.

Help and Decide

n clearouts or any penetration situation, the off-the-ballefenders make critical decisions: help and rotate (protecthe basket and cover the penetrating dribble) and decideo switch defensive assignments, trap with the defender n the ball, or bluff to buy recovery time for the teammateuarding the dribbler). Communication is the key—beeady to help and communicate the decision. Two optionsre shown in figure 7.18 . The critical help situation in this

ase, called help on the help by X 1 in figure 7.18 a , occurswhen X 3 helps on dribble penetration of O 2 outside the



ee-throw lane.

efenders should use the help-and-decide defensivechnique to combat the offensive tactic of a dribbleenetration, which clears out one side of the court for theallhandler to dribble drive to beat the defender. The off-he-ball defender should be ready to help and decide toelp or switch if the defender on the ball is beaten or

when the assigned player vacates the area.

creens

When an offensive player screens or shields a defender tossist a teammate in getting an open shot, special tactics

must be used, including avoiding screens whenever ossible—defenders should be in motion when offensivelayers approach them to set a screen. Screens generally



an be defeated by fighting through (going over or under)he screen, in which case a teammate may help out thecreened defender by using a show-and-go move ( figure19 ); by switching assigned opponents, especially when a

efender is unable to get through the screen ( figure 7.20 );r by trapping the dribbler on a screen. The defender uarding the screener switches forward, calls the switch,nd contains the ballhandler.

n screens away from the ball, players should avoid or ide through these screens, usually on the ball side. Be a

moving target; don’t be screened. Players should staydeways and use their arms as shock absorbers to prevent

he screener from getting to their bodies. The player uarding the screener should jump to the ball, stay ballde, and help a teammate through the screen. Give help

when needed.

raps

oaches also may want to develop defensive techniques toandle an exceptional offensive player or to function as aurprise tactic. Trapping occurs when two defendersouble-team an offensive ballhandler (2-on-1) in certainourt areas or on ball screens. Coaches should emphasizehat both players must stop the ball handler from escapinghe trap by being in good defensive basic position, keepinghe feet active, positioning themselves knee-to-knee, and



eeping the inside hands up to prevent a quick air pass.he objective is to force a lob or bounce pass, and playershould learn not to reach for the ball or commit a foul. Allther off-the-ball teammates should close off the nearest

assing lanes to prevent any passes from the trap into their ones (play a three-player zone). The best places to setaps are in the corners of the court ( figure 7.21 ). Anxample of a frontcourt trap is also shown. The trap is

made in a frontcourt corner, and the other defenders denyhe near passing lanes and force the offense to play on half f the court.





RITICAL CUE:

efensive traps—the feet active, the inside hand up,



ontain without fouling.

efensive Charge

he defensive charge—one of the fundamental defensivelays in basketball—is used when a defender has beatenn offensive cutter to a desired position on the floor and isn a legal guarding position. This charge must be taughtroperly not only for its great potential as a team play (itan prevent an opponent’s three-point play and result inwo free throws for the defender), but also because itnvolves a contact skill that must be developedrogressively to avoid injury. The rules that apply to thistuation are that the defender is entitled to any spot on theoor that is taken in a legal guarding position; the dribbler

eeds no room, but the defender must be in a legal positioefore the offensive player’s head and shoulders pass theefender’s body; away from the ball, the offensive cutter

must be given the chance to change direction (never morehan two steps); the defender must always be in a legal

uarding position before a player becomes airborne; andefenders can move their feet and protect their bodies.

RITICAL CUE:

Must be knocked down on the defensive charge.

layers should be taught these techniques for taking the



harge:

Get in and stay in a good defensive basic stance andeep the feet active (foot patter) to adjust position. Theefender must be knocked down from the legal position,ut not flop on contact.

Take the blow in the chest area.

Resist giving up an established position, but keep mostf the weight on the heels (must be knocked down).

Keep the arms out of the action and use them for rotection as in screen setting technique—protect vitalreas (different areas for men and women).

Fall properly—with the arms up and in front, theuttocks should hit the floor first, followed by the lower nd upper back as the palms slap the floor. Keep the headn a curled chin tuck position (see figure 7.22 ).



Assume that the officials will not call an offensive foul

nd scramble up to regain basic position.



Know when to take the charge. Disrupt the offensivelayer’s movement, but pick a situation in which theffensive player has poor body control and is not alert.

ressuring the Shot

special skill is needed when defending the player withhe ball and a set or jump shot is taken. The general rule iso pressure every shot as follows:

Stay in the stance and have the ball-side hand up when theall is in the shooting pocket (triple-threat position)— on’t leave the feet until the shooter does.

Use the lead hand to force the shooter to alter the shot—

on’t try to block it; make the shooter change the shot. Thead hand goes up and past the face on the shot.

Keep the lead hand up in a vertical position with thewrist back (don’t slap down and cause a foul).

Apply verbal pressure also (shout, make noise, scream,all names). Yell shot to alert teammates of a reboundtuation (help them see and hear the shot).

RITICAL CUE:

ressure every shot— stay down, the hand up, the wrist



ack.

ROUBLESHOOTING

ommon defensive errors and coaching responses:

roblem: Players do not get in and stay in a stance.

orrection: Review or reteach stance and graduallyncrease the time spent in defensive stance— increase

mphasis and reminders. During team play, develop teamonsequences when a player comes out of a stance.

roblem: Lack of motivation to play defense.

orrection: Reason with players; provide concreteeasons for the necessity of effective defense. Emphasizend demand high levels of defense.

roblem: Slow reaction to ball movement.

orrection: Emphasize sprinting to the next assignment.

roblem: Not talking on defense.

orrection: Emphasize communication; during drills,

equire talking on every ball movement (incentives andonsequences) and recognize the defensive communicator f the day.



roblem: Fear of taking defensive charges, diving onoor for loose balls.

orrection: Do sequential, progressive teaching andhysical practicing of the skill to ensure safety androvide experience. Recognize great team playsncentives).

roblem: Not playing hard on defense.

orrection: Convince players that getting coachedepends on their best effort; establish playing hard as aadition; substitute in competitive practice and gametuations.

roblem: Lack of defensive confidence.orrection: Provide success situations in practice,emand effectiveness and execution that produce success,nd define success in terms of proper technique and effortnstead of the ultimate result (makes or misses).

efensive Drills

nsist on execution first, but demand intensity on defense.layers must learn to play hard individually in order to

evelop a cohesive team defense.



TANCE AND STEPS PROGRESSION

urpose: To provide a sequential method of developingefensive stance and power push-step (step-slide)chnique.

quipment: Floor space for movement (half court).

rocedure: Players are spaced facing the coach anderform the sequences on command or at their own pace.ive repetitions of each move are recommended.

One-foot balance, defensive stance, with the chest up,he butt muscles on stretch, the trunk slightly forwardalternate hops with the right and the left foot).

Lateral jumps (one foot to one foot—right to left and lefto right); side jumps from a one-foot stance to a one-footance on the opposite foot.

Lateral jumps with recovery steps (place the other footown to gain balance in the push-step slide).

Consecutive lateral jumps with recovery steps—threeepetitions in one direction (left and right).

Lateral seamless push steps—three repetitions in eachirection.



Piggyback seamless push steps (three right, three left,hree left, three right).

Free-throw lateral lane slides—push steps from outsidehe lane to the opposite side and return (right to left, left toght).

Baseline closeouts and lateral push steps (three right,hree left). Four lines or line drill with one offensivelayer 15 to 18 feet (4.6 to 5.5 meters) from the baselineefensive players.

Pass to offender (O), defender (D) closeout

O goes two dribbles right, D closes out and defends with

ush steps

O two dribbles left, D closes out and defends with pusheps

O two dribbles right, reverse to two left, D closes outnd defends

O two dribbles left, reverse to two right, D closes outnd defends

O two dribbles right or left, D closes out and defends

O two dribbles right or left, then one spin dribble



everse, D closes out and defends

oaching Points

Stay in defensive quick stance.

Emphasize quickness with balance.

Take a stand on the ball—maintain the ball-defender-asket relationship.

Use explosive push steps.

Step and slide, low and wide.

Defend with the mind, the feet, and the body (in balance).

Do it properly first and then quickly.

MOVING STANCE AND STEPS

urpose: To develop individual defensive stance andeps.

quipment: One ball for coach, half court (minimum).

rocedure: All players are spaced about the court, facinghe coach with a clear view. They assume a basicefensive stance at the coach’s signal ( palm down ) and



espond to the coach’s signals and commands withontinuous defensive stance and step moves. The coachses the ball for most signals. The direction moves usedre shown in figure 7.23 .

ignals and Meaning Movement

ote : This drill can be done with three steps and activeeet for any step-slide signals and then later continuouslyntil the next signal is given.



INE DRILL: INDIVIDUAL DEFENSE

urpose: To develop individual defensive skills in arogressive manner.

quipment: Ball for every two players (at least four ballsr one per line).

rocedure: Players form four lines on the baseline.layers execute an offensive or defensive zigzag (zigzag inairs). The first player in each line assumes a defensiveance with the next player in an offensive stance. Theffensive player zigzags down the floor while the defender

maintains defensive distance and a ball-defender-basketosition. Players switch positions on the return trip.

ptions: These moves should be done in this sequence as



learning progression.

Offensive zigzag—90-degree change of direction withouthe ball and then with the ball (dribbling).

Defensive zigzag—(three push steps) or using 45-degreeackward defensive slides (the lead hand with the palmp, flicking at an imaginary ball, the trail hand near thehoulder or the thumb in the air). On change of direction,layers lead with the elbow as they rear turn and continueides at a 90-degree change of direction—going baseline

o baseline using swing steps and push-step slidingchnique.

Defensive zigzag—90-degree change of direction with

unning steps (simulates getting beaten by the dribbler).he move always starts and ends with push-step slidingeps; slide diagonally left (dribbler gets past), sprint to

eestablish position, break down and slide again; changeirection and repeat (slide, run, slide). Continue baseline

o baseline.Offensive-defensive zigzag—offensive and defensiveairs. The offensive dribbler first coaches the zigzagefender while zigzag moving and carrying the ball under he armpit to simulate the dribble. Start with three push-ep slides and then continuously zigzag. Then theffensive player dribbles down the floor (using pullback



rossover, regular dribble crossover, spin dribble, or ehind-the-back dribble moves)—the focus is still to

make the defender perfect.

Offensive-defensive zigzag in pairs—live offense andefense in two alleys down the court.

1-on-1 full court—live offense and defense to score;efender slides, runs when needed, turns the dribbler inhe backcourt, pushes to the weak hand or the sideline inhe frontcourt, maintains ball-defender-basket relationship,revents layups. Mix all player pairs.

N-THE-BALL AND OFF-THE-BALL DRILL: 2-N-2

urpose: To teach defenders to adjust quickly to on-the-all and off-the-ball positions while defending penetrationhelp and decide situations).

quipment: Two lines of players at wing positions, oneall, and a half court.

rocedure: The coach starts with the ball in the middleboth defenders in a closed stance) and then dribbles tone side as the defenders adjust to positions of closed andpen stance. The coach may pass and offensive players gove or penetrate at any time. The drill rotation is from



ffense to defense to the back of the opposite line ( figure24 ).

LOSEOUT DRILL

urpose: To develop the individual defensive skill of losing out on an off-the-ball offensive player who hasust received a pass.

quipment: One ball and basket per group; ideally oneall and basket for every two players.

rocedure: When practicing the closeout technique, theefensive player starts under the basket with a ball ( figure25 ). The offensive player is in basic position, facing the

asket within a range of 15 to 18 feet (4.6 to 5.5 meters).

he defender passes the ball to the offensive player with arisp air pass and closes out to defend. The coach canelect a pass, preferably a nonpreferred hand pass. The



ule is to first prevent the drive by breaking down in theance halfway to the ballhandler (the feet active, the

nside foot forward, both hands up with the palms facinghe ball). Then pressure the ball and shooter, and block out

when a shot is taken. From that point, live competitionetween offense and defense ends when a basket is mader the defense gains possession of the ball. The dribbler ismited to two dribbles.

ptions

Closeout—shot only



Closeout—shot fake, drive only (right, left)

Closeout—live offense (rotate lines each time)

Closeout—live offense and defense (rotate)

Closeout—live, make-it-take-it (defense must stopffense to rotate)

LOSEOUT DRILLS: 1-ON-1, 2-ON-2, 3-ON-3, 4-

N-4

urpose: To practice all outside moves by perimeter layers.

quipment: One ball and one basket per group.rocedure: Form a line of players under each basket off

he court. The first player steps under the basket with theall and is the defender. A line of offensive players islaced 15 to 18 feet (4.6 to 5.5 meters) away, facing theasket (corner, wing, or point position). The defender

makes a crisp air pass with the nonpreferred hand (withhe feet on the floor) to the first player in the offensive linend then closes out to defend that player. The drill beginss soon as the pass is made for both offense and defense.he perimeter offensive player should catch the ball with

he feet in the air facing the basket, read and react to the



efender’s actions, and apply fundamentals to shoot or make an outside move.

layers may rotate to the back of the opposite line eachme, play make-it-take-it, or any arrangement of their hoice. The drill may be run as a 3-on-3 option ( figure26 ) that then becomes a teamwork competition with on-

he-ball and off-the-ball play.

EFENSIVE SLIDE DRILL: MOVING STANCEAND STEPS



urpose: To develop individual defensive steps.

quipment: Full-court boundary lines.

rocedure: All players begin the drill in the court corner nd use defensive steps as described. They follow the patoted in figure 7.27 . Players should allow the precedinglayer to reach the adjacent free-throw line beforearting. The drill includes the following 10 movements:





Slide left

Close out to baseline

Slide right

Angle slide, run, slide

Slide right

Close out to the half-court line

Face belly to the sideline with an angle left side

Face belly to the sideline or the baseline with an angle

ght side0. Close out to the free-throw line

layers repeat the circuit starting from the left side of theourt. They complete one circuit starting at each corner of ne end line. Coaches may want to record the time toomplete the circuit after using the drill several times andfter emphasizing proper technique.

ALF-COURT DRILLS: 2-ON-2, 3-ON-3, 4-ON-4

urpose: To develop individual defensive skills in a team



etting.

quipment: One ball, half court.

rocedure: Three (or four) offensive and three (or four)efensive players play a halfcourt game centered aroundifferent offensive moves and situations to be played byhe defender. Start with different sets and situations. Theoach may rotate after one defensive stop (successful teamefense) or set challenging group goals such as two or hree consecutive defensive stops.

ptions

Screens (on-the-ball and off-the-ball)

Post play

Penetration

Closeouts

Traps

Charges

ALF COURT PLUS TRANSITION: 4-ON-4

urpose: To develop individual defensive skills in a team



etting and make the transition from defense to offensefter defensive rebounding.

quipment: One ball, full court.

rocedure: Begin play as 4-on-4 half court, defendinggainst any offensive situation desired. When defendersuccessfully gain the ball on a steal or a defensiveebound (a defensive stop), they may fast break to score athe other end of the court. Four new defenders then takeositions, and the successful defenders now come to theriginal half court as offensive players.



hapter 8

ebounding



Offense sells tickets, defense wins games, rebounding



wins championships.”

at Summitt, University of Tennessee Lady VolunteersSeven-Time National Champions)

n basketball, rebounding may be defined as gainingossession of the ball after a missed shot. Players need toarn both offensive and defensive rebounding skills. Thebjective of offensive rebounding is to maintainossession of the ball after the team attempts a shot, whileefensive rebounders attempt to gain possession of theall after the offensive team has attempted a shot.ebounding is a major part of the game at all levels. It

may even have a greater influence on a game played byounger players because of the higher percentage of

missed shots at the beginning level.

RITICAL CUE:

efensive rebound—regain the ball; offensive rebound—

et the ball.ebounding Tools

ebounding requires determination and discipline.lthough height and jumping ability are advantages, the

eys to rebounding are determination and technique.tatistics on the leading rebounders in professional and



ollege basketball are not merely a list of the tallestlayers or the ones with the highest vertical jump. Mostebounding, even in college and professional basketball,

done below the rim. The positioning and the ability of

layers to be quick to the ball (horizontal movement), notaping ability (vertical jumping), may be the mostssential skills for rebounding at both professional andchool levels. Rebounding requires more than physicalools; considerable effort, determination, and proper xecution of skills are necessary.

oan Crawford was a 5-foot, 11-inch (1.8-meter) center who was an AAU star in the 1950s and 1960s as she leder team and the competition in rebounding. She took her

USA team to the 1957 World Championship and wasnducted into the Naismith Hall of Fame in 1997. Deniseurry, at 6 feet, 1 inch (1.9 meters), also a 1997 Hall of ame inductee, holds the UCLA rebounding record, was

he 1981 USA Player of the Year, a Gold Medallympian, and was named “French Player of the Decade”

or the 1980s. Dennis Rodman came from a small NAIAchool in Oklahoma and led the NBA in rebounding for

many years. He is only 6 feet, 8 inches (2 meters) tall,which is short for an NBA frontcourt rebounder.

RITICAL CUE:ebounding depends on skill, position, effort, and



etermination.

Without question, certain physical attributes aredvantageous to rebounders. Players who are tall, haveong arms, large hips, and well-developed leg and upper-ody musculature have an advantage over other players.

Vertical jumping ability is an asset for a rebounder.oaches should ensure that all players learn rebounding

kills, not just jumping skills, although players shouldevelop jumping ability to their full potential. Coachesan use strength programs and other devices to enhancelayers’ vertical jumps in practices. In addition to helpinghem jump their highest, coaches must make sure that theyre jumping correctly. Proper jumping technique involves

ending the knees, jumping from both feet, and using thehrust of both arms to reach full extension (2-and-2ebounding). Teaching players to jump in this manner notnly develops their leaping abilities to the maximum butlso helps them maintain their balance in contact jumping

tuations and reduces the number of over-the-back foulswhen rebounding.

Motivating Players to Rebound

he first step in teaching rebounding is to convincelayers that it is a relevant and important skill to learn anderform in game situations. Explain that the entire team—



ot just those who are tallest, play post positions, or havexceptional jumping ability—must master reboundingkills. Every player can become a good rebounder. If oaches bypass this initial step, they will probably be

isappointed by the rebounding performance of certainlayers during the season, especially the smaller players.

easons for Rebounding

Give players solid reasons why rebounding is such anmportant skill to develop. They must come to seeebounding in terms of its importance in getting and

maintaining control of the ball and its key role in teamffensive and defensive production. Rebounding as thenal phase of defense is also a critical part of team

efense. Rebounding at both ends of the floor can have agnificant positive effect on offensive and defensivefficiency.

all Possession. Rare is the player who does not like to

hoot the basketball. But players can’t shoot if they don’tave the ball. Rebounding is the primary way of gaining or maintaining possession of the ball.

t the offensive end of the court, offensive rebounds tomaintain possession frequently lead to quick and easyaskets. An offensive rebound is like causing anpponent’s turnover—it takes the ball away from the other



am. At the defensive end, rebounding gains possession,he final part of defense. Complete the defense with aefensive rebound.

ast Break. The ability of a team to begin a fast break epends entirely on defensive rebounding and turnoversy opponents, which is why teams with a well-developedast break develop effective defensive rebounding.

Whether a team’s offensive style is fast or slow, the basicrategy should emphasize getting the ball up the courtuickly to prevent opponents from sending their wholeam to the basket for an offensive rebound on a shot

ttempt instead of keeping some players back to defendgainst the fast break.

layers usually like to fast break, so it should be easy tomotivate them to concentrate on rebounding: no rebounds,o fast break. Defensive rebounds equal more fast-break hances.

he fast-breaking Boston Celtics of the 1960s were atheir best when triggered by a defensive rebound andutlet from Bill Russell, one of the best college androfessional rebounders in history.

Winning. Perhaps the strongest evidence of the importancef rebounding is the high correlation of successfulebounding with winning basketball games. One U.S. study



xamining rebounding and winning over a 10-year periodound that, 80 percent of the time, teams that out-ebounded their opponents won. National leaders in teamebounding in the United States win more of their games

nd list rebounding as the third most important factor elated to winning. Teams that lead the nation in fewesturnovers (the second most important factor) plus field-oal and free-throw accuracy (the most important factor)

win more games. This statistic suggests that teams whoain possession of the ball only after their opponentscore, at best, trade basket for basket with them. Theffective rebound allows a team to pull ahead.

Work Ethic. Rebounding is a blue-collar skill thatepends mostly on hard work. It is the mark of players andams who get down in the trenches to do the physicalirty work required of rebounding. Players shouldevelop the tradition of rebounding (for themselves andheir team) because it enhances a hard work core value.

einforcing the Motivation

oaches can convince players to rebound if playersnderstand that it is essential for ball possession as wells for the fast break and that it is important (the third mostmportant factor) to winning.

raise and encourage players who give maximum effort in



ebounding, and single out individual players for articular rebounding accomplishments (e.g., mostebounds in a half, most defensive rebounds for the game,est blockout, most consistent rebounder). Make sure that

hey know how much their coach and teammates valueebounding as a team skill and that their efforts to performwell in rebounding will be rewarded.

fter all players feel responsible for rebounding andnderstand why they must rebound, then explain andemonstrate the fundamental rebounding skills.

ebounding Rules

our concepts (the big bullets of the boards) apply to

ffensive and defensive rebounding and are critical for ny player or team to be successful in rebounding:

Assume that each shot is missed and do the assignedob.

Keep hands up when in rebounding areas, on offense or efense.

Use 2-and-2 rebounding—when going for any reboundoffense or defense), rebound from two feet with twoands. Go up tall and small, and come down big and wide.





Allows players to prevent the opponent from reboundingust get close, with the hands up). This prevents thepponent from getting his hands up to rebound the ball.

Makes a difference when players are blocking out onefense. The hands-up technique prevents the defensiveebounder from using the illegal method of hands down toeel and hold the offensive rebounder (see figure 8.1 ).

he term 2-and-2 rebounding refers to the important skill

f rebounding from two feet with two hands. Hall of Fameoach Jim Brandenburg popularized this concept. Becauseebounding is a contact skill, players should use a quick



ance (sit into the game), with the feet shoulder widthefore and after jumping into the air for a rebound.ikewise, the effective rebounder needs to capture the ballecurely with both hands, preferably at the peak of the

ump.he teaching technique for 2-and-2 rebounding is as

ollows:

Get into a rebounding ready position (quick stance, theands up).

Execute the 2-and-2 rebound (go up tall and small andome down big and wide) (see figure 8.2 ).

Capture and chin. Grab the ball with two hands and rip ito a position under the chin or into the power position andgainst the chest. The fingers should be pointed up, notut, the elbows should be out and up, and the ball shoulde forcefully squeezed under the chin.

Protect the ball (chin the basketball). This technique ishown in figure 8.2 b.



ll players need to learn the “big bullet” principles thatre essential to successful rebounding: assume, hands up,-and-2, capture and chin.

RITICAL CUE:

ebounding:

)assume,

)hands up,



)2-and-2,

)capture and chin.

efensive Rebounding

he suggested rebounding technique requires that playersain the inside position on an opponent, block out thepponent, and then get the rebound. Getting a positionetween the basket or the ball and the opponent enhances

he defense’s positional advantage to secure the reboundouncing from the rim or the backboard. Althoughebounding seems to consist of three distinct phases, theseccur as quickly as if they were a single action. Theebounding technique is commonly referred to as blocking

ut , but it is sometimes also called boxing out or hecking an opponent.

ll players should understand the following fundamentalebounding principles associated with blocking out.

See or hear the shot (teammate guarding the shooter callshot ).

Assume that the shot will be missed.

Locate the opponent.

Go to the opponent and block out.



Go to the ball.

Get and keep the ball.

Move the ball out or down the court.

ee or Hear the Shot

layers must be aware of when and where a shot is taken.

Whether they are guarding an opponent on defense or ttempting to get open on offense, they should know wherehe ball is at all times. Coaches should emphasize tolayers the need to position themselves so that they canee both their assigned player and the ball on defense and

se their peripheral vision while moving to get open onffense. Players who are blind to the ball usually havether problems with fundamental skills, such asositioning and movement, that should be corrected.

RITICAL CUE:

Visual contact until physical contact on rebounds.

nce players see a shot being taken, they call out shot toert teammates (who may have momentarily lost sight of

he ball) that they should get in position to rebound (hear he shot). The defender guarding the shooter has the



rimary responsibility for making the defensive call.However, none of these verbal alarms are as effective as alayer’s own observation of the shot being released.

ssume That the Shot Will Miss

very shot attempt means a potential rebound. Playersmust learn to assume that every shot will be a miss and too to their rebound assignment. When players develop thisabit, they will be conditioned to do their assignedebound tasks every time a shot is taken, regardless of theutcome.

RITICAL CUE:

ssume a miss is the most important rebounding principle.ind the Opponent

lmost without exception, young players fall into the habitf watching the flight of the ball when shots are in the air

—the most common rebounding mistake. This can preventhem from being able to gain an advantage in reboundingosition. Once the ball is in the air, their first reactionhould be to locate the opponent they are responsible for locking out or the opposing player nearest to them (visualontact before physical contact).



his does not mean that players should not be aware of theirection and distance of the shot, but they must avoidecoming spectators when the ball is in the air. Coacheshould train players to be active rebounders by teaching

hem to locate an opponent while maintaining a sense of he direction and timing of the shot. Move the feet;ebound with the feet.

o determine whether players are only watching the shotn flight, use a simple rebounding drill in which thepposing player holds up a given number of fingers after he shot is released by another player. After reboundinghe ball, the player guarding the offensive player should beble to report the number of fingers the opponent held up.not, the player probably was focusing too much on the

all in the air and not enough on the opponent.

Go to the Opponent and Block Out

ow the player has set the stage for the next step—the

ctual blocking out of the opponent. Players may not haveifficulty with the first three steps, but blocking out ishallenging for almost all players, especially for eginners.

he purpose of boxing or blocking out is to gain aositional inside advantage over an opponent for aebound. Normally, a player is more likely to rebound a



missed shot if positioned closer to the basket than thepponent. This is called inside position because thelayer is between the basket and the opponent (opponent-ebounder-basket). However, it is best to get that inside

osition away from the basket and congestion (form aeep pocket).

ccasionally—when an opponent is far underneath theasket and a shot is taken from a long distance, for xample—outside position (the opponent between thelayer and the basket) is preferable. But the insideosition is generally the desired position for a player

while blocking out an opponent. Figure 8.3 illustrates theifference between inside and outside positions.



efore actually blocking out, a player must go to wherehe offensive opponent was previously located, as shownn figure 8.4 (visual contact, then physical contact). Thelayer should move quickly and not allow the opponent toain a positional advantage. Coaches should teach playerso use pivots and turns to help them gain inside position



or the blockout.

When blocking out an opponent, a player must be in aance similar to a quick stance with the following

modifications. The feet should be parallel and shoulder-width apart; the arms should be raised, with the upper rms parallel to the floor and bent at the elbows; and theands should be palms up and forward. Figure 8.4 showshe standard blockout position.

he box or blockout is the phase of the reboundingequence in which players usually make contact with anpponent. Contact is normally initiated by the player withhe inside position. Because players must turn to the basketnd be in quick stance to rebound the ball (having already

ocated the designated opponent after the shot waseleased), they can no longer see the opponent beinglocked out. Players must use another sense, the sense of ouch, to keep track of the opponent’s location. Theuttocks, back, upper arms, and elbows are used most

ften for this purpose. Sit into the game and make contactsing radar bumpers and active feet. Feel with the radar umpers, not the hands. Keep the hands up.



igures 8.5 and 8.6 illustrate the preferred actionchnique for beginning and intermediate players—go to

he opponent, use a front turn to step into an opponent’sath (right foot to right foot or vice versa) followed by aear turn to make contact and take away the opponent’s

momentum and remaining path. Be proactive—go to thepponent. An advanced technique that can be used by elitelayers is called blast and box , which is shown in figure7 —the defender blasts the offensive player with a

orearm shiver (a) and then slides into a regular blockoutb) before pursuing the ball or rebounding (board theall). In this method, the defender locates and meets thepponent with a forearm shiver blast to take away

momentum to the basket. This is followed by a front turn

move to slide into a box or blockout position. Go to thepponent, blast and box, then board (pursue the ball).



igure 8.8 illustrates why it is so important that playersmake contact with the opponent. In figure 8.8 a , no contact

was made, and as a result, the opponent has a clear lane tohe basket and an advantage for the rebound. The player ingure 8.8 b, however, established contact and prevented

he opponent from gaining an inside position for theebound. Turns and pivots are not always viable optionsor defensive rebounders, so it is important for coaches tomphasize that the key concern in defensive rebounding isot so much the technique used to block out the opponentut whether or not the opponent is effectively blocked out.



gainst an exceptional offensive rebounder, players mightse a face-block technique: face the player and use a two-

orearm shiver technique to get and maintain contact. Thismove prevents that defensive rebounder from pursuing and



apturing the ball—teammates must do so.

espite widely held perceptions, basketball is a contactport. Coaches know that some players are better preparedhan others for the physical side of rebounding. In drillsnd games, they should match up the players according toze, strength, and readiness for contact.

RITICAL CUE:

efensive rebounding —go to the opponent and makeontact with a front-turn or rear-turn move.



Go to the Ball

he old saying that certain players have a nose for the ballmay be true. Some rebounders seem to be in the rightlace for a rebound on every missed shot. Thesepparently instinctive rebounders have probably studied

where shots taken from various places on the court arekely to go when they are off the mark and then they hustlend actively pursue the ball.

oaches can help players develop a rebounding instinct byointing out the rebounding distribution diagrammed in



gure 8.9 . Shots taken from the side of the court are muchmore likely (70 to 75 percent) to rebound to the opposite

de. Players should learn to take a position on thepposite side of the basket from where the shot was taken

he weak-side or help-side position). Get at least twoebounders to the weak side on all shots from the side of he court. However, players should be taught that shotsaken from the middle of the court more often tend toebound to an area in the middle of the lane. Also, makeure players know that shots taken from close rangeebound closer to the basket than shots launched from longistances. Finally, players should be aware that some rimsnd to make the ball rebound farther away from theasket, whereas others seem to cushion the impact of shotsnd produce much shorter rebounds. Have players test theounce of the rims during warm-up.



hree-point field-goal shots rebound a longer distance,hots from in front (the top of the key) rebound near theee-throw line, and shots from the side generally reboundutside the free-throw lane on the opposite side of theourt.

Hustle is another explanation for the success of some

layers in getting to the ball. Players who are goodebounders take the approach that every free ball is theirs,lling opponents, “I want the ball more than you do.”oaches can instill this mentality in players by givingraise and other rewards for coming up with the most

ebounds, loose balls, and steals (sometimes calledarbage plays ).



iming and jumping ability are two helpful attributes for ebounding. However, all the spring in the world meansothing if a player does not know when or how to use it.here are several useful drills for helping players get a

eel for when they should leave the floor for a rebound.ne especially effective drill is to have playersepeatedly toss the ball off the backboard and attempt torab the rebound at the maximum height of the jump eachme. See “Rebounding Drills” for additional drill ideas.nstill the concept of angle jumping to the ball andebounding out of the area (to the side)—pursue and boardhe ball (see figure 8.10 ).



Get and Keep the Ball

oo often, players make perfect rebounding plays only toose possession because of poor ball protection. Whenaching rebounding, coaches should emphasize that all



layers’ efforts to gain possession of the ball are for aught if they fail to protect it afterward.

m Brandenberg, former Montana and Wyoming Hall of ame coach, popularized the concept of rebounding from

wo feet with two hands (2-and-2 rebounding). Using thisrong, balanced technique of two-foot jumping and two-anded grabbing for rebounding reduces the chances of theall slipping out of the players’ hands or of an opponentislodging it from their grip. Coaches can help playersevelop this skill by insisting that they go after everyebound in this manner. Young players should keep their yes open and focused on the ball as they capture theebound.

ccasionally, the ball may come off the rim in an areawhere the player is unable to grasp it with both hands.

layers should then gain control using only one handblock and tuck with two hands) or tap the ball to aammate.

Maintaining possession of the rebound once it is capturedfrequently more difficult than it might seem. Opposing

layers try to knock the ball from the rebounder’s hands.ften they trap the rebounder with two or even threelayers, making it nearly impossible for the player to passr dribble the ball. Players need to learn to handle suchtuations.



When players rebound the ball in the vicinity of anpponent or opponents, their first move should be to bringhe ball in under the chin with the elbows out and a handwith the fingers pointing up) on each side of the ball,

queezing it tightly (see figure 8.11 )—chinning the ball.he best position is directly under the chin, but the ballmay be moved from shoulder to shoulder anywhere in theower position to protect the ball away from defenders.he teaching points are the following: the fingers up (torevent dangling the ball and exposing it away from theody), the elbows out and up; players should squeeze theall and make themselves big. Tell players to chinit onebounds and whenever handling the ball in a congestedrea in order to capture and retain control of the ball. Telllayers not to swing the elbows around to ward off anpponent because this can constitute a violation or foul.hey may take up space to clear their area with elbowsut (make themselves big). A rebounder chinning the ballan always use a pivot or turn to move away fromressure (danger) to protect and shield the ball. Players

hould keep the head up and look for teammates breakingowncourt or to an open spot in the backcourt.



When a rebounder gains possession of the ball after amissed shot, a single opponent (usually one that theebounder has blocked out) is often nearby and attempts toeal the ball or pressure the rebounder. Coaches should

ach players to pivot away from the opponent, as shownn figure 8.12 . The player should have an open passingane to a teammate or be able to dribble without having theall stolen. Caution your players not to put the ball on theoor immediately after rebounding a shot in traffic, which

resents an opportunity for an opponent to steal or deflecthe ball.



RITICAL CUE:

he most important technique of rebounding is chinninghe ball.

When rebounders find themselves surrounded by two or more opponents, they should not panic. If they are trainedo remain calm, to keep the ball in the protective power or hinit position, and to look over the entire court, optionsresent themselves. One escape move coaches can teachlayers is the step-through technique shown in figure 8.13 .his can be followed by a two-dribble push to advance

he ball up the floor. Big players can then quick stop, chinhe ball, and look for a pass to an open teammate.erimeter players can continue dribbling up the floor. This

chnique can be used when the defenders trapping thelayer leave an opening large enough for the player toither through. Sometimes an overhead pass fake causesefenders to leave their feet and creates an opening for theffensive player to step or dribble through. Players should

ot force their way through the defensive players, whichmay result in a charging foul.





nother option for a rebounder surrounded by opponentsto throw a pass over them. Even smaller players can use

his approach if they make the proper fakes prior to theass. If the rebounder is being trapped by two or more



pponents, a teammate should be open or able to break pen to receive a pass. Also, one of the defenders caneach in and foul the rebounder. Tell players to keep their omposure when they are trapped by opponents after a

ebound and wait for one of these options to open up. Fakepass to make a pass is a rule for these situations,dvocated by Morgan Wootten of DeMatha High School.

Move the Ball

nce possession is assured, the player with the defensiveebound must choose one of the options: pass to an openammate up the floor, use a two-dribble push to clear theall, or wait for a ballhandling perimeter player to comeor the ball. Whatever action the player takes should begin

with the head up and the ball in a protected power osition.

RITICAL CUE:

Use outlet pass or two-dribble push to start fast break.

assing the Ball. The preferred method for moving theall after a defensive rebound is the outlet pass. Nopponent can outrun a sharp pass down the court.mphasize that this pass is the first option players should

ook for after a defensive rebound whether the gamerategy calls for a fast break or simply moving the ball



uickly.

everal types of passes are used to get the ball to aammate breaking down the court. The long air pass (also

alled a baseball or one-handed pass) is used when aammate is open at the other end of the court. The two-anded overhead pass is used when a teammate is aroundhe midcourt area and opponents are in the line of the pass.he two-handed chest pass is used to get the ball to aammate who has broken open within 10 to 30 feet (3 to1 meters) to the side or to the middle of the court.ecause traffic is often less on the sides of the court than

he middle, teach players to look first for open teammatesn this area on the rebound side of the court before lookingo the middle.

uccessful passing is the responsibility of both the passer nd the catcher, so coaches should teach players to getpen after a teammate has claimed a defensive rebound. If he opportunity to beat an opponent down the court is

vailable, a player should take advantage of it. Guardshould be instructed to move quickly to a spot where theebounder can get the ball to them. A particularly goodpot for guards to position themselves for outlet passesfter a rebound is the rebound side of the court—between

he opponent’s free-throw line and the half-court line— with their backs to the sideline to allow the outlet catcher o see the whole floor (especially defenders).



Good basketball teams retain possession of the ball after efensive rebounds. Coaches must emphasize that theansition from defense to offense can lead to a successfulffensive possession or a return to defense, depending on

ow players handle the ball.ribbling the Ball. Certain players should not be put in

he position of dribbling the ball from one end of the courto the other. However, it has recently become moreommon for coaches to allow players on their teams toake a rebounded ball the length of the court using theribble. As bigger and better players develop the abilityo rebound and dribble, the benefits of this full-court

maneuver have become apparent.

ne major advantage of having a defensive rebounder ribble the ball to the other end of the court is that itliminates the possibility of passing errors. There can beo errant pass if there is no pass. In addition, theebounder or dribbler can quickly assume the middle

osition on the fast break without having to wait for aammate to get open. Players must be able to respond tohis situation. Have teammates practice spreading out andlling the passing lanes as they run down the court.

Having defensive rebounders dribble the ball usuallyreates a numerical advantage over the opposition.ecause one or more opponents are often slow to react in



making the transition from offense to defense, a defensiveebounder or dribbler can get down the court ahead of hem. If players are trained to recognize the situationuickly and hurry down the court, the team can frequently

ave a 5-on-4 or even 5-on-3 advantage.n general, almost all big players can be taught to rebound,ivot and face up the court, use one or two dribbles (two-ribble push) to clear the ball, use a quick stop, chin theall, and look for a clear pass to a ballhandling teammate.

ffensive Rebounding

coach must decide on a rebound philosophy, especiallyn offense. Generally, all players should have the same

ssignments and rules for defensive rebounding. Onffense, coaches decide which offensive players should bessigned to go to the boards (go to a gap) as offensiveebounders and which players, on the shot, shouldansition back to defense. Most teams have three players

ebound and have two players get back on defense (one asull safety and one to stop the advance of the ball). For amore aggressive approach, a team could have four playersebound and have one safety getting back on defense.

ffensive rebounding is especially difficult in a successfulall-defender-basket defense because players have thedvantage for getting the inside position. However,



ffensive players can gain an edge by knowing when andwhere a shot is going to be taken. Coaches shouldmphasize the need for players to anticipate shots byammates, as well as to react to their own shots;

therwise, players have difficulty being successful againstood defensive rebounders. Getting around a rebounder inroper position for blocking out is not always possible.layers should not go over the defensive rebounder’s back

when attempting to get an offensive rebound because thisan lead to being charged with a foul.

he primary position objectives (in order of importance)or an offensive rebounder are the following: Playershould go to a gap and not a back, get an inside positionnd block out the defender, get at least even with theefender by going to one side and around to the basket (goo a gap, as in figure 8.14 ), make contact with and nudgehe inside defender under the basket—pin inside byhesting with the hands up ( figure 8.15 ), and tap to self or ammate only to keep the ball alive when they can’t get

oth hands on the ball.

RITICAL CUE:

ffensive rebounding— go to a gap, not a back.





he techniques for going to a gap are the V-cut, or swim,move (primary) and the rear-turn roll. On the shot, theffensive rebounder selects the best gap by the defender depending on position and percentages) and makes a V-

ut to the gap. When blocked out, the offensive rebounder xecutes a tap with the outside hand or arm, followed by aorceful, quick overhead swim stroke with the near handr arm to get at least even with the defender in the hands-p position ( figure 8.16 ). Another move to get by or even

with a defender is the rear-turn roll, which is best usedgainst a physically aggressive defender who activelylocks out. The offensive player meets the contact with theorward leg in the direction of the desired gap. Using thatoot to make contact and as the turning foot, the offensiveebounder makes a 180-degree rear turn to get the steppingoot outside the defender’s foot in the desired gap. Then,sing that stepping foot as the new turning foot, theebounder uses a 180-degree front turn to get by theefender at the gap in a hands-up position ( figure 8.17 ).



ffensive rebounding is important because it gives theffensive team another opportunity to score. This new lifeor the offensive team also discourages the defensivelayers, who have lost a chance to gain possession of the

asketball. Many options are available to the offensiveebounder.



hooting After Rebounding

When a player gets an offensive rebound, the first optionto shoot the ball. Players should first look to shoot, but,this is not possible, then they should pass to a teammate

passing outside for a three-point field-goal attempt is aood option) before finally exercising the option of ribbling (action over reaction). Coaches shouldmphasize that this is a very good time to take advantagef the defense. Because the defensive opponent is unableo prevent the offensive player from getting in position for he rebound, the defensive player may also be in a poor osition to defend against a shot. An offensive rebounder an take shots without dribbling or shots after dribbling.

ips. If players are skilled and big enough, they should tip



he ball back at the basket. Tipping is actually amisleading term for a leaping player shooting a reboundedall before returning to the floor. Tips that involveapping at the ball with one hand are usually

nsuccessful. Coaches can teach players to catch the ballwith the elbows locked and to shoot it with both hands if ossible (tip with two hands).

ipping the ball is the most efficient way of takingdvantage of the defensive players’ being out of position.y not bringing the ball down from the jump, offensive

ebounders take away the defenders’ opportunity toecover and give them almost no chance to block the tipttempt. Make sure players are physically mature andkilled enough before suggesting the tip as a reboundingption. The tip is too difficult for beginning players.

hots Without Dribbling. Encourage players to go upwith the shot after a rebound without putting the ball on the

oor. Dribbling takes time and allows the defense to

ecover. It also exposes the ball to the defense, making itmore likely that a defender will steal or deflect the ball. If layers have learned the correct rebound jumpingchnique, they should land with the ball ready to go back p for the shot. They can shoot the ball from an overhead

osition (explode to score from the forehead) or chinitosition, but they should always keep the ball up.



ften players develop the bad habit of dribbling the ballght after they get it from a pass or a rebound. Coacheshould make a point of noting instances when players doot put the ball on the floor after rebounding and praise

hem for this. good time to help players develop the habit of going

ack up with a shot after a rebound is during individualhooting practices. Tell them that, on every missed shot,hey should hustle for the rebound, get their balance, and,

with the shoulders square to the basket, go back up withnother shot (keep the ball overhead and explode to theasket; chin the ball and explode; or chin the ball, do ahot fake, and explode). Players should continue to shootnd rebound until they make the basket and then start over om a new spot on the court. Shooting without dribblingfter an offensive rebound can become an automaticesponse.

hots After Dribbling. Although it should be avoided

whenever possible, it is occasionally acceptable for alayer who has grabbed an offensive rebound to dribbleefore shooting. One obvious example is when a player rabs a rebound far away from the basket and has an openane to the goal. Because this situation presents an easy

coring opportunity, players should dribble the ball in for he layup (attack the basket) when the path to the basket islear. Another option is dribbling out of the lane to clear



he ball from a congested area.

assing After Rebounding

he player who has captured an offensive rebound alsoan pass the basketball to a teammate. The pass is theecond option (after shooting) that players should look for fter getting an offensive rebound. When they turn to theasket to look for the open shot after the rebound, theyso should locate any open teammates to whom theyould pass the ball for an easy shot, especially for a three-oint shot. Coaches can encourage players to takedvantage of the defensive players’ having to recover after he rebound, either by taking a shot or by passing to aammate (usually outside) who has a good shot. Coach

ohn Wooden believes that a good option is a pass out of he collapsed defense resulting from an offensive reboundor a trey.

ometimes an offensive team chooses to reset the offense,

ther to run a play or to take more time off the clock. Thehe option to shoot has the lowest priority for the offensiveebounder, and passing and dribbling become the morereferred options.

COACHING POINTS FOR REBOUNDING



Rebounding is the responsibility of all of the players onhe team.

Ball possession, the fast break, and winning are alllosely associated with good rebounding.

Assuming that a shot will be missed is the most importantrinciple of rebounding.

The 2-and-2 rebounds are effective; rebound from two

eet with two hands.

The hands should be kept up when players are blockingut or near the basket.

The best rebounding technique emphasizes blocking outhe opposing player.

The blocking-out technique includes the following:

Being aware of when a shot is taken and assuming that itwill be a miss.

Finding, going to, and blocking out an opponent (blastnd box) while paying attention to the direction andistance of the shot.

Going to (pursuing) and capturing the ball and getting itnto the protected position under the chin (capture and chin



he ball).

Chinit is the most important technique of rebounding.

Offensive rebounders—assume a miss, go to a gap withhe hands up.

2-and-2 offensive rebounders should look to shoot, pass,r dribble—in that order.

Defensive rebounding—blast, box, and board.

Defensive rebounders should either pass, dribble, or old the ball, depending on their skills and the situation.

ribbling After Rebounding

n most situations, the offensive rebounder should dribblenly if a shot or a pass is impossible. Dribbling usuallynly affords the defensive players an opportunity toecover and possibly steal the ball. Because the offensiveebounder is often surrounded by defenders, the chances oturnover are even greater. Coaches should continuallydvise players to look first for a shot and then for aassing opportunity before dribbling when they get anffensive rebound.

RITICAL CUE:



Get the offensive rebound, then score, pass, or dribble (inhat order).

ebounding Assessment

oaches should keep rebounding statistics for each player nd for the team as a whole. Offensive and defensiveebounds should be recorded separately to help identifylayers who have success or difficulty rebounding at aarticular end of the court. This information may reveal aroblem with a player’s offensive or defensiveebounding technique or indicate that a player is notustling enough at one end of the court. Individualebounding statistics are one of the many pieces of nformation that coaches can use in evaluating the

ontribution of each player, particularly those positionedearest the basket.

n excellent team goal is 60 percent of all rebounds, 30ercent of offensive rebounding situations, and 80 percent

f defensive rebounding situations. Percentage goals areenerally better than rebound numbers because they arealid for all styles of play (slow or fast).

ssessment of individual rebounding can be carried out aspercentage; compare the number of times a player did

he assigned job with the total number of reboundingtuations. A player with an offensive rebound efficiency



f 70 percent might have done the job 14 times in 20tuations (shot attempts while on offense), thus requiringcoach or program assistant to define and evaluate all 20ossessions and to decide on pass or fail. For example, on

shot attempt, did the offensive rebounder go to a gap (V-ut or swim move or rear-turn roll or nudge under theasket), make a 2-and-2 attempt to capture the rebound,nd (if captured) chin the ball? If a player is a designatedafety on the shot attempt, did the player sprint back to halourt before the shot hit the rim and prevent the layup andrganize the defense?

ndividual defensive assessment is more challenging. Eachlayer is graded on each attempt. For example, when anssigned offensive player is inside the three-point arc, didhe defender blast, box, and board; have the hands up onhe blockout and near the basket; and actively pursue,apture, and chin the ball with a 2-and-2 rebound move? percentage of rebound defensive efficiency is obtained

y dividing successful rebound attempts by the total shot

ttempts. A goal of 80 percent for offensive and defensiveebound efficiency is a reasonable but challenging target.

players do their rebounding job 80 percent of the time,he team will be successful. This efficiency does notequire getting the rebound, although it enhances a team’s

hances.

ebound percentages can be tracked in practice or in



ames. One evaluator can directly rate two players at ame, in practice or games. In practice, any competitiontuation involving offense and defense is charted (1-on-1,-on-2, and up to 5-on-5). The two players selected

hould be anonymous during each practice and the resultshould be totaled, announced, and posted after eachractice. For games, video analysis allows a coach, givennough time, to assess each player on each possession toetermine a percentage of offensive rebound efficiency, aercentage of defensive rebound efficiency, and aercentage of total rebound efficiency. Assessment shoulde performed at least every fifth game to ensure realisticeedback in order to change behavior and enhancearning. The totals for all individual players can be used

o obtain a team percentage of rebound efficiency: offense,efense, and total.

ebounding Drills

n important part of rebounding is aggressiveness and

making legal contact with opponents. Players should beiven drills that progressively develop the trait of ggressiveness.

INE DRILL: 2-AND-2, CAPTURE AND CHINEBOUND ADDITION

urpose: To teach 2-and-2 and capture and chinit rebound



chniques.

quipment: Half court, one basketball per line.

rocedure: Start without the ball first—using the 2-and-2ebound technique, get an imaginary rebound at the free-hrow line, the half-line, the opposite free-throw line, andhe baseline. Then the first player in each line has aasketball and creates her own rebound with a two-anded or underhand overhead toss, uses 2-and-2 reboundchnique, captures and chins the ball, and then uses a PPF

ear turn to pass to the next person in line, who repeats.

ROUBLESHOOTING

ome common rebounding errors are identified, andossible remedies are given. Coaches should provideppropriate feedback in order to change player behavior nd enhance learning.

roblem: Lack of motivation to rebound.

orrection: Review importance and rationale for ebounding and sell players on correct technique, effort,nd rebound success.

roblem: Errors in rebounding based on the fabulous four rinciples (big bullets).



orrection:

Assume—evaluate to ensure that each shot attemptauses each player to know, understand, and attempt toarry out rebound responsibility.

Hands up—practice and correct or reinforce this positiontil it becomes automatic.

2-and-2—penalize players for loss of the ball on one-

oot or one-handed rebounding (unless they are tipping toelf or to a teammate).

Capture and chin—remind and reinforce, penalize for oss of possession of the ball as a last resort.

roblem: The player loses or cannot capture the ball.

orrection: Check 2-and-2 technique. Stand under theasket to see if they are capturing the ball with a click using both hands, with both eyes open and focused on theall). Beginners often close their eyes during contactebounding.

roblem: Small rebounding pocket on defense.

orrection: Defenders are not going to the assignedlayer to block out (blast or make contact) first. Often, thisroblem is caused by defenders who follow the flight of



he ball on a shot attempt (ball watchers or reboundpectators). Coaches should teach them to see the defender rst (visual contact after a shot attempt). Locate thessigned offensive player visually (see the player) and

hen physically (block the player). Visual contact comesefore physical contact.

roblem: Hands down.

orrection: Feel or hold the defender when defensiveebounding. Caution players that it is illegal to hold whenlocking out and impossible to capture the quick reboundn a hands-down position. Players should keep the handsp for the quick rebound, make contact with radar umpers, and use active feet to maintain contact until

ursuing the ball. Get the elbows level with the shoulders.

roblem: Rebounders who only rebound overhead or near he basket.

orrection: Focus on angle jumping at less than verticalngles out of the area, 2-and-2 technique for capturingwith balance and protection. The only rebounds under theasket are made shots.

roblem: Dangling the ball or putting the ball overheadnd away from the power or chinit position.



orrection: Losing the ball usually occurs by players notapturing and chinning the ball. Have players attack ebounders; slap from under, pressure, reach over, or bathe dangling ball.

he learning progression is the following:

maginary 2-and-2 rebound.

Toss directly overhead.

Toss to right, left, or in front (force rebounders to use 2-nd-2 technique to rebound out of their area, i.e., angleump to left, right, or forward to capture and chin the ball). variation is to use a coach at the top of the key as the

osser in each line for the first two progressions.Toss overhead in pairs—the second person can contesthe rebound and pressure the rebounder to check the chinitosition. The rebounder must pivot away from pressurend execute an outlet pass back to the next person in line.

Practice two-dribble push upcourt. Rebounder can do 2-nd-2 rebound, capture and chin the ball, pivot fromressure, and practice the two-dribble push toward thealf court. On completion with a quick stop, the rebounder an pivot and execute an outlet pass back to the nexterson on the baseline.



INE DRILL: DEFENSIVE REBOUND ADDITION

urpose: To teach the techniques of defensive reboundinghrough simulation.


rocedure: The drill is organized in four lines on theaseline. The coach gives the verbal command shot . Therst player in each line sprints on the court 6 to 15 feet1.8 to 4.6 meters) from the basket in defensive closeoutosition and then uses the blast, box, and board technique.ach player simulates the blockout, captures the imaginary

ebound, chins the ball, and makes an outlet pass. Then theext four players sprint onto the floor in basic position or

uick stance for defense.

Variations

D” Boards Help-Side Box: The first four players sprint

nto the floor in an offensive basic stance near the free-hrow line extended, and the next four assume a proper efensive basic position to support the defender (pointingistols at the imaginary ball and the player being guarded)

while facing a sideline. On the command shot , all four efenders carry out defensive rebound assignments, andll must make contact at the free-throw line. No ball iseeded for this variation.



D” Boards With a Ball (Blocking the Shooter): The four efensive players on the baseline each have a ball iniple-threat position. They pass to the offensive player at

he free-throw line and then close out from off-the-ball to

n-the-ball position (prevent the drive, contest the shot).he offensive player is the buddy coach, who checks theefensive rebound technique of the partner while catchinghe ball with feet in the air and ready to shoot, executing ahot fake, and then shooting a short shot (12 to 15 feet [3.6o 4.6 meters] out and without using a basket) and focusingn shooting up, not out while holding the follow-throughntil the ball hits the floor. The shooter coaches the buddy,

who becomes the next shooter and then goes to the back of he line. Many “D” board repetitions can be practiced in ahort time using this variation.

INE DRILL: OFFENSIVE REBOUND ADDITION

urpose: To teach players the techniques of offensiveebounding: getting past the defender to block out, getting

o a gap (getting at least even with the defender), andmaking contact to move the defender closer to the basketwhen the defender doesn’t move away from the basket tolock out).

quipment: Half court.rocedure: The players are organized in four lines on the



aseline, with the first four players at the free-throw linevel, facing away from the baseline, in a quick-stance and

ands-up position. For a more realistic perspective, placehe lines at the half-line and the first four players at the top

f the key level, facing the baseline. The coach controlshe drill with the following commands:

Swim move by right or left, and block out with the handsp.

Swim move by right or left, and go to a gap.

Go to a gap, with the hands up, and return to the baseline.

he first player in the line learns the feeling of the hands-

p, ready-to-rebound position, moves to the back of thene as the second person practices offensive reboundingchnique and then becomes the first in line (the hands up,

eady to rebound). The drill is performed without a ballnd is controlled by the coach. Many repetitions of basicffensive rebounding technique can be done in a shortme.

he same procedure can be carried out to practice theear-turn roll variation. The offensive player approacheshe defender from behind, places one foot or knee in the

middle of the defender (split legs), and performs a rear urn and then a front turn to get to the gap and by the



efender.

EBOUND AND OUTLET DRILL

urpose: To teach players the skill of taking a defensiveebound off the backboard and making an outlet pass (or ribble).

quipment: One ball per basket (the drill can be runmultaneously with two lines, one on each side of theasket).

rocedure: This is a defensive rebounding and passingrill. Have the receiver call the passer’s name whilereaking to get open.

he first player X 1 passes to X 4, gets open for a returnass received with a quick stop in the free-throw lane, andosses the ball underhand above the rectangle level tomulate a defensive rebound ( figure 8.18 ). Player X 1

ngle jumps to the ball, captures the ball with two hands,rings the ball to the forehead, makes a front turn on theght pivot foot, makes an outlet pass to X 4, and takes thelace of X 4. Player X 4 passes to X 2 and then goes to theack of the line. The sequence is repeated on the other de with players X 2, X5, and X 3.



Variation: The outlet lines can be placed at the half court,nd the “D” rebounders can use the two-dribble push,uick stop, and pass to outlet the ball.

EBOUND NUMBER urpose: To practice seeing the opponent and the ball

when a shot is taken.

quipment: Ball and basket.

rocedure: Divide players into pairs, with two or threeairs per basket. Put two players on offense and two onefense; one offensive–defensive pair on each side of theane, halfway between the baseline and the free-throw

ne. A coach is positioned at each of the free-throw lineswith a ball. The defensive player on each side of the lane



n basic position guards the offensive player. Theffensive players begin to move to get open. The coachan pass to them if they get free. Otherwise, the coachakes a shot and each offensive player immediately raises

hand and holds up a certain number of fingers as theyebound. The defensive players try to block out theffensive players and get the rebound. If one of theefensive players gets the rebound and both defendersorrectly name the number of fingers their offensivepponent held up, the offensive players move to playefense during the next repetition of the drill.

LOSEOUT AND BLOCKOUT DRILL

urpose: To simulate team competition in a controlled 1-

n-1, 2-on-2, or 3-on-3 rebounding situation that includesn-the-ball and off-the-ball blockouts.

quipment: Ball, basket, and half court.

rocedure: One, two, or three offensive players at 15 to8 feet (4.6 to 5.5 meters) from the basket and theorresponding number of defensive players under theasket with a ball start the drill. The drill is played as aompetitive make-it-take-it exercise that is restarted only

when a basket is made. In defensive rebound situations,he defense must clear the ball above the top of the keyrea before changing to offense. The coach may require



he three defenders to stay on defense whenever anssignment is missed.

INE DRILL: FULL-COURT OFFENSIVE BOARDSWITHOUT THE BALL

urpose: To teach players the offensive rebounding skillsy simulation.


rocedure: The first four players make a get-ahead-or-et-even move from basic position, move to the free-throwne area, jump quickly, simulate capturing the ball, land i

he chinit position, and use a designated scoring move.

hey repeat this process at the half-court line, the oppositeee-throw line, and the opposite baseline. The return ismade when all groups of four reach the end line. Offensivepacing (15 to 18 feet [4.6 to 5.5 meters]) should be kept

with the player immediately ahead.

DVANCED FIGURE-EIGHT REBOUND DRILL

urpose: To teach players to control the rebound.

quipment: One ball per basket.

rocedure: In groups of three players at a basket, the



middle player starts the drill with a pass off the backboardabove the rectangle) to the next player. The object isontinuous, controlled two-handed tipping or chinitebounding by the group for a given number of repetitions,

with players tipping or rebounding and then going behind.Most players need to rebound the ball with a two-footednd two-handed rebound and chinit move and then go back p with an offensive scoring move designated by the coacoverhead, power shot, or shot fake and power shot).ebounders should keep the feet at right angles to theaseline (point the toes at the baseline) and shoot the ballbove the rectangle so that it rebounds from the backboardo the next rebounder.

GARBAGE DRILL

urpose: To teach players to score on the offensiveebound.

quipment: Two balls per basket.rocedure: Two lines of players at the free-throw linerea face the basket with a ball in each line. The firstlayer passes the ball to the backboard with a two-handednderhand toss and rebounds the ball and then uses aesignated scoring move. After scoring (and only after coring), the player passes the ball to the next player in



ne and goes to the end of the opposite line. Each player ssumes a miss and continues until the basket is made. Thecoring moves should be the following:

wo-handed tip and score;

overhead (keep the ball on the forehead—two hands),uick jump to score;

chinit and score;

chinit, fake (lift the ball head high and keep the legsocked), then score; and

chinit, pass to an outlet player for a trey.

final competition phase of the garbage drill can bedded to teach aggressiveness and scoring in the lane. Theoach has one ball at the free-throw line and works withwo players at a time, one from each line. The coachsually shoots the ball and players rebound until oneaptures the ball and scores. The players should use awo-handed rebound or two-handed pickup and chinit on aoose ball. The player with the ball must score in the lane

without dribbling while the other player defends. Therere no out-of-bounds areas, and the ballhandler may usehe coach for a release pass (which is returned if a quick

move to get open is used).



BA (NO BABIES ALLOWED) OR SURVIVALEBOUNDING

urpose: To teach aggressiveness to the players.

quipment: One ball per basket.

rocedure: Groups of four to eight players are at eachasket, with three players in the game at one time. If six toight players are used, extra players should be shootingee throws until they are rotated into the game. A coach or

manager is positioned at each basket to shoot the ballntentionally missing) and acts as a passing outlet for the

ebounder. See figure 8.19 . The rules of competition ares follows:





Three scored baskets allows a player to rotate out (other layers retain their totals). When starting, the bestariation is one scored basket to move out of the drill andnto the line feeding players into the drill.

Significant fouls are the only ones called by the coach. Alayer may lose a score by fouling or by not playingefense.

NDIVIDUAL REBOUNDING

urpose: To have players practice rebounding skills onheir own.

quipment: Ball, basket, and tossback rebounding device

or a partner).

rocedure: Carry out rebound options at game speedsing two-footed and two-handed rebounding technique.

ptions

Toss the ball against the backboard or above the rim withtwo-handed underhand toss to create a rebound—an

ngle jump to capture the ball and make an offensivecoring move (overhead; chin and score; chin, shot fake,nd score). Assume a miss.



Toss the ball to create a defensive rebound—make auick outlet pass to the toss-back or the partner or use awo-dribble push to clear the ball.

Advanced—players jump as high and as quickly as theyan; they pop the ball with two hands against theackboard on each jump.

Place the ball on the free-throw lane block—grab it withwo hands, explode to the backboard, and score from 2eet (.6 meter) without gathering—capture, chin, explodeo basket. Place the ball on the opposite block and repeat.

Super rebounds—start outside the lane and pass the ballff the backboard to the other side of the lane. Take one

ep, jump over to get the rebound, and land outside theane on the other side. Repeat five times and finish with aower move score.

EBOUND PROGRESSION: 3-ON-0, 3-ON-3

urpose: To provide a three-player rebound format toeview and practice rebounding skills as a team and asart of a practice or a game warm-up.

quipment: Ball, basket, half court, and three air ummies (if available).



rocedure: Half of the team performs the drill near theasket while the other half stretches or performs other kill work. There are two sections with the drill:

In the offense (3-on-0) team rebounding, the coachontrols and shoots the ball to create the rebound.

Variations include the following:

Regular 3-on-0 at any three positions (on shot, low postlayer rebounds to the middle or the weak side, two to the

weak side).

Tip up (to keep alive) and tip out.

Out-of-bounds save—the coach bounces the ball toward

he out-of-bounds area—must be a saver and a savee (aammate not pursuing the ball) verbally communicatingball and help ).

3-on-3 with air dummies or dummy defenders—offensivelayers must go to a gap and rebound.

No Babies Allowed—the player who gets the reboundies to score and the other two players harass. All threeffensive rebounders assume a miss, rebound until acore, and then sprint toward the half-line (to the top of theey) with vision of the ball and the basket over the insidehoulder.



The defense (3-on-3) team rebounding uses three air ummies or dummy offensive players to block out. Theoach shoots and three defenders blast, pursue, and outlethe ball to the coach or execute a two-dribble push outlet

nd then pass to the coach. Follow the BOPCROequence: Block out or blast, pursue and chin the ball,ebound, and outlet.

UTTHROAT REBOUNDING: 3-ON-3, 4-ON-4

urpose: To simulate game-like offensive and defensiveebounding in a continuous, coach-controlled drill.

quipment: Ball, basket, half court, with three groups of layers (three or four) separately identified (e.g., red,

white, and blue).

rocedure: Begin with a group on offense, a group onefense, and a group behind the baseline underneath theasket. The coach has the ball and is underneath the basket

ehind the baseline to start and control the drill. Twoutlet receivers are positioned near the sideline rear half ourt.

he rotation is as follows: As a shot is missed, bothffensive and defensive groups rebound. When theefensive group gets the ball, the players use theOPCRO sequence to the outlet and move to offense (the



aseline group comes in on defense). When the offensiveroup gets a rebound, the players stay on offense (after acore, they transition to half court and stay on offense).he baseline group again comes in on defense. The ball is

lways returned to the coach to continue the drill. Therill may be continued for a period of time. Winners cane determined by the most defensive rebounds, offensiveebounds, or points scored. The coach can emphasize anyf these options.

WAR REBOUNDING

urpose: To emphasize aggressive defensive or offensiveebounding in a 5-on-5 situation.

quipment: Ball, basket, half court.

rocedure: This is a live drill started by the coachhooting the ball (and missing most of the time). It islayed on live, made, or missed shots, without regard to

ut-of-bounds lines, in order to get players to capture,ecure, and chin the ball in all circumstances. The usualcoring scheme is 1 point for a defensive rebound, 2oints for a score, and 3 points for an offensive rebound.oaches can emphasize offense or defense by givingoints to that phase only and allowing a team to stay in thecoring mode when players score (e.g., defensive reboundcore, stay on defense). The drill may start with many



ariations:

Closeouts—defenders start on the baseline, pass to anffensive player, pass to the coach for the shot

Skip pass, then shot

Secondary fast-break set, swing the ball, then shot

From zone defense

Any special offensive set or situation, then shot

his drill can be done for a time period or to a givencore.



hapter 9

eam Offense


http://slidepdf.com/reader/full/basketball-skills 558/685Basketball is a game of finesse and reason, especially



n offense.”

hil Jackson, former Coach of the Chicago Bulls andos Angeles Lakers, used a concept from a Lakota

ndian war chant—“Don’t overpower, outsmart thepponent.”

oaches should instill in players the confidence to go allut—to have fun, to learn and improve, and to takehances and make mistakes, especially on offense. Byreparing players to handle all situations and improvingheir basketball IQ, coaches can strengthen their onfidence that they can be successful.

he following areas should be covered to prepare theam for all situations: general offensive principles,

esponsibilities of players at each offensive position,ffensive team tactics, and special situations for teamffense.

General Offensive Principles

Unless coaches are familiar with the offensive strengthsnd weaknesses of team members, they should select aasic offense that can be adapted to a variety of playersnd that is flexible enough to allow team members to useheir individual strengths. The coach’s basic philosophyhould be stable and evolve slowly, but the offensive and



efensive style of play should change to fit the players.

RITICAL CUE:

eam offense must have high-percentage shots, transition,alance, movement, and execution.

ffense depends heavily on proper spacing and timing; allve players should be spread out on the court area,

moving and cutting together at the right time. Any offense

hould have court balance; that is, it should produce high-ercentage shots with assigned offensive rebounders andssigned players for defense when a shot is taken. Balancelso refers to maintaining proper court spacing—about 15o 18 feet (4.6 to 5.5 meters)—between offensive

ammates. Finally, offensive balance also consists of ffensive rebounding and concern for defense when a shottaken. Making the quick transition from offense to

efense (and vice versa) is called developing theansition game—going to offensive rebound or back to

efense quickly. Balanced scoring from several players islways better than dependence on a scoring star in a teamame.

good offense includes player movement as well as ballmovement and may, with more experienced players,nclude screening. Scoring should come from the insideclose to the basket) as well as the outside (on the



erimeter of the defense). Develop the offense from thenside out; establish an inside game and a complementaryutside game, preventing the defense from concentratingn one area or one player. The execution of any system is

much more important than the system itself. What a teamoes is not as critical as how well the players do it.

layer Positions and Responsibilities

ach player on a basketball team has a position to playhat is related to role, ability, and skill. The three basicositions are guard, forward, and center (or post) ( figure1). Some coaches use other names, such as point, wing,

nd inside player.

he center is usually the tallest player, with forwards next,nd guards being the smallest. Centers and forwards tendo be the best rebounders, whereas guards are often theest ballhandlers. Guards also tend to play outside morehan forwards and centers. No matter what term is used,

ll perimeter players and all inside players should learnhe basic skills so they can be interchangeable in selectedtuations.



uards. Guards grouped together are usually called theam’s backcourt. This grouping can be broken down

urther into point guards (normally the best ballhandler nd often the player who directs the team on the floor) andhooting guards (also called big guards or off guards ).ecause of their dribbling ability, point guards can oftenreate a scoring chance for a teammate (such as the

hooting guard) by penetrating and passing, that is, byriving past defenders to the basket and passing to an openr unguarded teammate (penetrate and pitch or drive andish). Point guards are called playmakers because theyirect teammates and create scoring opportunities. The

oint guard is usually among the best ballhandlers on theam and should also be a leader who can become theoach on the floor. Choose shooting guards from among



he best shooters, scorers, and ballhandlers on the team.

orwards. Forwards are sometimes called corner playersecause their normal offensive position is in the corner of he frontcourt. Most teams play a small forward and a bigorward (sometimes called the power forward or strongorward). The small forward is more of a swing player

who can play guard or forward and who plays facing theasket, where good ballhandling and outside shooting aressential. The big forward is often a strong rebounder whowings from outside to inside (back to the basket). Smallorwards should be able to play as combination guard– orwards, handle the ball well, play outside on theerimeter, and rebound. Big forwards must beombination forward–centers.

enter or Post Player. Choose players for the center osition from among the biggest players, those who relishlaying inside, near the basket, where contact andongestion are readily accepted. The center is usually the

iggest player, who plays inside around the free-throwane in the high post (near the foul line) or in the low postclose to the basket) and outside the free-throw or three-econd lane with the back to the basket. The center andwo forwards are collectively known as the frontcourt.

ffensive Team Tactics



evelop team tactics to prepare the team to face all basicefensive situations, including the following:

a transition game as an organized way to go from defenseo offense (primary fast break—to keep the defense honestnd put immediate pressure on the defense and secondaryast break for when the defense is back but not fullyrganized),

a press offense to be used against defensive presses, fromalf court to full court,

a player-to-player set offense for situations in whichpponents guard the players individually,

a zone set offense to be used against zone or areaefenses,

a set offense that can be used against combinationefenses (zone and player-to-player),

a delay or control offense to use when time and scoreictate controlling the game and maintaining ballossession for longer periods before a shot and forcing thepponents to defend a larger court area,

a transition game from offense to defense (providingffensive rebounders while preventing the opponent’s



asy scores and fast breaks), and

pecial situation plays: jump ball, out-of-bounds, freehrows.

rimary Fast Break: Transition From Defense toffense

team can set up a good shot by running the fast break when the team that gains possession of the ball brings it uphe court before the opponents can get into a goodefensive position. This outnumbered fast-break situation called a primary fast break. The fast break, whichsually develops after a rebound, steal, or possibly after a

made basket, is the fastest way to make the transition from

efense to offense. As soon as the defense gains control of he ball, it uses the outlet pass or dribble to start the break

—passing being the first option and dribbling the lastwhen moving the ball up the court. Then the other

ammates attempt to beat the defenders up the court while

aying spread out. Players should run at top speed under ontrol when executing a fast break up the court. Onelayer should stay a few steps behind the action in aefensive safety role for balance.

RITICAL CUE:

hree-lane fast break: the ball in the middle, the side lanes



wide, and a banana cut to the basket (at the top of the key)r drift to the corner for three.

typical three-lane fast-break pattern is shown in figure2 . A team needs a threelane fast break (the ball in the

middle) when the players outnumber the opponents, 3-on- In a 3-on-1 situation, the offense should convert to a

wo-lane fast break (2-on-1 plus a trailer), as shown ingure 9.3. In a two-lane fast break, the offensive playershould split the floor (stay at least as wide as the free-hrow lane) to make the defender commit. The bestallhandler should handle the ball at the completion— goo the glass unless forced to pass . The dribbler alwayseeds to offset the middle to the side of the lane,referably dribbling with the outside hand. Advancedlayers can dribble with the inside hand (easier to push aounce pass by the defender) and shoot the reverseayback shot if the defender doesn’t take the dribbler.





econdary Fast Break: Transition From Defense toffense

a primary fast break (outnumbering the defense 3-on-2,-on-1, or 2-on-1) is not available, teams should developsecondary fast break. This move keeps pressure on theefense by taking the ball up the side to the baseline

lattens or collapses the defense), posting a player inside,nd reversing the ball to the second side before flowingnto the set offense. A secondary fast break is shown ingure 9.4 .

RITICAL CUE:

wo-lane fast break: split the floor and go to the glass



ress Offense

undamentals such as spacing, cutting, meeting the pass,atching and facing the basket, passing first, and dribblingast are more important than any specific press offense.

the defense is defending on a full-court (all over theourt) basis, coaches need a press offense to help the teamet the ball in bounds safely. Players should get the ball inounds before the defense gets set (i.e., use the transitionast break to beat a pressing defense before it is set).esignate a frontcourt player to take the ball out after all

made baskets and quickly inbound the ball to a guard, ashown in figure 9.5 a. The inbound pass catcher shoulday out of the corners and not get too close to the sideline



prime trapping areas).

gainst any zone press, coaches should teach players tottack the defense in the backcourt or frontcourt by havingsideline pass outlet, two middle pass outlets (short and

ong), and a safety valve pass outlet slightly behind theallhandler, as shown in figures 9.5 b and 9.6 . Emphasizeo players the need to use good passing and catchingundamentals and remind them to move to get open and toeep their poise. Pressing defenses take chances. Playershould be prepared to take advantage of thosevercommitments.

Generally, players need to attack a pressing defense. Beggressive and look to score layups by getting the ball up

he side or to the middle of the pressing defense.

s a last resort, the offense can use the safety valve toeverse the ball and attack on the second side, as shown ingure 9.7. In extreme emergencies, with the ballhandler in

trap or double-team, the nearest teammate (usually theafety valve) can come to the ball directly behind the trapusually not defended) for a pass. The ballhandler can userear turn to protect the ball and make the pass. The safetyalve player should attack the press immediately.





et Offense

the defense is set and waiting after the primary andecondary fast breaks, a set offense should be used to get aood shot. The team should get into a basic startingormation and then use the fundamental skill moves withnd without the ball to create scoring opportunities. Thisasic set or formation may take a variety of startingositions. Coaches should select a preferred startingormation that fits personnel and favored tactics.

he 2-2-1 Give-and-Go Offense. The first team play inasketball was the twoman play called give-and-go or ass-and-cut . This play is the basis of this offense, a two-



erson play in which the passer passes to a catcher anduts to the basket for a possible return pass as theoundation play. This play is started from a four out–onein,wo-guard and two-forward set, as shown in figure 9.8

which also shows possible give-and-go, or pass-and-cut,ptions). It can be initiated by any two players at any time.asic rules of the offense are the following:

The court middle is the cutting highway. Cutters must cuthrough the middle after a pass, go toward the basket, andlear the middle in two seconds. This cut controls theefense.

Players should read and react to defenders: pass and cutgainst the sag (soft) defense, cut in front of defenders

when possible, and backdoor on defensive overplay.

Cutters can post up briefly, but then must clear themiddle area.

Players should make a catching spot available to theasser, space themselves 15 to 18 feet (4.6 to 5.5 meters)way, and meet the pass.

Against zone defenses, cut through the middle of efensive gaps or holes. Drive into gaps after a catch.

Offense is player generated (much freedom) and rule



ased. The penetrating cut is the key.

The post player is stationed on the low post near thelock; responsibilities are to rebound the weak side ande ready for the strong-side 2-on-1 dumpdown on cut or ass penetration. The post player may post up when theall is on that side and flash post for a layup onlyccasionally when the defender is not alert.

Some optional moves also can be used by verbal call:

Perimeter screen on the ball

Perimeter pass and screen off the ball

Perimeter drive on clearout on one side of the floor Flash post by cutters (two-second rule)

On traps or double-team, players should pass to themiddle cutter in a hole or to another player coming to theall (emergency).



0. Offense can be run from full court, three-quarter court,



r half court. The movement of the ball and the cutters ismore important than the formation or the set. Coacheshould watch player spacing. Players should cut with aurpose; they may go on the same side or on the opposite

de on the middle clear.1. Offense teaching progression:

2-on-0, 2-on-2 (guard, forward)

3-on-0, 3-on-3, 3-on-3 with the weak-side post

5-on-5 half court, full court

he 1-2-2 Give-and-Go. Another offense for beginning

layers is the 1-2-2 give-and-go offense, which can besed effectively against player-to-player defenses. Theive-and-go offense is a simple team offense that usesassing, catching, basic moves without the ball, andndividual moves with the ball. The 1-2-2 double low-ost or open-post set is a one-guard, open-post formationhat allows any player to V-cut into the post area andeeps the middle open for individual offensive moves plusive-and-go options ( figure 9.9 ). The give-and-go offenseom the 1-2-2 open-post formation can also be usedgainst zone or combination (zone and player-to-player)efenses by depending less on cutting and emphasizing

more individual moves from stationary spots.



he rules for this offense are the following:

The give-and-go from the point to wing pass is a passnd go-to-the-basket move after a V-cut is made by O 3.utting players who don’t receive the return pass shouldalance the floor opposite the first pass ( figure 9.10 a).

he giveand-go from the wing position to the corner osition is shown in figure 9.10 b. Notice how floor alance is regained.

If a wing player is overplayed or denied the pass by a

efender, players should use a backdoor cut to the basketnd replace on the same side ( figure 9.10 c). A corner layer who is overplayed should make a backdoor cut and



ome back to the same side ( figure 9.10 d ).

A wing or forward may V-cut into the post area (high or ow). Players who make ball cuts and don’t receive theall within 2 seconds should return to the same startingosition ( figure 9.10 e).

When a shot is taken, the point guard (O 1) should go toefense near the halfcourt line, and the other four playershould go to offensive rebounding positions. This rulepplies to all offensive situations: The offensive teamhould always have defensive balance and make a quick ansition to defense. Coaches may prefer to have twolayers change to defense as fullbacks when a shot isken.

he 1-4. The 1-4 double high-post set is a formation thatequires a good point guard. It is difficult to press, therere four possible entry passes, and the offense needs twonside players ( figure 9.11 ).



he 1-3-1. The 1-3-1 high-to-low post set has a pointuard in front; it positions forwards for individual moves



nd requires two inside players (the high-post player muste able to face the basket). See figure 9.12 .

he 1-2-2 Stack. Coaches might consider using a 1-2-2ack formation, which calls for a point guard in front, onepen side for individual moves, and a stack on the other de. This set may be used with one player (O 4) cutting tony position, while the other stack player acts as acreener and then takes up a single-post position (O 5). The

ack allows a variety of cuts by player O 4, as shown ingure 9.13 .

he 2-2-1 or 2-3 Set. The final possibility for anffensive formation is the traditional 2-2-1 or 2-3 set

figure 9.14 ). This is a two-guard front with a single posthigh or low). The sides and corners of the court are openor forward moves. The 2-3 formation is more vulnerableo pressing defenses.







one Offense

gainst a zone defense, coaches can opt for the modified,ecommended give-and-go offense or may select another ormation. In any case, teach players to use the followingules:

Perimeter players align in the gaps on the perimeter andep up into shooting range ( figure 9.15 ).

Attack the defense, but be patient. Look for opportunitiesor dribble or pass penetration inside the zone after assing around the perimeter.

Watch floor spacing between other offensive players.

his spreads the defense and makes it difficult to cover ffensive players.

Cut through zone—test the zone by moving players andelocating, as shown in figure 9.16 .

Screen the zone—beat a zone defense by screening insider outside on the zone, as shown in figure 9.17 .





oaches should encourage player and ball movement.ecause most zone defenses are ball oriented, ball fakesre effective. Players should put the ball overhead inrder for the defenders to see the ball and react to a fake

pass or shot). Fake a pass to make a pass. Players shouldnly place the ball overhead after catching and pitting it iniple-threat position.

ffense Against Combination Defenses

When combination player-to-player and zone defenses aresed (triangle-and-2, box-and-1, or diamond-and-1), theam needs an organized approach to attack them. The

egular player-to-player offense can be used or the zoneffense—coaches need to choose an offense that haslayer movement, ball movement, and screening action.nalyze the defense and use the offense (play or set) that





an capitalize on. Coaches should be sure to have goodee-throw shooters playing when using the control game,ecause defenders may foul more, out of frustration or byesign.

tay on the attack; don’t get passive and lose momentum.

layers can decoy the defense by appearing to delay butlways looking for chances to score. If they don’t want tohoot, they can run a normal offense and act as though theyre attacking.

With 8 to 10 seconds left, a special play may be usedfigure 9.19 ). The options are O 1 using the pick, O 2 or O 3

moving for the penetrate and pitch three-point fieldgoal



ttempt, O 4 using the backpick by O 5, and O 5 stepping outfter the screen.

pecial Situations for Team Offense

eam offense should be prepared to face a variety of pecial situations: out-of-bounds plays, free throws, jumpalls, and last-second scoring plays. The purpose is torepare a team for any game situation.

ringing the Ball Inbounds. Every team must have a planor bringing the ball into play underneath its own basket

nd on the sidelines. Examples of formations and plays,hown in figures 9.20 and 9.21 , can be used against anyefense. Most important, a team needs to be able to



nbound the ball safely against all defensive tactics.



ree Throws. Free-throw situations also must be plannedarefully. On an offensive free throw, the two bestebounders should occupy the second-lane spaces andttempt to gain an offensive rebound in the middle of theane or to the baseline side of the defender. Player O 3 is

ationed in a position to be alert for any long rebound or oose ball that might be tipped out, and O 1 and O 3 haveafety (fullback) responsibilities on defense and must nott any opponent get behind them for a long pass reception

figure 9.22 ). For a defensive free-throw situation, player

X1 must be alert for a loose ball or long rebound. Player X2 blocks out or checks the shooter by getting between the



hooter and the basket. Players X 4 and X 5 check thepponents on their side of the lane (second-lane space)

while player X 3 rebounds in the middle area ( figure 9.23 ).When a defensive rebound is captured, all team members

make a transition to the fast break.

ump Balls. Special plays should be developed for jump-all situations to start games and overtime periods. Themaller, quicker players defend the basket. No matter what

he formation is, the ball should be tipped to an open spotwhere two teammates are next to each other without anpponent in between). See figure 9.24.

ast-Second Shots. The last-second shot, diagrammed ingure 9.25 , may be used in the delay game or in anytuation where a move to the basket is made with 8 to 10

econds remaining, depending on the level of playyounger players need more time), allowing time for aood shot opportunity, a possible offensive rebound, and aecond shot, but not enough time for the opponent to get aood shot at the other end of the court.

o matter what offensive situation, formation, play, or ystem is chosen, execution is the key—it is not whatlayers do but how well they do it. Practice these special

tuations using the clock.







efensive Transition: Offense to Defense

n organized plan is needed to execute offense properly.

layers should make a transition to defense quickly,without being outnumbered on the fast break, in order toet the defense. One method is for the coach to createansition roles for all of the offensive players:

Fullback—the designated safety, usually the point guard,who is responsible for preventing easy scores (no layups).

s any shot by teammates is taken, the fullback sprints to



he half-court center circle and retreats, running backwardo the basket, and directs the defense from there ( figure26 ). When the fullback shoots, another player makes the

all and switches assignments. On an offensive fast break,

he last player down the floor becomes the fullback andever crosses the half-court line until a score is made or he secondary fast break begins.

Tailbacks—all other players, when the shot is taken, areesponsible for going to the offensive boards (assume a

miss) until the opponents get the ball or a basket is made.When that happens, all four players sprint to half-court,eeing the ball over their inside shoulder while runningackward to their defensive assignment (i.e., they get their ails back on defense) if they are not outnumbered. Most



ams use three tailbacks with the fourth player (usuallyhe shooter) used as a rebounder at the free-throw line or aong rebounder, who then transitions to defense early andecomes a halfback who is responsible for stopping the

all coming up the court.Variations of the plan can be developed for special

tuations (e.g., to pressure the rebounder, to stop the balloming up the floor, etc.).

COACHING POINTS FOR TEAM OFFENSE

Be quick, but don’t hurry—focus first on execution and

ming, later on speed.

Maintain balance in all areas:

Individual—physical and emotional.

Offensive and defensive.

Offensive rebounding and defensive coverage (on allhot attempts).

Floor spacing—spread out and move the ball.

Inside and outside scoring.



Passing and scoring.

Strive for spacing and timing.

Teach intelligent teamwork on offense.

Teach players to put the team first and individual playsecond.

Encourage players to play fearlessly—to make mistakes,

ut to learn from them.

Develop individual play within the team context.

Have the ball and the players move on offense. Playershould move with a purpose.

Be patient with team offense. Play must be coordinatedwith player movements; as a result, learning progress is

ower than with team defense.

HECKLIST FOR TEAM OFFENSE

General principles developed

Positions and responsibilities defined

Offensive fundamental skills



Body control

Ballhandling

Shooting

Perimeter play

Post play

Rebounding

Press offense

Transition to offense (primary, secondary fast break)

Player-to-player set offense

Zone set offense

Combination set offense

Delay (control) offense

Special situations: jump balls, offensive free throws, out-f-bounds plays

Transition to defense



ROUBLESHOOTING

Most offensive errors occur because of improper equential and progressive development. It is critical to goowly and carefully with no defenders, then 5-on-0 atame speed to get spacing and timing. Only then canefenders be added to simulate game conditions; first usedummy, then live in all variations of defense soffensive players learn to read and respond properly to allefensive situations.

rills for Team Offense

eam offense should first be executed slowly andorrectly. Then moves are carried out at game speed to

evelop team coordination and timing. An emphasis onroper spacing is needed unless players are screening or utting to the basket.

KELETON OFFENSE DRILL: 5-ON-0

urpose: To teach movements and assignments for basicam offensive formation.

quipment: One ball, five players, and half court.

rocedure: Five players at a time take the court toractice team offensive formations, plays, or movements,



nd individual assignments within the team offense. Theffense should be initiated from all situations: backcourt,ontcourt, out-of-bounds, and free throws. Offensive play

hould be completed with a score each time (rebound each

hot), and transition should be made to half-court. Thisrill includes five offensive players at a time and noefenders.

ptions

Half court offense—all sets

Half court to full court (defense to offense)—after mader missed baskets; press offense; secondary fast break; setffense

Half-court defense to full-court offensive options toefensive transition

n all offensive shots, assume a miss and make aansition (always rebound until the basket is made).layers should always make a transition to half-court onll drills whether a shot is made or missed.

EAM OFFENSE-DEFENSE DRILL: 5-ON-5

urpose: To teach team offense and defense in arogressive manner that culminates in 5-on-5 competition.



quipment: Ball, basket, and half court or full court.

rocedure: Five defenders and five offensive playersractice team play. They should practice all offensivetuations in order to prevent surprises at game time. Therogression is to have defenders play dummy positionefense and then no-hands defense (players may grasp theersey in front), before going to game-like offense andefense with no restrictions and different defensiveactics.

lay should continue until the offense transitions to thether end of the floor (i.e., go from half court to full court).

ptions

Half court only

Half-court make-it-take-it, full-court transition on misses

Half court to full court (defense to offense transition— ress offense, fast break, set offenses)

Full court—stop for corrections, shooting drill breaksield goal, free throw)

LITZ FAST-BREAK DRILL



urpose: To teach the fundamentals of two-lane andhree-lane fast-break offensive and defensive plays.

quipment: One ball, 10 to 16 players divided into twoams, and a full-court space.

rocedure: The two teams are aligned as shown in figure27 , with opposing teams at half court. One team is

elected to start on defense at one end of the court; thether team starts on offense at half court.

he drill begins when player O 1 crosses the half-line withhe ball for a 2-on-1 fast-break situation; player X 2 is



llowed to help X 1 in the outnumbered situation after ouching the center circle. The defender X 1 should bluff,nticipate, and delay the offensive duo in the two-lane fastreak until X 2 can recover to help—talk and get both

layers covered if they don’t complete the break.

When the basket is made or missed, X 1 or X 2 captures theall and advances the ball in a two-lane fast break towardhe other basket. As soon as the X team gains possession

f the ball, the next O player, O 3, touches the center circlend becomes the defensive safety ( figure 9.28 ). When X 2

rosses the half-line with the ball, O 4 can sprint to defensefter touching the center circle. The drill usually continueso nine baskets. Score can be kept on the scoreboard.oaches should officiate.

he other blitz fast-break option is the three-lane fastreak, 3-on-2, with at least twelve players to form the twoams. The alignment is shown in figure 9.29 . The two

efenders usually align in tandem with the inside player orward (X 4) and the outside player (X 1) covering theasket and taking the first pass on a closeout.

he other defender sprints to help as soon as the middle

allhandler crosses the halfcourt line. Then dribbler O 1eer dribbles to one side after reading the back defender



X1 and passes to the open teammate. When defenders onhe X team get the ball, they form a three-lane fast break tohe other end, with the ball in the middle. As soon as the Xam gains the ball, the next two O players, O 2 and O 5,

print to defense after touching the center circle. The drilluns continuously until one team reaches 10 baskets.



ptions

2-on-1 blitz.

3-on-2 blitz.

Start sideline players at the top of the key; have theefender touch the top of the key circle before going to thether end.

RANSITION FAST-BREAK DRILL

urpose: To teach transition basketball from a structural



art and unpredictable finish.

quipment: Ball, two opposing teams, and a full court.

rocedure: Figure 9.30 shows the start at one end of theoor. The coach begins by passing to any offensive player

O4 in this case) and calls numbers or names for one or wo defenders. When a name is called, that player toucheshe baseline before going to defense, thus creating anutnumbered fast-break situation. The defensive teamprints back and talks to protect the basket, stop the ball,nd cover all offensive players quickly. The offensiveam attacks, reads the defense, and runs the primary or

econdary fast break. Play continues for one, two, or threeansitions before starting over.





hapter 10

eam Defense





efender usually reacts to the moves of an offensivelayer. Players must learn to be aggressive and initiatection on defense; teach players to act—not react—whenlaying defense. With determination and practice, a team

an develop effective defensive play that is moreroactive.

eam defenses are based on individual defensiveundamental skills. Motivate players to develop pride inheir ability to play defense. Any team can be made better y developing a sound team defense.

basic precept of team defense is to prepare players for ction and to prevent problems. For example, a player inuick stance can often anticipate moves by offensive

layers before they are made and then take those movesway. Teach players to be ready for anything, which

means being prepared to defend against an opponent’s bestffensive moves. This preparation makes the defender

mentally and physically ready for secondary offensive

moves by an opponent. Players should get in a defensiveuick stance and stay in that stance—a measure of teamefense.

ne main objective of any defense should be to make thether teams do things that they do not want to do. Offenseepends on confidence and rhythm, which players canisrupt on defense. Take away the opponents’ strengths—



make them learn how to play differently during games.his forces offenses to perform secondary moves andptions instead of moves that are their strengths—which isspecially difficult to do during games. Make them play to

heir weaknesses by taking away their strengths. Defensea game of give and take; if players take something away,hey will likely give up something in return. This applieso strengths and weaknesses as well as each defensivevel and category of defense.

RITICAL CUE:

ake away the offensive player’s best move or strength.

ommunication is the glue that holds team defense

ogether. For effective defense, teams need to develop andmplement excellent communication skills—verbal andonverbal, talking and listening. In the team sport of asketball, players cannot communicate too much, andoaches cannot emphasize communication too much.

eam defense also depends on the effectiveness of teamffense (ballhandling and taking good shots). Efficientffense tends to energize and complement team defense, as

well as take the pressure from the defense and make itmore proactive.

RITICAL CUE:





team defensive level set at full court or three-quarter ourt puts more pressure on opponents but forces anncrease in court coverage. This level takes away the free

movement of opponents in the backcourt but gives the

pponent the possible advantage of beating the pressurend getting an easy score from an outnumbered situation.

efensive Categories

eam defenses fall into three general categories: player-o-player, in which each defender is assigned to a specificffensive player to guard or defend against; zone, in whichach player is assigned a specific area of responsibilityepending on the position of the ball and the offensivelayers; and combination, having elements of both player-

o-player and zone defenses. All defenses can be started atifferent levels and with various amounts of pressure



proactive pressing rather than reactive sagging defense).

RITICAL CUE:

Use only player-to-player defense for young playershrough eighth grade (ages 13 to 14). No pressing defensesntil players are in junior high school (at the earliest).

layer-to-Player Defense

oaches should emphasize player-to-player as the basicefense for all players. The player-to-player defensivepproach is valuable because the techniques can bepplied in all defenses; it should be the primary, androbably the only, defense used for elementary to junior

igh school levels of play.lementary, middle, and junior high school teams oftense defenses and pressing tactics to take advantage of ower skill levels in perimeter shooting and ballhandling.his approach hinders the long-range development of oung players and should be discouraged. Players at thesege levels should focus on fun and fundamentals, withveryone getting a chance to play in every game in order o use strengths and work on weaknesses.

players in this age group learn the basics of player-to-layer defense, they can adapt to other defenses later.



layer-to-player defense is also the most challenging andmost personally rewarding type of defense. No defender an hide: The offense is likely to score an easy basketfter any defensive lapse, with personal accountability

pecifically ensured. As a result, player-to-player defenseromotes individual responsibility to the team. The basicrinciples of the defense are explained in chapter 7 .

one Defense

one defense assigns each player defensive responsibilityor a certain area or zone, rather than for an individualffensive player, and it focuses more on the ball. Zoneefense usually changes as the ball moves and is designedo protect a limited area of the court. Zone defenses are

ften weaker in the gaps or seams between defenders andn the outside, but they can be modified to disguise those

weaknesses.

one defenses can be designed to give and to take away;

agging zones give up more outside shots but take awayhe inside. Lane or pressure zones take away out-sidehots but may be vulnerable inside.

ones can also be changed to lane defenses that areesigned to intercept passes, trapping defenses (twolayers double-teaming one offensive player with theall), or sagging defenses where the inside area near the



asket is heavily protected.

he 2-3 Zone. The most commonly used zone defense ishe 2-3 zone. Figure 10.2 a shows the basic coverage areasf this defense; figure 10.2 b shows the weak areas.oaches can use this defense when playing a team with aood post player or when they need to ensure good corner overage. Figure 10.3 shows that the players shift with theall in various positions.



he 1-3-1 Zone. The 1-3-1 zone defense is alsoommonly used to cover the high post and wing area: It isrong in the center, the wings, and the point. The coveragend gaps are shown in figure 10.4 . The shifts of the 1-3-1

one are shown in figure 10.5 , with the ball in the corner nd on the wing, respectively. Most zones revert to a 2-3ormation with the ball in the corner.

he 1-2-2 Zone. The 1-2-2 zone defense has good

overage on the perimeter but is vulnerable inside. Itsoverage and weakness areas are indicated in figure 10.6 .he movement and shifts of this 1-2-2 zone ( figure 10.7 )re similar to those for the 1-3-1 zone.





ombination Defense

ombination defenses may take several forms. Generally,hey are used to take away an opponent’s strength andonfuse offenses. For example, a triangle-and-2 defense

might be used against a team with only two good scorers;



box-and-1 could be used against an opponent with oneey player or ballhandler who is high scoring.

riangle-and-2. Two defenders are assigned player-to-layer on selected opponents while three defenders play aiangular zone, as shown in figure 10.8 . To use thisefense effectively, coaches must decide on the extent of oor coverage and shifts for the triangle zone defenders.hey must also decide how they want the two player-to-layer defenders to play (tight, loose, ball denial, etc.).his defense takes away the effectiveness of two offensivelayers (usually perimeter players) but is vulnerable inther outside shooting areas.



ox-and-1 or Diamond-and-1. One defender is player-to-layer while the other four play a zone defense near theasket. This works well against a team with oneutstanding scorer or ballhandler. Two forms of this

efense are shown in figure 10.9 . Coaches should assignhe opposing player who is the best scorer, ballhandler, or am leader to the best player-to-player defender.etermine who is the key player for the other team. Thenetermine how to take away that player’s strength.

his defense takes away the effectiveness of one player,with four zone players used to help and protect the basket,ut it can also be vulnerable to outside shooting.

ressing Defenseslayer-to-player pressure defenses can be played at any



vel: half court, three-quarter court, or full court. Allasic principles apply, but helping situations are much

more challenging as the defense expands to full court. Aremium is placed on individual defenders’ stopping and

ressuring the ballhandler because of the greater floor rea to cover. This type of pressure defense was firsteveloped in the 1940s in men’s college basketball andas become commonplace today, especially on teams withreater athletic talent.

one pressure defenses can be played at all levels.robably the most famous instance of a full-court zoneress was popularized in the unprecedented successxperienced at UCLA under John Wooden. The staple of is first national collegiate championship team was theull-court 2-2-1 zone press, as shown in figure 10.10 .one presses tend to speed up game tempo, whereaslayer-to-player pressure defenses may slow the tempo.

his press is usually used as a containing press, keeping

he ball out of the middle, that sets at least one sidelineap before half court ( figure 10.11 ). Player X 1 covers themiddle, X 5 covers the sideline, and X 3 protects the basketn this trapping sequence.



oaches need to make decisions about when to trapusually when the dribble comes to the defense and near he half-court line), how to rotate, whether to use



ontinuous trapping, when to drop back to the regular half-ourt defense, and what type of defense to transition inton the half court. With player-to-player defense, one

method is to retreat to the basic defense after one trap:

rotect the basket, stop the ball, and pick up all openlayers (in that order). Communication is a key in thatansition.

half-court zone press is exemplified by the 1-3-1efense used by the Kentucky team, coached by Joe B.

Hall, that won a national championship in 1978. The basicet is an extended 1-3-1, shown in figure 10.12 .

he perimeter players X 3, X4, and X 2 play in the passinganes and force the offense to pass over the top (slower asses). The ball is forced into the corners and trapped, ashown in figure 10.13 .



COACHING POINTS FOR TEAM DEFENSE



Select one defense as the primary team defense. The half-ourt player-to-player defense is recommended for younglayers through junior high school level.

Make attitude and motivation major concerns wheneveloping team defensive play.

Focus on practicing against all offenses. Preventurprises for the defense during games by preparing theam fully in practice for all game situations.

Place equal emphasis on offense and defense, but spendmore time on offense (requires ballhandling and shooting).

Require defenders to play hard—all five players must

move with every pass or dribble.Begin with an effective transition from offense toefense.

End with the defensive rebound, steal, or opponent’surnover.

Require communication—verbal and nonverbal, talkingnd listening.

HECKLIST FOR TEAM DEFENSE

General principles developed



Defensive fundamental skills

Stance and steps

Defense on-the-ball (live ball, dribble, dead ball)

Defense off-the-ball (closed or open)

Defense closeouts (off-the-ball to on-the-ball)

On-the-ball to off-the-ball defense (jump or explode tohe ball)

Special situations for defense

Post defense

Help and decide (bluff, switch, trap)

On-the-ball screens

Off-the-ball screens

Double screens

Defensive charge

Pressure the shot



Loose ball

Defensive rebounding

Team defense

Player-to-player

Zone

Combination

Levels of defense

Zone press

Out-of-bounds, under

Out-of-bounds, side

Defensive free throws

Transition to offense

ROUBLESHOOTING

he biggest challenge on defense is to get players to plays hard as possible at this end of the floor. Especially onefense, coaches cannot coach well unless players play



xtremely hard with maximum effort. Convince playershat they can’t be successful without an all-out effort. Partf that effort is to give maximum mental effort, whichequires high levels of communication for defensive

ffectiveness. Be your best on defense, both physicallynd mentally. The “mad dog in a meathouse” approachoes work on defense. Playing as hard as you can and asong as you can is a good defensive rule to follow.

rills for Team Defense

efense needs to be learned for all situations and built upom individual play (1-on-1) progressively to team play

5-on-5). See chapter 7 for individual defensive drills ashe foundation for developing team defense.

Moving stance and steps

Line drill—individual defense, especially 1-on-1 (liveall, dribble, passer, dead ball)

Closeouts—1-on-1, 2-on-2, 3-on-3, 4-on-4

On-the-ball to off-the-ball 2-on-2

Defensive step slide—moving stance and steps

HALF-COURT 3-ON-3, 4-ON-4 (SHELL DRILL)



urpose: To break down all situations of two-person andhree-person offensive play and to learn to defend them inteam situation.

quipment: Ball, half court, 8 to 12 players.

rocedure: Each practice can emphasize a selectedffensive situation to defend. Prepare the team for alltuations (no game surprises). Set up a drill rotation;ffense to defense to off-court.

ptions

On-the-ball screens

Off-the-ball screens

Double screens

Use of traps

Two out, two in (perimeter, post)

Four outside players, flash post on the cut

Give-and-go moves

Dribble penetration focus



Post play (single, double)

Three out, one in

Three in, one out

One-guard front or two-guard front

HALF-COURT TO FULL-COURT DRILLS: 3-ON-3, 4-N-4, 5-ON-5

urpose: To practice basic half-court defense andansition to offense; to practice basic half-court offensend transition to defense.

quipment: Ball, full court, and at least two groups of layers.

rocedure: Set up selected offensive situations to defendnd then transition to offense on missed shots; work onelected offensive situations and then carry out anffective defensive transition on made or missed baskets.

ptions

3-on-3

4-on-4



5-on-5 team offense and defense

ULL-COURT DRILLS: 3-ON-3, 5-ON-5

urpose: To teach all phases of defense progressively— -on-3 breakdowns and 5-on-5 with full teams.

quipment: Ball, full court, and at least two groups of layers.

rocedure: For 3-on-3 full court, players or groupshould change after no more than three circuits of fullourt up and back. The ball must be dribbled over half ourt, and no breakaway lob passes are allowed in anarly progression.

Variation: Play full-court 3-on-3 games to two basketssing the following rules:

Offense calls fouls (count as a score)

No lob passes over half court (breakaway)

No dribble on offense (pass and cut, pass and pick awayom the ball)

New team ready to come in, winner stays

his drill is one of the best, most taxing offensive and



efensive drills that can be used. Players must play full-ourt offense and defense while executing all fundamentalkills.











eferences

unn, J. 1955. Scientific principles of coaching .nglewood Cliffs, NJ: Prentice Hall.

arter, J. 2006. Noah’s arc—Building the perfect shot .alo Alto, CA: Self-published.

Harle, S., and J. Vickers. 2006. Quiet eye improvesccuracy in the free throw . Calgary, Alberta: University

f Calgary.

Hays, D. 2006. Developing your shot and offensivemoves . Oklahoma City: Self-published.

aimet, S. 2006. The perfect jump shot . Indianapolis, IN:lemental Press.

Krause, J., C. Janz, and J. Conn. 2003. Basketball skill rogressions: NABC’s handbook for teaching .Monterey,A: Coaches Choice.

Krause, J., and B. Brown. 2006. NABC’s youth basketball oaching handbook: Beyond the backboard . Monterey,A: Coaches Choice.

Krzyzewski, M. 2000. Leading with the heart . New York:Warner Books, Inc.



Martens, R. 1997. Successful coaching . 2nd ed.hampaign, IL: Human Kinetics.

Wolff, A. 2002. Big game, small world. New York:Warner Books, Inc.

Wooden, J.R. 1998. Practical modern basketball . 3rd ed.edwood City, CA: Benjamin Cummings.



ndex

ote: The italiciz ed f and t following page numbers refer o figures and tables, respectively.

A

bdul-Jab ba r, Kareem (Lew Alcindor) 90

ir passes 42-43 , 43 f. See also passing principles

ssigned move s 28

TTACK 156-157

ack cuts 32, 33 f, 33. See also off-the-ball screens; V-cuts

ack dribble 58

allh andling

rms mechanics of 40

alanced development 40

atching principles 47-49



asses, types of 43-47

assing and catching 41

assing principles 41-43

iple-threat position 40-41 , 40 f

allhandling drills

allhandling basics 69-70

allhandling drills 62-63

ull-court dribbling 67-68

ne drill: passing and catching 63

ne drill: stance, starts, and skill breakdown 66

ne drill: starts, stops, turns 66

mass dribbling 66-67

moving pairs passing 65, 65 f

-on-1 keepaway passing drill 64, 65 f

wo-player passing and catching drill 64, 64 f



wall dribbling 68-69

wall passing 66

asic body-control drills. See also movements andositions

escription of 16

ne drill: quick jumps 20-21

ne drill: quick stance, starts, steps, jumps, turns, andops 21

ne drill: quick starts, steps, turns, and stops 19-20 , 19 f ,0 f

ne drill: rebound jumping and turns 21

ne drill: starts, stops, and turns 21-22

mass quick moves drill 17-19

uick-stance check 17

uick-stance mirror 17

asic moves without the ball. See movement without theall



asketball Skill Progressions (Krause) 73

EEF principle 74

ehind-the-back dribble 59-60 , 60 f

etween-the-legs dribble 61, 61 f

ird, Larry 32

locks. See illegal screens

ounce passes 43, 43 f. See also passing principles

radley, Bill 110

randenburg, Jim 187 , 194

unn, John 74

atching principles

eet positioning 47-48

methods of 48-49 , 48 f , 49 f

unning through the basketball 47



hange-of-pace dribble 54

hest bounce pass 44, 44 f

hest pass 42 f , 43-44

ombination defense

ox-and-1 or diamond-and-1 239 , 239 f

iangle-and-2 239 , 239 f

ommunication

onsistency of xii

escription of xi

cho calls xi

rimary measure of xii

kills, areas of development for xi- xii

onn, James 73

rawford, Joan 184

redibility with players xii . See also communication



rossover dribble 54, 54 f , 55 f

url cut 32, 32 f . See also off-the-ball screens

urry, Denise 184

ead-ball moves

rossover step-through move (advanced) 123 , 124 f

ump shot 122

hot fake and jump shot 122

pinner (advanced) 123 , 126 f

ep-through move into one-foot layup (advanced) 123

ep-through move into power shot or layup (advanced)

23 , 125 f

sing 122

ecoy moves 28

efending the live ball



efending dribbler 162

and position 161-162 , 161 f

ush-step technique 162 , 163 f , 164

chniques 160-161 , 160 f

aditional method 164 , 164 f

efense, essentials of. See individual defense

efense, special situations

efensive charge 174-176 , 175 f

elp and decide 171-172 , 172 f

creens 172 , 173 f , 174 f

actics 170 , 171

aps 172 , 173 , 174 f

efensive categories

ombination defense 239 , 239 f

layer-to-player defense 235-236



ressing defenses 239-241 , 240 f -241 f

one defense 236-237 , 236 f -238 f

efensive drills

loseout drill 180 , 180 f

loseout drill: 1-on-1, 2-on-2, 3-on-3, 4-on-4 181 , 181 f

efensive slide drill: moving stance and steps 181-182 ,81 f

alf-court drills: 2-on-2, 3-on-3, 4-on-4 182

alf-court plus transition: 4-on-4 182

ne drill: individual defense 179

moving stance and steps 178 , 178 f

n-the-ball and off-the-ball drill: 2-on-2 179 , 180 f

ance and steps progression 177

efensive rebounding. See also rebounding

ssuming shot will miss 188 , 189



locking out 188

ribbling ball 197

nd opponent 188 , 189

et and keep ball 193-196 , 194 f -195 f

o to ball 191 , 193 , 193 f

o to opponent and block out 188-191 , 190 f -192 f

move ball 196-197

assing ball 196

ebounding principles and blocking out 188-197

ee or hear shot 188 , 189

ocheff, Dennis xiii

rew, Homer 86

ribble moves. See dribbling

ribbling

oaching points for 61



escription of 50

ribble moves, types of 52-61

aking move 55

rategies 52, 52 f

chniques 50-52 , 51 f , 52 f

ribbling after rebounding 201

unlap, Mike xiii

cho calls xi

ake-and-break. See V-cuts

eedback on skills

uidelines xiii

ohn Wooden’s Pyramid of Success xiv , xvf

aching and learning tips xiii - xv , xvf



eld-goal shooting

cronyms for learning concepts 74, 75

uilding confidence 76

ame modification for youths 73

mportance of 72

oah’s Arc 74

roper technique 73

hooting percentage 72, 73, 73t

are or fade cut 32, 33 f. See also off-the-ball screens

ootfire 4

ee-throw shooting. See also free-throw technique


escription of 96

ee-throw confidence building 99

ame percentage goals 96, 96t



racticing 96

ee-throw technique

ounce at the bottom 97-98

escription of 96, 97 f

nd the spot 96, 97, 97 f

ull focus 97

ull follow-through 98, 99

hysical mechanics of 96-98

tual 98

ont and rear cuts 26-27 , 27 f. See also movement withouthe ball

Hagan, Cliff 135

Hall, Joe B. 241

Hays, Dan 77, 80, 103



ead-and-shoulders crossover move 56-57 , 56 f. See alsoribbling

ead-and-shoulders move 54-55 , 55 f. See also dribbling

ba, Henry “Hank” x

legal screens (blocks) 28. See also screen moves

ndividual defense

locking out and communication 159


efense, essentials of 157-159 , 158 f, 159 f

efensive drills 177-182

ements of defense by acronym 156-157

ssential skills 156

ne of ball 158-159 , 159 f

moving 158



ff-the-ball defense 165-167 , 165 f -167 f

ff-the-ball to on-the-ball defense 170 , 170 f

n-the-ball defense 159-165

n-the-ball to off-the-ball defense 169 , 169 f

osition and prevention of penetration 158 , 158 f

ost defense 167-169

ressure 157-158

ressuring the shot 176

urpose of 157

pecial defensive situations 170-176

ansition 157

oubleshooting 176

nformation over emotion xii . See also communication

nside offensive moves

escription of 134



ost drills 146-154

ost or inside moves 139-145

ost play 134-135 , 134 f , 136 f , 146

ost skills 135-139 , 136 f -139 f

oubleshooting 145

aimet, Scott 87

anz, Curtis 73

ohnson, Earvin “Magic” 41

ohn Wooden’s Pyramid of Success xiv, xvf . See alsoeedback on skills

K

Krause, Jerry 73

Krzyzewski, Mike 159



ayups 83-85 , 84 f -86 f . See also shots, types

arning. See also communication

bilities x

ommunication xi- xii

ssential concepts of ix-x

eedback on skills xiii - xv

enses and skill learning stages xi

kills and drills x

ages of x- xi

alue of ix

isualization xi

stening skills xii . See also communication

ve-ball moves

atch-and-face technique 114-115 , 115 f




rossover drive 7, 8 f

escription of 114

irect drive 7, 7 f

ribble drives 115 , 116 , 116 f , 117

moves with either pivot foot (advanced) 120-122 , 121 f ,22 f

ermanent pivot foot (PPF) moves 116 f , 117-120 ,18 f -120 f

rimary objective of 117

iple-threat position 114 , 114 f

winning the battle 116

loyd, Tommy 30

ob passes 43, 43 f. See also passing principles

ow dribble 53

M

Malone, Karl 30



Martens, Rainer xi

mass dribbling 66-67

Meyer, Ray 135

Mikan, George 135 , 152

Miller, Ralph 156

movements and positions

alance and quickness 2

asic body-control drills 16-22

uick jumps 13-16

uick stance 2-5

uick starts, steps, turns, and stops 5-13

oubleshooting 16

movement without the ball

all magnet and team spacing 24, 24 f

asic moves without ball 26-28




oncepts of 24-25 , 25 f

ecoy, shot, and assigned moves 28

ont and rear cuts 26-27 , 27 f

creen moves 28-33

oubleshooting 34

V-cuts 25 f , 26, 26 f

movement without the ball drills

escription of 34

ne drill: move without the ball 35, 35 f

-on-0 motion 37, 38 f

-on-3 motion screen drill 38

ick-and-roll 37

V-cut drill 36, 36 f , 37 f

moves with either pivot foot (advanced)



rossover drive 121-122 , 122 f

escription of 120

irect drive with direction foot 121

irect drive with opposite foot 121 , 121 f

ABC’s Handbook for Teaching (Krause) 73

ash, Steve 41

ilson, Mike 159

onverbal communication xii . See also communication

ffense, setting

-4 double high-post set 220 , 222 f

-2-2 give-and-go 220 , 220 f , 221 f

-2-1 give-and-go offense 218 , 219 f , 220

-3-1 high-to-low post set 221 , 222 f



-2-1 or 2-3 set 222 , 222 f

-2-2 stack 221-222 , 222 f

ffensive rebounding. See also rebounding

pproaches 197

ribbling after rebounding 201

ribbling after rebounding 201 199 , 198 f , 199 f

assing after rebounding 200

rimary position objectives of 197 , 198 , 198 f

hooting after rebounding 199-200

uccessful ball-defender-basket defense 197

ffensive team tactics

asic defensive situations 214

efensive transition: offense to defense 227 , 227 f

ffense against combination defenses 224 , 224 f

ress offense 216 , 217 f, 218



rimary fast break: transition from defense to offense 214 ,15 f

econdary fast break: transition from defense to offense16 , 216 f

et offense 218-222 , 219 f -222 f

pecial situations for team offense 225-226 , 225 f, 226 f

one offense 222-223 , 223 f

ff-the-ball defense

uidelines 165-167 , 165 f, 166 f, 167 f

ances, types of 165 , 165 f

ff-the-ball screens 31-33 , 32 f, 33 f

ne-handed baseball pass 46, 46 f

ne-handed push pass (flick pass) 46-47 , 47 f

n-the-ball defense

efending dead ball 164-165 , 165 f

efending live ball 160-164 , 160 f, 161 f, 163 f, 164 f



escription of 159

ecommended skills 159

n-the-ball screens 30-31 , 30 f, 31 f. See also screenmoves

utside offensive moves


ead-ball moves 122-126

ve-ball moves 114-122

erimeter drills 126-132

oubleshooting 126

ypes of 114

verhead pass 45-46 , 45 f

asses, types

hest bounce pass 44, 44 f



hest pass 42 f, 43

ne-handed baseball pass 46, 46 f

ne-handed push pass 46-47 , 47 f

verhead pass 45-46 , 45 f

ertical fakes 47

assing and catching. See also ballhandling


ommunication of 50

escription of 41

assing principles

orrect pass, choosing 42-43 , 43 f

undamentals of 41-42 , 42 f

mportant principles 42

pecial passing situations 43, 43 f

aterno, Joe x



edestal-pocket shots


mportant factors 87, 87 f

ecommendations 86-87

equence of 87 f , 88, 89

sing 87 f , 88

erfect Jump Shot, The (Jaimet) 86-87

erimeter drills

loseout: 1-on-1, 2-on-2, 3-on-3, 4-on-4 129 , 129 f

uidelines for 126-127

ne drill: live-ball, dead-ball, and completion moves

ddition 127-128 , 128 f

-on-1 drill 129-130

utside moves using spin pass 128-129

artner passing and shooting 131



artner penetrate and pitch drill 130 , 130 f

erimeter game 131-132

med layups 131

warm-up for perimeter players 127

ermanent pivot foot (PPF) moves

rossover drive 120 , 120 f

escription of 117

irect drive 116 f, 117-118

esitation or step-step move 118 , 118 f

ffensive quick start 7

or perimeter moves 117

ocker step 119 , 119 f

ick-and-roll. See on-the-ball screens

ivoting. See quick turns and pivots

layer positions and responsibilities



enter or post player 213

escription of 212 , 212 f

uards and forwards 213

layer screens 28. See also screen moves

op cut 31, 32 f. See also off-the-ball screens

ositive communication xii . See also communication

ost defense

losed stance 167 , 168 f, 169 f

ontrolling defenders 168

efending post player with ball 168 , 169

onting stance 167 , 168 , 168 f

ost drills

ll-American post workout 151-152

ig spacing and post feeding drill 150-151 , 150 f

ne drill: post player starts, turns, and stops 147-148



Mikan drill 152-153

-on-2 feeding post drill 152 , 152 f

-on-1 post cutthroat 154

-on-5 post passing drill 153 , 153 f

ost pair drills 148

ost progression drill 149-150

ost score through defense (over and back) 153-154

ost warm-up drill 146-147

pin pass post moves 149

ost or inside moves

acing moves 143 , 144 f, 145 f

ump hook 140

bjective of 139-140

assing to post 145

ost shot 140



ower move 140 , 141 f, 142 f

wheel move (advanced) 143 , 143 f

ost play

ssume the miss 135

ackboard shots 134


escription of 134 , 134 f

enetrate 134

ost-player skills

atching ball inside 137-139 , 138 f , 139 f

escription of 135

etting open in post 136-137 , 137 f

ost line 136 , 136 f

eading defense 139

ance 135 , 136 f



aking out defender 139

ower dribble 53, 53 f

ull-back crossover dribble 58-59 , 58 f -59 f

Q

uick jumps



umping skill, improving 13

anding position 13

ne-foot jumps 16

ebounding 14, 14 f, 15 f

ake-offs 13, 14

wo-foot power jumps 13, 14, 14 f, 15 f

uick stance

rms and legs 4-5 , 5 f




escription of 2

oot position 3, 3 f

ead and trunk position 4, 4 f

arallel stance 3, 3 f

aggered stance 3, 3 f

st 2, 3 f

weight distribution 3-4

uick starts


efensive quick start 6-7 , 7 f


ont (lead) foot first 6

ve-ball moves 7, 7 f, 8 f

ffensive quick start 7, 7 f, 8 f



uick starts, steps, turns, and stops 5-9

uick steps

hange of pace and change of direction 9

escription of 7

ve-ball moves 9

uick stops


escription of 10, 11 , 12, 12 f

ride stops 12, 13 f

uick turns and pivots 9-10 , 9 f-11 f

ebounding

ssessment 201-202

all possession and fast break 185




efensive rebounding 188-197

motivating players 184-186

ffensive rebounding 197-201

easons for 185-186

einforcing motivation 186

ools 184

oubleshooting 203

ertical jumps, teaching 184

winning and work ethic 185-186

ebounding drills

dvanced figure-eight rebound drill 206

loseout and blockout drill 206

utthroat rebounding: 3-on-3, 4-on-4 209

arbage drill 207

ndividual rebounding 208



ne drill: 2-and-2, capture and chin rebound addition 202-04

ne drill: defensive rebound addition 204

ne drill: full-court offensive boards without ball 206

ne drill: offensive rebound addition 204-205

BA (no babies allowed)or survival rebounding 207-208 ,

08 f

ebound and outlet drill 205-206 , 205 f

ebound number 206

ebound progression: 3-on-0, 3-on-3 209

war rebounding 210

ebounding rules

-and-2 rebounding 186 , 187 , 188 , 188 f

ssume 186

apture and chin ball 186

ands up 186-187 , 187 f



iley, Pat 90

OBOTs principle 75

odman, Dennis 184

PA (rim-post-action) 24, 41

ussell, Bill 185

cientific Principles of Coaching (Bunn) 74

creen moves

gal and down screens 29

ff-the-ball screens 31-33 , 32 f , 33 f

n-the-ball screens 30-31 , 30 f, 31 f

etting screens 29, 29 f

ypes of 28, 28 f

sing 30, 30 f

enses and skill learning xi. See also learning



hooting


escription of 72

eld-goal shooting 72-76

bjectives of 72

oubleshooting 100

hooting after rebounding 199-200

hooting drills

eld-goal correction drill 107-108

eld-goal progression 102-104 , 103 f, 104 f

ootwork and field goals (or free throws) 110-111

oul-shot golf 109

ee-throw progression 108-109

roove it shooting drill 105 , 105 f

ndividual drill for grooving shot 107





escription of 76

ollow-through 82, 83 f

elease 81-82 , 81 f, 83 f

hooting hand 79-80 , 79 f, 80 f

arget 77, 78, 78 f

chniques of 77, 77 f

hot moves 28

hots, types

ayups 83-85 , 84 f -86 f

edestal-pocket shots 86-89 , 87 f

ost hook shot 90-93 , 91 f, 92 f

ost jump hook shot 93-94 , 93 f, 94 f, 95 f

ost power shot 89-90 , 89 f, 90 f, 91 f

hot fakes 95-96 , 95 f

hree-point shots 85, 86, 86 f



ikma, Jack 143

kills, learning stages of x- xi

kyhook 90-91

ip the screen. See on-the-ball screens

peed dribble 53

pin or whirl dribble 57-58 , 57 f

tockton, John 30, 41, 42

ride stops. See quick stops

uccessful Coaching (Martens) xi

wing step. See quick turns and pivots

am defense

hecklist for 242


efensive categories 235-241





am offense drills

litz fast-break drill 230-231 , 230 f, 231 f

keleton offense drill: 5-on-0 229

am offense-defense drill: 5-on-5 229

ansition fast-break drill 232 , 232 f

urning. See quick turns and pivots

V

V-cuts 25 f, 26, 26 f

isualization and skill learning xi

W

Winter, Fred “Tex” 42

Wooden, John 4, 200 , 240

Wootten, Morgan 196

one defense



-2-2 zone 237 , 238 f

-3-1 zone 237 , 237 f, 238 f

-3 zone 236 , 236 f, 237 f



bout the Authors

erry Krause has been coaching the basics of basketballnce 1959. He has experience at the elementary, high

chool, college, and Olympic levels, which uniquelyualifies him to help players improve their skills at allevels.

Krause is the director of men’s basketball operations for Gonzaga University. During his first stint with Gonzaga,Krause was an assistant coach for eight years. In betweenis time at Gonzaga, Krause spent five years at the U.S.

Military Academy at West Point serving as a professor of port philosophy, director of instruction for the physicalducation department, and assistant women’s coach. Prior



o his latest endeavors, Jerry Krause was head coach of he Eastern Washington University Eagles. During

Krause’s tenure his Eagle teams compiled a 262-196572) record.

Krause has been a leader in national associationsedicated to the continued growth of basketball. Heerved on the selection committee of the Nationalasketball Hall of Fame, the board of directors of theational Association of Basketball Coaches (NABC), and

he NCAA rules committee. He is the NABC researchhair and a member of the NAIA Basketball Coaches Hallf Fame and the National Association for Sport andhysical Education Hall of Fame. He holds a bachelor’segree from Wayne State University and master’s andoctoral degrees from the University of Northernolorado.

Krause was recognized for lifetime contributions toasketball as the 2007 Battle in Seattle honoree by

orthwest Sports and Gonzaga University. He is the mostwidely published coach in basketball history, havingwritten more than 30 books on coaching basketball. Heesides in Cheney, Washington.

ee his Web site at www.coachjerrykrauseonline.com for more information.

http://www.coachjerrykrauseonline.com/



on Meyer is the head coach at Northern State Universityn Aberdeen, South Dakota. His 860-plus wins put him infth place on the all-time list of coaches in men’sollegiate basketball. Before his term at Northern State

University, Meyer was the head men’s basketball coach atipscomb University in Nashville for 24 seasons, wheree reached the 700-win plateau faster than any other coach

n college basketball. Named the National Coach of theYear in 1989 and 1990, Meyer was inducted into the

AIA Hall of Fame in 1993.

n addition to coaching, Meyer has established a coaching

cademy that has attracted more than 10,000 basketballoaches from all over the United States. His reputation ascoach and teacher has allowed him to attract some of the



most renowned coaches, including Pat Summitt and JohnWooden, to speak at his academy. He resides in

berdeen, South Dakota.

erry Meyer is currently the chief analyst and scout for he Rivals.com basketball recruiting coverage. He is aationally recognized basketball instructor whose

xpertise dates back to his high school playing days whene won Tennessee’s Mr. Basketball award in his junior nd senior seasons. As a college player for Lipscomb

University and the University of Minnesota at Duluth,Meyer was a two time All American and became college

http://rivals.com/

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