For most people, tennis being easy is a difficult concept to agree with. So let me ask you a few questions:

1) Do you like applying your own physical makeup, slow, fast, strong or delicate, easily when you play? Or do you adjust to strict ideas as to how to perform (i.e. conventional)?

2) Do you like ease and naturalness on your footwork? Or should there be a lot of detail and structure in your moves?

3) Would you want power without too much effort? Or do you think more power is necessarily dependent on force and effort?

4) Would you want to carry on your decisions with ease? Or do you shun simplicity fearing you would lose control?

5) Would you want your moves to naturally help your shots? Or do you feel you need body “positions” to succeed?

6) Would you want to have extra time for your shots? Or do you feel tennis is too fast and you need to prepare “early”?

Here is where you can test your answers: Modern Tennis Methodology loves the simplicity, ease and naturalness of techniques that will work for your body’s preference, your particular physique, your beingness (rather than “thinkingness”), your feel rather than “mind”, and much more.

Smoothness and ease are some of the most notable results from these techniques. Control, ball placement, touch and power are some other results.

If these align with your goals, you need to inspect them at a low price but high results. The four Tennis Into the Future DVDs (about six hours comprising all strokes), are only $40.

*
tennisteacher.com/TennisIntoTheFuture

*

Your well being, love for the game and confidence will benefit or your money back, guaranteed.

For the best example of ease and simplicity look at Roger Federer. He cleaned up and simplified his game lately to what it was when he was number one, and he is again in command on the tour at 33.

Join the revolution and evolution. Tennis is really a much easier sport to learn than what has been portrayed!

Oscar Wegner

www.tennisteacher.com

Modern tennis is very easy. You just focus on finding the ball really well, with no pace yet on your racquet, and then, while touching the ball with the racquet, pull and turn your hand to feel the ball across the strings.

Even though the racquet may be fairly loose, you are actually forcefully accelerating with an inward force (towards oneself), rotating and bending the arm up to the finish, with the butt of the racquet ending pointing to the direction you just created on the ball.

One caution note: this is much easier done open stance, where the playing hand is closer to the ball and the help of the body occurs more naturally.

This is an interesting and barely recognized way of playing with an extended feel and a pronounced topspin on the ball that increases its power, both linearly and rotationally.

While widely accepted in the best tennis centers in Europe, plus some in Asia and South America as well, most USA “experts” have fought this knowledge for years, contending the stroke goes forward through the ball and coming across only when it leaves the strings. The “experts” most likely don’t realize that increasing contact time increases confidence, control and also power effectively, and that this is the main reason for success at the top level of the modern game.

Top pros do something with the hand on contact with the ball that they can’t explain themselves other that showing the particular motion, although they are aware that this is one of the biggest secrets of their success. Why? Probably because they focus on feel, rather than thinking.

How do you apply that yourself to your own game? Aware that you don’t devote as much time to the practice of this sport as the top performers, just exaggerate this torquing movement not with force, which could hurt your arm, but with a decisive change of direction of effort when you strike the ball. Pull, rather than push.

In a funny way, you could think of stroking forward to find the ball, backwards when you are in contact with the ball. Meanwhile, the racquet that started under the ball, and now moving upwards to impart topspin, will accelerate very markedly up and across derived from the change of direction with little effort on your part.

 With my best wishes,

Oscar Wegner
www.tennisteacher.com

Why is USA tennis in the doldrums?

On the surface, we have three, four or five superb tennis coaching organizations, under the USTA, USPTA, PTR, ITA, USHSTA, and more.

What is the problem? Basically, these above follow unnatural, faulty science and not follow some of the most elementary kinetics laws.

The most damaging concept promoted in US tennis is stepping into the ball, which helps the linear effort (linear kinetic energy) but destroys the circular effort (rotational kinetic energy).

Those organizations above, promoting the “similarities” of tennis with baseball and golf, favor the close and/or the semi-open (or semi-closed) stance.

They don’t realize that the open stance helps the linear and circular aspects at the same time! The best top players do it!

Open stance also puts the hand closer to the ball, helping control.

Read this 1992 book for free and decide for yourself what could be wrong.

www.tennisteacher.com/eBook.html. Or the latest Tennis Into the Future DVDs, at www.tennisteacher.com

With my best wishes, Oscar Wegner

www.tennisteacher.com

The professional modern stance

The open stance is the most efficient for tennis forehands and two-handed backhands.

It could also be called the natural stance, or power stance.

Why? Because it is the easiest and most natural way for anyone to hit with.

It avoids undue stress and torque in lower back and knees. The body gets anchored on the outside foot, while the inside foot lifts off the ground, rather than torquing stuck to the ground, and allows the player to apply the power of a natural turn to the stroke.

You can see much more of these details in my videos, books, free YouTube videos, and tips.

And much more. For an extended sample of how these techniques were learned and applied around the world, starting with little kids that are today champions, go to my 1989/92 book:

http://tennisteacher.com/members/book/Chapter2.html

This chapter alone will blow your errors and your mind as well.

And click on the left links on that chapter to read other chapters as well.

Oscar Wegner

TennisTeacher.com

I’ll be in Miami this coming week from the 24th to the 30th or 31st of August for clinics and lessons. If you are interested in getting together, please e mail me at tennisoscar@aol.com or call me at (727) 735 3293.

I’ll be in Miami in Homestead at 27500 SW 153rd Ave. in a house with two courts.

Conventional errors that affect players

Closed or semi-open stance on forehands and two-handed backhands.

Stepping into the ball. Pushing forward.

Following through towards the target first.

Preparing “early”.

Not tracking the ball studiously AFTER the bounce.

Hitting the ball too flat.

And much more. Go to:

http://tennisteacher.com/members/book/Chapter2.html

This chapter will blow your errors and your mind as well.

And click on the left links on that chapter to read other chapters as well.

Oscar Wegner

TennisTeacher.com

I will be doing a presentation on Saturday August 16th in Los Angeles, California State University Northridge. Coaches and public invited. $15 per person + free DVD (The Best of Oscar, a value of $25) for each attendee,

More info and registration at (or you can pay at event):

https://www.eventbrite.com/e/how-the-pros-play-presented-by-oscar-wegner-tickets-12463242895

How to allow the body to play modern tennis

Modern tennis is based on the ability to place the ball within a target area with not only enough speed but also with enough rotation, especially topspin.

Topspin is usually generated by a windshield-wiper stroke.

Why?

Because human beings tend to use their bodies’ natural strength and ability in the most simple and natural manner, and the windshield-wiper motion is the most instinctive natural stroke to perform for the combination of ball speed and rotation to occur. It uses major muscle groups to combine in producing the effort, so the person feels abundant strength to perform an action that keeps the ball in the court while troubling the opponent.

In physics, the kinetic energy of an object is defined as the energy that it possesses due to its motion. That is the power that you want the ball to have in your shot. A strong shot is also called a “powerful” shot.

Another definition of kinetic energy is the work needed to accelerate a body of a given mass from rest to its stated velocity. That could be applied at the body work you need to “strike” that ball to its intended velocity and spin.

So far, simple. Except that in the great majority of the studies in the USA most attention and importance is given to the linear velocity of the ball (also recommending a mostly linear body effort like in baseball). Little importance is given to the rotational aspects of both the resulting shot and also the body work needed to achieve it.

Here is the aspect that has not been addressed: The total kinetic energy of an object in motion can be expressed as the sum of the translational kinetic energy of the center of mass and the rotational kinetic energy about the center of mass. So your shot has a power combination of the linear velocity plus the force of the rotational element. You feel this second part as an added weight on the ball: it seems much heavier when you receive your opponent’s topspin shot into your racquet than on a flatter one.

These considerations are at the foundation of the Modern Tennis Methodology studies. Much has been found, including:

Why the open stance “allows” or “facilitates” the windshield-wiper to occur.

Why a body has more power when charged with an energy from torquing the upper body than from being in more balanced positions (as in “sideways” or “neutral stance”).

Why a human being operates best when seemingly in emergencies where he has to be in present time continuously (The Zone).

How where the ball impacts on your string affects your creative power.

And much more. This will be covered in detail in the above seminar, and in future Newsletters and writings. It is also covered in all of my DVDs, books and works, with the exception that these basics were never emphasized so directly as to provide the extreme difference between modern tennis and conventional, and the factors that impede conventional tennis to succeed to greater heights in this modern age.

Oscar Wegner

TennisTeacher.com

I will be having a presentation on Saturday August 16th in Los Angeles, California.

More info and registration at

https://www.eventbrite.com/e/how-the-pros-play-presented-by-oscar-wegner-tickets-12463242895

Revolutionary book: www.tennisteacher.com/eBook.html

Go to: www.tennisteacher.com

Finding the ball

One of the most common things to forget is to find the ball really when playing competitively. A good way to reinforce it is of thinking of touching the ball and then hitting it.
It seems like a very simple technique, but it works like a charm even for pros.
Oscar Wegner, Modern Tennis Methodology
I am in New York (Cypress Hills, Queens) through next Monday July 14th giving private clinics and private lessons. I will be available for lessons here in Queens this Friday, Saturday  after 12 noon, Sunday and Monday all day.
You can reach me at 727 735 3293
With my best regards,
Oscar

For a huge article on the evolution of tennis instruction, click on: http://oscarwegner.wordpress.com/2014/06/28/evolution-in-tennis-instruction/

In the history of tennis instruction, researched by John Carpenter, 2 champion brothers from England, R.F. Doherty and his younger sibling, 1897 Wimbledon Champion H.L. Doherty, described in a 1903 book how they played, recommending the open stance. In 1904, a self-appointed “expert”, an attorney by the name P.A. Vaile, wrote a book called “Modern Lawn Tennis” in which he contended that tennis was played closed-stance, as in cricket and golf. This notion was then exported to the USA, and cricket replaced by baseball, which fortified also the theory that a tennis groundstroke is a linear, forward effort. To this day, these two erroneous concepts, closed-stance and hit forward through the ball are still thought to be the most acceptable way of starting a child in tennis. Compound this with the idea that you have to prepare early, and you have three immediate barriers to the ease and naturalness of your game.

Because the USA has been regarded as the leader and model in many facets in life, celebrated American coaches and associations who promoted the linear follow-through concept, early preparation and closed stance made a wide impact, which was, in effect, exported back to Europe and spread throughout the world. This was regardless of the fact that most major champions played the forehand topspin across the body and mostly from an open stance, including Bill Tilden, Fred Perry, Jack Kramer, Rod Laver and almost everyone else who has made a mark in the game.

In sports most players copy the best performers in the field. Why was tennis the only sport in which the amateur player should not?

I successfully argued in working with Pancho Segura at the Beverly Hills Tennis Club in 1968 and 1969, after my retirement from the international tour, that we should teach everyone to play like the pros. Pancho saw the results I was achieving and let me experiment with his student body, which included the likes of Charlton Heston, Dinah Shore, the Kirk Douglas family, Ava Gardner, the Robert Taylor kids, and other stars, including the charming Dean Martin Jr., who looked outstanding in his Wimbledon final against Guillermo Vilas in the movie “Players”.

In the span of a decade I had the chance to compete against and practice with players spanning 3 generations, including Rod Laver, Pancho Gonzales, Lew Hoad, Pancho Segura, John Newcombe, Tony Roche, Manuel Santana, Martin Mulligan, Roger Taylor, the Flying Dutchman Tom Okker, Niki Pilic, Boro Jovanovic, Ronnie Barnes, etc, etc. It was then when I was able to observe the huge difference between the way the top pros play and the way tennis was being taught.

Unable to convince USA coaches, I then went to Spain. In 1973 the Spanish Tennis Federation appointed me Junior Davis Cup Captain and one of 3 national coaches in charge of the Federation’s Spanish Tennis School in Barcelona. We had the 28 best Spanish Juniors assembled in Barcelona and I put my ideas to the test. I immediately noticed that these kids were the best in the country because they played like the pros. First opposed by the 2 other coaches, who wanted to enforce the universal linear concept and closed stance on these marvelous “exceptions” to the rule, I insisted that their open-stance forehands and topspin should be maximized. The youngsters loved it, helped me convince the associated coaches, and the results within 2 months were spectacular: our trip to the 1973 Monte Carlo Open resulted in 4 Spanish juniors (and the winner, of course) in the semi-finals of one of the major tournaments in Europe, eliminating from the competition the representatives from the rest of the world. Spain, which had had just a handful of top players, including Manuel Santana (one of my favorite players and a model for the modern forehand) and at the time the buddying Manuel Orantes, would within decades become a major tennis force within the world.

It was at the Orange Bowl in 1973 that I first caught the attention of Bud Collins, the famous tennis historian who would notice the marvels of the Spanish team juniors hitting with such pronounced topspin and open stance. He would later document this in my second book.

I returned to the USA and Florida in 1974 determined to convince the USTA and USPTA to adopt these outstanding techniques. I coached, supported by great results, at Aventura Country Club, The Tennis Club International and Laver’s Racquet Club, but my attempts to reform coaching from the grassroots to the upper level were being scorned by the major US entities in the game. But a former #10 player in the world player I met at Laver’s Racquet Club, Jurgen Fassbender from Germany, invited me for the spring/summer season to Weiden (Cologme) to coach both the juniors and to help him with the main team. My juniors went undefeated that year and I helped Jorgen get the main team up to the Bundesliga.

An invitation to Brazil in 1982 gave me new testing grounds. Working with a small 4-hard-court club owned by the local telephone company, and backed up by a great coach and supporter, Carlos Alves, we created, out of 60 kids, 40 nationally-ranked Juniors, some of them top-10 ranked in the world. Two of them, Gustavo Kuerten and Marcio Carlsson, went on to win the Sunshine Cup for Brazil (the Davis Cup for Juniors). Gustavo, “Guga” Kuerten, by then in the hands of another coach, won 3 French Opens and was #1 in the world in 2000, in a campaign culminating with wins over Pete Sampras and Andre Agassi in winning the World Cup.

What happened in Russia and Eastern Europe?  My donation of my first book,Tennis in 2 Hours, to the Russian Tennis Federation in December 1989 was enthusiastically received. Moscow coaches became immediately aware that their classical coaching style needed to be revamped. Bud Collins, the famous media dean and tennis historian, coming to his Florida winter retreat after his 1990 December first visit to Moscow’s Kremlin Cup, told me local Russian coaches had approached him asking if he knew me and for more of my books. Bud asked me to show proof of my techniques that winter with his family and I obliged, leading to his agreement to write the foreword to my 1992 sequel and on the front cover picture with me. Bud arranged, as well, a wonderful dinner event presentation to the international press in March 1992 at the Miami Lipton tournament, in which he was the MC, where my new book was formally introduced.

Interestingly, Manuel Santana was present at that venue and I presented him with a copy of the book in which I acknowledged, with a personal note and my signature, that he had been an extraordinary influence and inspiration in my coaching in years past.

Kids at Spartak, Moscow’s renown tennis factory of champions and other Russian venues were started, as verified years later by participants, hitting forehands up and across the body and with an open stance from day one. The Real History of Tennis Instruction has pictures of the kids at Spartak in an open stance and translations of Russian coaches emphasizing more feel and more finish, basic tenets I had in my first book. Four and five year olds are seen with Western grips. Daniel Coyle visited Spartak as part of his best seller book  The Talent Code and documented that this academy, with one indoor court in a cold Moscow climate, produced more tennis champions and top tennis players by the first decade of this century from that local area than the entire United States. Furthermore, some of my teachings regarding stalking the ball and accelerating from close to the contact point to the finish over the shoulder were aptly applied and became precept and the norm.

The results were outstanding. Having the combined influence of my techniques and the dedication and focus for which Soviet athletes were famous, it was no wonder that 5 Russian women were in the top 10 in the world by 2004, conquering the French, Wimbledon and US Open titles that year.

In the USA an American father got hold of my techniques via a weekly tennis television show (first called The New Tennis Magazine Show and then The Tennis Television Show, hosted by Brad Holbrook, in which Brad included me exclusively as the Instruction Editor for close to 4 years, and broadcast on Prime Network (now Fox Sports). Richard Williams, using my techniques, built two champions – Serena Williams, with over a dozen Grand Slam titles, and Venus Williams, with 7 more. A big hug and acknowledgement from Richard Williams in 1999 was one of the biggest emotional thrills of my life.

Tennis In 2 Hours” and its 1992 sequel spread across the globe, with 10,000 copies sold by 1993.  Belgrade coaches have reported having the first book in 1991.  Chan Srichaphan, father/coach of Thailand’s Paradorn Srichaphan, had my 1992 book and videos in the late 1990’s and a group of Chinese coaches had asked for my permission to translate the book in 1999.

The influence of these materials, coupled with the 1997-1999 broadcast of the 40 Play Like the Pros, with Oscar Wegner tennis tips on ESPN International, viewed in more than 150 countries and with over 10 billion impressions* (including 2 billion impressions between the 1997, 1998 and 1999 NBA finals with Michael Jordan) stripped conventional tennis lore from its authoritarian grip overseas. Unfortunately, these tips were never seen in the USA .
(*an impression is each time a viewer sees a tip)

The balance of power in tennis would shift. How much of that was due to the adoption of  my techniques by the old world, and how much is due to equipment changes is subject to debate.  Technical advances in rackets and strings would mandate a technical change of course.  Graphite and other materials made tennis rackets much more powerful. The new equipment required more control, which amateur players could not handle with conventional techniques. The way to control this new power was not understood, as illustrated by an initial plan from the industry to introduce stiffer rackets, tighter strings and heavier balls. On the contrary, balls are now slightly bigger and on the lighter side, meaning more air resistance and, as the noted 60% baseline to baseline researched figure indicates, more loss of speed.

Racquet manufacturing is now tending to make rackets more flexible than ever, most likely by demand of top professional players who already thrive on spin and precision with the newer techniques and usually choose rackets with smaller grips, which altogether adds to their ability to maximize the feel of the contact with the ball without losing ball speed nor control. Modern racquets are also lighter, to which professional players respond by adding lead tape where needed, according to their preference of balance, power and control. Racquet custom design is also another custom for top pros.

Racquet strings have developed brilliantly as well, developing additional spin capabilities and response.

More technical discoveries are now at hand. Great players, freer than ever from the chains of conventional misconceptions, are instinctively experimenting with techniques that make tennis more of an art, a powerful but delicate art, emphasizing, within the speed of the game, ease, feel, naturalness and simplicity of movement and operation. The next changes in tennis will not only be in the technical arena but in the mental and spiritual realms as well.

Oscar Wegner

TO LEARN REAL MODERN TENNIS GO TO:

www.TennisTeacher.com

By Oscar Wegner, tennisteacher.com

Tennis has changed and is bound to change even further.

I was the leader of these changes in Barcelona (1973), Florianopolis (1980s), Moscow (1989), Belgrade (1991), South America (ESPN Latin America, 1990s), Beijing (1999) and more. The USA was exposed to these techniques in the early 1990s (Prime Network, now Fox Sports) but rejected them, fought by the USPTA and PTR.

The conventional, mostly forward concept of a tennis stroke is rapidly disappearing overseas, taking the top tennis rankings by storm. Not in the USA, where coaches still love the conventional, mostly forward way.

Today’s top tennis has components of Martial Arts. Top Martial Arts artists are keenly aware that the instantaneous change of force direction has some powerful and devastating effects on the object so contacted.

In tennis, this discovery has application in very definite ways, paralleling the effects of a whip, where the tip cracks by exceeding the speed of sound.

Roger Federer’s forehand, at its best, is a parallel of a master of Martial Arts.  So are Djokovic, Nadal, Serena and other top stars in many aspects of their game. When they are on, they are magnificent.

So pronounced is the racket-head acceleration that to control the stroke’s power it needs to be deflected opposite the ball’s path, creating spins. Many top players have felt this aspect for years, but very few coaches allow to exert it purely offensively, thus an exaggerated windshield-wiper swing, taming the ball’s velocity, was born instead. One of the most talented players of all time, Lew Hoad, in the 1950s, whom I got to play by chance in a Bilbao, Spain, tournament after his career had waned, had devastating groundstroke ball speed accompanied by direction control.

You approach the ball slowly and suddenly you pull your hand towards you, withdrawing that forward momentum, your body rotating and your hand ending backwards and across your body. The racquet head may accelerate to speeds above 75 MPH. An open stance enhances this move, as it facilitates the body’s rotation.

The ball rotation achieved therein is also a weapon that impairs the facility and accuracy of an opponent’s stroke. Rafael Nadal’s forehand is an example of extreme whip and extreme topspin combined. In shot percentages, Roger Federer’s is the most pure example of achieving ball speed. Nadal’s is oriented to attaining damaging topspin. Novak Djokovic and Andy Murray are geared towards a conservative combination of both until the opportunity to be lethal presents itself.

There is another aspect in tennis that can also be borrowed from the masters of Martial Arts.  It is the ability to slow down time. Although innate to the human spirit, this ability has been buried. The constant pounding of material sciences leads in a different direction than the delicate, ethereal abilities and perceptions of the soul.

Conventional tennis teaching focuses on thinking of not being late, on hurrying to prepare.

Martial Arts demonstrates that not-thinking and waiting, delaying action, actually slows down time. This state of awareness, which tennis players of all levels experience at times and in different degrees and pros call “The Zone”, befits our innate simplicity and makes the game feel like in slow-motion or at least in slower motion, increasing perception, feel and control.

Moreover, intending to use parts of the string bed other than the center helps stabilize the racquet angle, allows you to play loose, and furthers your control. The lower half of the racquet is optimum for groundstrokes, and Serena Williams is an extreme proponent of such in her best performing days.

I played with these innate abilities in 1956. I had a world-class forehand, my own, and embarked on a breakthrough path in no time. My one-handed backhand, which I had copied from Tony Trabert, was a beauty to behold. My backhand slice, copied from Ken Rosewall, one of the best ever in this department, had uncanny accuracy and effect. My serve and overhead smash, both copied from Pancho Gonzalez, were trusted weapons of choice. My volleys, hit across and copied from Lew Hoad and other best examples, were clean and effective.

There is no limit if you copy success in a way that blends with your own nature. I seemed primed for a high future. Then I was offered “help” from “experts”. I listened to conventional lore and changed my forehand, my best stroke. It became erratic. The supreme, unconstrained confidence I had in that stroke was lost. I played the world’s best players in the 1960s in 38 countries, with limited results.

It took me nearly a quarter of a century to come full circle. The result is MTM (Modern Tennis Methodology), a system that rebels against conventional tenets and where all the natural wisdom, feel and instinct of a player falls into place. These techniques, since my first publication in 1989 and consequent TV exposure starting in 1991, have influenced a good part of planet Earth. The latest DVDs, published circa 2009/2010, are very clear in what the future of tennis will be.

Even the William sisters learned, with their father, these techniques.

You owe it to yourself to inspect such far reaching intimacy with the best in this world!

Oscar Wegner – Go to: tennisteacher.com

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