CITRUS COLLEGE BASEBALL

Blue Bookby

Skip Claprood

Introduction

Keys To Success.

Team And Lineup

Selection

And

Evaluation

BASEBALL IS A SIMPLE GAMEFactors That Improve the Chance of Winning

The most important facet of the game of baseball is Runs. A fact that needs to beremembered by all baseball coaches is that the prevention of runs from scoring is just asimportant as the ability to score runs. There is no difference in value between the creation andthe prevention of runs, the game is always determined by the team that has produced the mostruns.

John Scolinos, the former Hall of Fame coach at Cal Poly Pomona, believes that thegame is divided into three primary areas; Pitching, Offense and Defense. If during a game anytwo of the three primary areas are present the chance of winning is at 67%. Offense and Pitchingare the most difficult areas to maintain on a game to game basis. Injuries, fatigue, poor matchups, skill level, loss of rhythm and umpires strike zones all play a significant role in determiningpitching success. An offense could hit 27 rockets at defenders and still have a no-hitter orshutout thrown against them. A pitcher on his game easily can neutralize the most potentoffense. Coach Scolinos feels that a coach has only control of one area on a game to game basisand that is the Defense. Defense can be mastered through drills, repetition and an understandingof the percentages of the game. If a team has developed a consistent sound Defense then all thatis needed each game is either Pitching or Offense to have a 67% chance of winning.

Former Cerritos College legend Wally Kincaid always felt that baseball was an easygame if you followed three simple rules:

1. Put the Ball in PlayCut down the number of strikeouts and force the opposition to make the plays. The morepressure that can be put on the defense the greater the chance of winning.

2. Force the Opposition to Put the Ball in PlayThe best way to prevent runs from scoring is to reduce the numbers of base runners. Theeasiest and most controllable method of reducing base runners is to limit the number ofbase on balls issued. This forces the opposition to have multiple hit innings in order toscore.

3. Play CatchA sound defense helps reduce base runners and forces an offense to trade outs for theadvancement of bases. Make the percentage play and always keep the double play inorder.

The Citrus College program has been successful for the past three decades by followingthe philosophy that championships are won at all levels with solid left-hand hitting and qualityleft-hand pitching. Hard throwing, high velocity right-hand pitchers are in great abundance. It isthis group of pitchers that must be neutralized in order to have an opportunity of winning achampionship.

The neutralization of quality right-hand pitching can be accomplished with left-hand hitting.Since a championship offense is loaded with left-hand hitters, the only way to curtail thatoffensive production is with quality left-hand pitching. The difficult part of this philosophy is inthe securing and development of left-hand hitters and pitchers. A coach should always give theleft-hand individuals a greater opportunity to demonstrate their abilities to play the game.

The Keys to Success, listed on the following page, are very similar to the Management byObjectives philosophy used in the business world. Over a 30 year period at Citrus College allchampionship and playoff team statistics and charts were compiled, evaluated and thepercentages for the Keys to Success were developed.

As the percentages began to materialize, it became apparent that the figures could bereached and a team did not need to have the best talent in order to be successful. The Keys toSuccess gave the program a controllable roadmap to success. It forced the coaching staff toreevaluate practice procedures and determined what was important and what was of lessimportance in attempting to reach our goals. If we needed to reach a specific level ofperformance in a given area, then thorough instruction needed to be applied to that area. Itenabled the coaching staff to concentrate only in the specific areas of importance.

An example of this approach would be that a 78% offensive execution is required thenmoving base runners with the bat must be practiced and the corresponding base running reactionsmust also be practiced. The ability to drag bunt, hit and run, hit to the right side and score therunner from third with a ground ball or fly ball needs to be mastered, as well as, the appropriatebase running reaction for each situation. In order to master the offensive skills, balance plays animportant role and must also be taught. If you take this thought process and apply it to each ofthe areas in the Keys to Success, it assists in creating a constructive and efficient approach toinstruction.

KEYS TO A WINNING TEAM AND INDIVIDUAL SUCCESS

KEYS TO PITCHING

Leadoff man retired 67% Strike oneFirst pitch strike 65% Here and NowTwo of first three pitches strikes 75% Assertiveness, which pitch is undercommand.Hits per inning 1.0 Or less than 3 base on ballsBase on balls per nine innings 3.0 Or more than 9 strikeouts per 9 inn.Ball/Strike ratio 62%ERA 4.10 Can be higher only if the offense averages7.0Pitches per inning 15.0 Mechanically sound, pitch to count, never

experiment.

KEYS TO DEFENSE

Team errors per game 1.5 Stay under control, set feet and align onthrows.Unearned runs per game 1.0 Make the percentage play.Fielding percentage . 962 Never make a throw without properalignment.Double plays per game 1.0 Always keep the DP in line.

KEYS TO OFFENSE

Execution percentage 78% Be able to hit the other way.Percentage scoring run from third 70% Balance and bat control.Runs per game 6.0 Use outs wisely, never at the plate less than2 out.Batting average . 300 Only important to you and your parents.On base percentage 41% Able to hit deep in the count, unselfish atbats.Score ability 15.0 The fewer the betterContact percentage 90% Discipline and two strike hitting, be onplane, on line, on time.Stolen base percentage 75% At this number or it is not worth the risk.Stolen base per game 2.0 Good reads rather than great speed.Double plays per game 1.0 Hit behind runners, keep the inning alive.

QUALITIES NEEDED BY POSITION TO BUILD A DEFENSE

There are three phases of the game; pitching, defence and offense. In any one game ifthere are two of the three phases working well there is a 67% chance of victory. Pitchingand offense are the most difficult variables to determine on a game-by-game basis. But,the defense is a directly controllable phase, through repetition defense can be counted onto be there every game. This means that a team needs only pitching or offense on anygiven day to have a 67% opportunity to win. Spend your time efficiently and develop asound defensive ball club.

PITCHINGPitching is the most important factor in a quality defence. The more strike outs recordedby a pitching staff the fewer opportunities for defensive mistakes. The fewer base runners,by either base hits, base on balls or hit by pitches, the less pressure on the defence.

CATCHER1. Defense

a. Stop the running game. Arm Strength, glove to gloveb. Receiving (Target, calling the game, Framing)c. Blocking

2. Offensea. Powerb. Execution

* Frame: Bigger body frame: 5’10” to 6’4”. 190# to 235#* Leader of the team, the catcher is the only position that can see the whole field.

FIRST BASE1. Offense

a. Power (HR, RBI, 2B)b. AVG.c. Execution

2. Defensea. Receiving (Short hops, Backhands, footwork)b. Needs only to knock down ground balls and keep them in front of his

body.c. Throwing, traditionally the weakest arm.

THIRD BASE1. Offense

a. Power (RBI)b. Batting Averagec. Execution

2. Defensea. Fielding needs quick hands and feet.b. Ability to field the double play.c. A strong and accurate armd. Intestinal Fortitude.

SECOND BASE1. Defense

a. Fielding needs soft hands and the ability to move efficiently in spaceb. Double Playc. Arm, strong enough to turn double play

2. Offensea. Execution (Sac, Drag, Hit and Run) AVGb. Speedc. Power

SHORT STOP1. Defense

a. Fielding, best defensive infielderb. Arm, strong enough to make the play in the 5/6 hole.c. Ability to turn double playd. Mental toughness, he will lead the team in chances and errors

2. Offensea. Executionb. Speed/Powerc. AVG.

RIGHT FIELD1. Offense

a. Power (RBI)b. AVG. + Speed

2. Defensea. Strongest outfield armb. Range

CENTER FIELD1. Defensive

a. Range + Glove, best defensive outfielderb. Arm, not as important as the ability to cover ground

2. Offensea. Speedb. OBP/AVG.c. Drag Buntd. Stolen Bases

* Ideal to have as your leadoff hitter

LEFT FIELD1. Offense

a. Power + RBI’sb. Speed/OBP/Stolen Bases

2. Weakest arm in the outfield

SIX TYPES OF LINEUPS

1. Speed Used in large ballparks or to counteract a lack of power canexploit a questionable defense.

2. Power Used in small ballpark, fewer bunts, less speed, higherdouble play ratio.

3. Offensive Against a lesser quality pitcher.4. Defensive Large ballpark, pitching dual, poor offensive squad5. Left-handed VS RHP percentages on hitters favor, take away

effectiveness of the breaking ball.6. Right-handed VS LHP

CREATE A BATTING ORDER

The primary offensive responsibility for a head coach is to create an efficient battingorder. A batting order is developed for one reason only and that is to score runs.

Despite what many people may thank, runs are the most important aspect of baseball.Baseball is a simple game. Success is dependent upon a team’s ability to score more andprevent runs from scoring. Each of the nine positions in the batting order has general qualities that can assist in scoring runs.

On base percentage is a better gauge of a player value than the batting average. AnOBP is found by dividing the sum of a player’s base hits, base on balls and hit by pitches by aplayer’s total plate appearances ( at bats plus base on balls and hit by pitches).

The goal for a player is to have a .400 OBP or higher. Runs cannot be scored unlessthere are base runners.

The more players in the batting order with .400 or higher OBP, the greater theopportunity to score runs. Another factor, when creating a lineup, is the player’s ability to putthe ball in play. The more players with a contact ratio of 90% or higher, the greater theopportunity to score.

A contact ratio is calculated by dividing strikeouts by overall plate appearances (atbats plus sacrifices, base on balls and hit by pitches). The better a team’s contact ration themore pressure is placed on the defense and the deeper in the hitter can work the count. Theability to go deep in the count and hit with two strikes causes pitch count for starting pitcherto rise. The higher the pitch count the less efficient the pitcher becomes. A successful inninggets a pitcher above 15 pitches per inning.

All good offensive teams have the ability to score runs with a limited number of hitsand to advance runners with their outs. A batting order with these qualities has theopportunity to beat the very talented pitcher.

BATTING ORDER1. LEAD OFF

1. On base percentage2. Speed (60 yd - 7.0 sec. and lower)3. Threat to steal a base4. Good Base runner5. High Contact Ratio6. Threat of drag or push bunt7. Probably limited on power

2. TWO HITTER1. On base percentage (OBP)2. Left-hand hitter preferable, easier to steal, infield shift, moves runner first to

third.3. Speed4. Bat Control5. Drag Bunt6. Hit and Run Ability7. Selective, can hit with two strikes8. Sacrifice Bunt9. Good Base runner

3. THREE HITTER1. Best Hitter2. Power3. Speed

4. FOUR HITTER1. POWER, the ability to score a runner from first base.2. Second best hitter

5. FIVE HITTER1. Needs to be a good enough hitter that they can’t pitch around the three or

four batter.2. RBI Guy3. Decent Contact4. Decent Power

6. SIX HITTER1. Decent Hitter2. Decent Power3. Decent Speed

7. SEVEN HITTER1. Third best lead off hitter in the lineup2. Speed

8. EIGHT HITTER1. Slowest (Maybe a double play guy)

9. NINE HITTER1. Second best lead off hitter2. Good base runner (this hitter becomes extremely important as the batting

order turns over.)

HE’S A BASEBALL PLAYERHE’S A BASEBALL PLAYERHE’S A BASEBALL PLAYERHE’S A BASEBALL PLAYERHE’S A BASEBALL PLAYER

Every player that has ever played the game vows to play hard every game and be a team

player. Yet, in reality some players play hard only one game, other five games, some ten

games and a few most of the time. The same results are found when you examine how long

individuals remain team players. These are two of the areas a player has control over, his

attitude and effort. No one can make you become a disruptive turd, which is a choice you

make yourself. You can either control your attitude or your attitude will control you. The

great philosopher Aristotle seemed to be speaking to each of us when he wrote, “We are

what repeatedly do”. Excellence then is not an act but a habit and we have direct control

over our habits.

The following is a list of individuals that surface on the baseball field and in business. In

order to be successful a team needs a majority of Baseball players and Winners. But, just as

important the others need to be recognized and attitudes changed or they need to be

removed from the program.

BASEBALL PLAYERBASEBALL PLAYERBASEBALL PLAYERBASEBALL PLAYERBASEBALL PLAYER

This is the greatest compliment I can give to a player. He is ready to play everyday, needs

little supervision; few repetitions and can play any position. The coach or boss never has to

worry about the individual.

WINNERWINNERWINNERWINNERWINNER

All goals are team oriented, attempts to make every practice a masterpiece. He always

meets the coach half way. Some may not be as talented, but will make up for it with disci

pline work ethic and desire. Winners never permit what they cannot do to interfere with what

they can do.

Beware of the following.

COMPETITORCOMPETITORCOMPETITORCOMPETITORCOMPETITOR

Don’t be fooled by this guy. He too will attempt to make every day a masterpiece. He will

have discipline and work ethic. But, he has the “Disease of Me”, symptoms that only surface

when he struggles. This hidden “Disease of ME” can destroy a team. He cannot draw joy

from helping the team, but only from personal gain. This individual is intoxicated with himself

and intoxicated people do foolish things. Competitors develop an overpowering belief in their

own importance

3 TO 5’er3 TO 5’er3 TO 5’er3 TO 5’er3 TO 5’er

This is similar to the poor guy who must punch a clock at work everyday. He gets caught just going

through the motions. No excitement, no enthusiasm, “it’s just a job”. This individual is wasting his

time and the organization’s. Yet many times the main reason for a 3 to 5’ers attitude is the “Fear of

Success”. The fear that, if I give a great effort today it will be expected of me tomorrow.

WHINE CONNOISSEURWHINE CONNOISSEURWHINE CONNOISSEURWHINE CONNOISSEURWHINE CONNOISSEURThis individual cries and complains about everything. Does he need cheese with that whine?

Nothing is satisfactory, he always sees the negative, something is always wrong. Happiness is not

the absence of problems but the ability to deal with them. Each day you make a choice on how

you will react to situations, but not to the situation. Most situations are out of our control. There are

always flowers for those who want to see them. This person only sees weeds. Complaining, whining

and making excuses just keeps him out of the present. Self-control can only be found in the present.

CLUB HOUSE LAWYERCLUB HOUSE LAWYERCLUB HOUSE LAWYERCLUB HOUSE LAWYERCLUB HOUSE LAWYER

This is a dangerous “shyster” pleading his case. The only problem is that he defends only himself.

He is the “Johnny Cochrane” of the dugout. One who can spin everything to his own advantage not

the team’s.

CHIPPERCHIPPERCHIPPERCHIPPERCHIPPER

The chipper is worse than the Whine Connoisseur because he is a gossip. He chips or complains

secretly. The weight end ups falling on teammates shoulders. Always remember champions train

and losers complain.

TOURISTTOURISTTOURISTTOURISTTOURIST

This guy shows up to test the waters, see how much work is expected and is the competition. He

may be around for 1-3 weeks. This is Cliff Claven of Cheers, the fellow who exaggerated about his

vacations. The tourist wants to be able to say, “Oh Yeah, I played at Citrus” without the discipline and

skill it takes to compete. He is just around to collect souvenirs.

CREAM PUFFCREAM PUFFCREAM PUFFCREAM PUFFCREAM PUFF

Soft, sweet and too much makes you sick. A soft individual will always give in when going gets

tough.

ONE ARMED BANDITONE ARMED BANDITONE ARMED BANDITONE ARMED BANDITONE ARMED BANDIT

Just like in Las Vagas, this person takes, takes and takes while giving nothing back in return. This is

the spoiled player, mommies special little angel. Remember the team is always the star not the

individual.

FAIR WEATHER BALL PLAYERFAIR WEATHER BALL PLAYERFAIR WEATHER BALL PLAYERFAIR WEATHER BALL PLAYERFAIR WEATHER BALL PLAYER

A true front-runner, a great player when everything is just perfect. But most situations are not perfect.

You have got to be able to perform everyday no matter what climate or circumstances. In the mid

fifties the St. Louis Cardinals were taking batting practice and journeyman Wally Westlake was

driving the ball all over the park. Westlake turned to Hall of Famer, Stan Musial and asked, “Hey

Stan, ever feel like you could go five for five”, and Musial replied “Every day Wally, every day”. That

is why everyone knows Stan Musial and no one remembers Wally Westlake, because Stan Musial

could do it every day.

ALIBI IKEALIBI IKEALIBI IKEALIBI IKEALIBI IKE

This guy has never yet made a mistake. “Yeah but,” is his mantra. Excuses are like

noses everyone has one. By giving an alibi he attempts to justify or condone what he is

doing or blame it on some one else. You generalize away mistakes and no growth will take

place. Failures always blame someone or something.

APATHETIC BALL PLAYERAPATHETIC BALL PLAYERAPATHETIC BALL PLAYERAPATHETIC BALL PLAYERAPATHETIC BALL PLAYER

You have to chase this individual down to get him to work. This guy is always looking for

the easy way out. The coach has to meet this guy beyond halfway and corral him to get

work done. He needs constant direction supervision and motivation and that is not condu

cive to excellence.

It is important to remember that you will always have control over your day-to-day attitude

and approach to work. None of us want o be one of these disruptive individuals. The key is

recognition, what type of person do I want to be? You can never be who you want to be by

remaining who youare. For some of you this change will be difficult, but there is no elevator

to success, you must always take the stairs. And remember the stairs can either lead to

the basement or the penthouse; you have control over the choice of direction.

STARTING LINEUP OPPONENT__________________

1.___________________ _______ PITCHING CHART_____________________

2.___________________ _______ SCOUTING REPORT___________________

3.___________________ _______ CITRUS HITTERS _____________________

4.___________________ _______ OPP. PITCH CHART____________________

5.___________________ _______ PITCHER ______________________

6.___________________ _______ PITCHING COACH_____________________

7.___________________ _______ CATCHER ______________________

8.___________________ _______ MIDDLE INFIELD______________________

9.___________________ _______ CORNERS ______________________

STARTER ____________________ SCOREBOOK ______________________

LONG ____________________ PITCHES — 2B ______________________

____________________ PITCHER MOVE ______________________

QUICK ____________________ TIMED MOVE ______________________

ONE HITTER ____________________ HELMETS ______________________

____________________ BALLS ______________________

SET UP ____________________ FOUL BALLS

____________________ 1._____________________________________

CLOSER ____________________ 2._____________________________________

SILVER BULLET(R) _______________ 3._____________________________________

SILVER BULLET(L)________________ 4._____________________________________

RUNNER _____________________ 5._____________________________________

BUNT GROUPS____________________ 6._____________________________________

__________________________________ 7._____________________________________

__________________________________ 8._____________________________________

__________________________________ 9._____________________________________

EXTRAPOLATION PAIRS _______________________________________________________

______________________________________________________________________________

BASEBALL PLAYER ANALYSIS SHEET

NAME ____________ 2003 POSITION _________________HEIGHT ___________ 2004 POSITION _________________WEIGHT __________ 60 TIME _______________________

PHYSICAL ABILITY 5 Division 1, J.C. Impact player _____4 Maybe D1, w/good off. __________3 Solid everyday J.C. Player ________2 Maybe Solid J.C. W/good off. _____1 Just a Guy _____________________

MOTIVATION Works to improve daily on field, Wt. Room,Classroom, wants to be a good player.______________________5 4 3 2 1

COMPETITIVENESS Plays and practices hard regardless of theSituation. Takes day off?Wants to win on MWF.______________________5 4 3 2 1

COACHABILITY Accepts criticism, carryover, ability toPractice properly w/o supervision, doesNot need instant gratification._______________________5 4 3 2 1

ATTITUDE Do you perceive his presence in the dugout,the game, practice and before or after agame or practice as positive or negative.__________________________________5 0

TOTAL __________

NAME OF EVALUATOR _____________________________________

TEAMMATE EVALUATION

NAME Attitude WorkEthic

Commitmentto Improve

Commitmentto Team

QualityIndividual

Lawyer Teammate Selfish Y/N

Mental

Preparation

ORDER “““““AAAAA SIXSIXSIXSIXSIX PACKPACKPACKPACKPACK OFOFOFOFOF PsPsPsPsPs””””” FOR SUCCESS

PASSIONPASSIONPASSIONPASSIONPASSION

1. Happiness comes from putting our hearts in one’s work and doing it with excitement and enthusiasm.2. Love what you do; it brings you back to the peak, no matter how difficult or how many times you fail, it is Love

that keeps everything in perspective.3. Passion keeps you going when it is easy to quit.4. Positive mental attitude will do nothing, but with it everything is possible. It will give you the ability to use all the

skills you have required.

PURPOSEPURPOSEPURPOSEPURPOSEPURPOSE

1. We all need goals, both individual and group, purpose gives us direction.2. We need goals, but earning a million dollars, winning championships, leading the league in hitting or E.R.A.

are not appropriate goals. They are results.3. Neither are wants or desires proper goals, they are superficial and only wishes. Never be a wandering

generality but always a meaningful specific.4. How can you hit a target if you don’t have something at which to aim? Remember nothing will happen unless it

is planned for.5. How many times will a person attempt a New Year’s resolution before they quit?

Less than 1!6. You don’t have to like everything you do to be good at it, but the better you get

at doing it, the more you will like it.

PRIORITYPRIORITYPRIORITYPRIORITYPRIORITY

1. Evaluate what is important to be successful and spend more time in those areas, even if they are the mostdifficult.

2. Concentrate on things that you have direct control over and forget about those areas left to chance.3. It is easier to become a self starter with understanding of what is important and what you have direct control over.

PROCESSPROCESSPROCESSPROCESSPROCESS

1. It is the process, the love of the day-to-day work that is the some of success.2. When you become too much concerned about the results or the destination, it will cause tension and anxiety. It

is difficult to control the results, but we can always control our approach.3. Always be detail oriented. Pay attention to details.4. Big things can be accomplished only by the perfection of the minor details.

PREPARATIONPREPARATIONPREPARATIONPREPARATIONPREPARATION

1. Everyone wants to be good, but it is the will to prepare that is the true path of success.2. The basis of preparation is “Doing the Right Thing at the Right Time”.3. Process and preparation go hand in hand.4. Bob Knight, “Failure to prepare is preparing to fail”.

PRESEVERANCEPRESEVERANCEPRESEVERANCEPRESEVERANCEPRESEVERANCE

1. The road to success is uphill for the total journey.2. To be successful it always takes courage, not the courage to succeed, but the courage to fail.3. “Prime the Pump”, things worthwhile take time.4. Learning curve, check out the valley but don’t have a “Pity Party”.5. The food you grow in the valley, you will eat at the top.6. Abraham Lincoln - 13 failures, what if he quit?7. To breathe the air of the summit, you must first have tilled the soil of the valley.8. Quitting is addictive and contagious. It becomes progressively easier after the first time. Small quitssnowball

into a major personality trait.9. A crisis and an opportunity is the same thing.10. The only way to become strong is to face adversity head on.11. Suffering can produce endurance, endurance produces character, character

produces hope and hope is the foundation quality of change. Hope in the future is the power of thepresence.

DIFFERENCE BETWEEN DESTRUCTIVE SELF-CRITICISMDIFFERENCE BETWEEN DESTRUCTIVE SELF-CRITICISMDIFFERENCE BETWEEN DESTRUCTIVE SELF-CRITICISMDIFFERENCE BETWEEN DESTRUCTIVE SELF-CRITICISMDIFFERENCE BETWEEN DESTRUCTIVE SELF-CRITICISM AND POSITIVE SELF-ANALYSIS AND POSITIVE SELF-ANALYSIS AND POSITIVE SELF-ANALYSIS AND POSITIVE SELF-ANALYSIS AND POSITIVE SELF-ANALYSIS

Most athletes have a hard time separating themselves from their performances. So as long as there are

positive performances, the athlete’s fragile self-image stays in sound shape. Yet let a poor performance or

a series of sub-par performances take place, and the player begins to blur everything together. This causes

the athlete to be self-critical, building anxieties within himself. These tensions take place in all the various

aspects of the game. The athlete will often blur all parts of the game together, judging the whole performance

by the weakest part. The following example is one that seems to be most often found in an athlete with a

weakness in self-discipline.

The problem may start with a slight flaw in technique (hitch, opening early, dropping arm, etc.,). The flaw

begins to frustrate the athlete, but rather than observing it as a single flaw:

a. He begins to become depressed about his ability to play at all. This depressed state of mind begins

to reinforce itself.

b. With a loss of confidence, the slump will get worse.

c. Self-pity sets in, and he becomes paranoid; negative feelings project throughout the personality

d. This attitude then affects his performances, say on defense, even though he may always have

been a good defensive player.

e. He finally becomes completely depressed about himself in general.

Each athlete should make a realistic assessment of his physical ability and measure performance on his

own terms. Many become ashamed that they cannot perform at a higher level. If you can realistically say

that you can be at a higher level, then isolate your problem and attempt to correct it rather than berate yourself

for blowing it. There are questions that must be answered truthfully, and you must understand your physical

capabilities. Does it have to do with strength or speed? Is it within your potential? Do you practice seriously

enough? You can work on it to master the conflict or, if you don’t feel like doing this, you must admit that you

are willing to live with the limitations and drop down a caliber in play (slow pitch or the beer can league). Don’t

keep adding frustrations that can never be cured without concentrated effort.

THE SELF IMAGETHE SELF IMAGETHE SELF IMAGETHE SELF IMAGETHE SELF IMAGETHE KEY TO A WINNING ATTITUDETHE KEY TO A WINNING ATTITUDETHE KEY TO A WINNING ATTITUDETHE KEY TO A WINNING ATTITUDETHE KEY TO A WINNING ATTITUDE

The most important psychological discovery of this century is the discovery of the "self image." Whether

we realize it or not, each of us carries about with us a mental blueprint or picture of ourselves. This self image

is our own conception of the "sort of person I am"; it may not even be consciously recognizable. It has been

built from our beliefs about ourselves. Beliefs about ourselves have unconsciously been formed from our

past experience, our successes and failures, our humiliations, our triumphs. From all these we mentally

construct a "self," or a picture of a self. Once an idea or a belief about ourselves goes into this picture, it

becomes "true" as far as we are personally concerned. Because of this, we must develop a positive

structured picture to bring forward a positive self image. We do not question its validity, but proceed to act

upon it just as if it were true.

The self image becomes a passage way enabling you to develop beyond your present expectation

because of two discoveries.

1. All your actions, feelings, behavior and most important, your abilities are consistent with this self

image. In short, the player who conceives himself to be a "failure" type person" will always find some

way to fail, in spite of all his good intentions. If you see yourself a loser you will always be one in

athletics and in life.

The self image is a "premise," a base, or a foundation upon which your entire personality, your

behavior and even your circumstances are built. Because of this, our experiences strengthen our

self image. For these reasons, we must build a positive self image through preparation (drills),

success in development of abilities (confidence). Confidence is the first step toward changing the

self image.

For example: A young girl who has an image of herself as the sort of a person nobody likes, will

indeed find that she is avoided at the school dance. She literally invites rejection. Her woebegone

expression, her hang-dog manner, her over-anxiousness to please, her hostility toward those that

confront her - all of these acts to drive away those she would attract.

2. The self image can be changed.

One of the reasons it seems difficult for a person to change his habits through "Positive Thinking"

is that all of these efforts are directed to the circumference of the self rather than changing the inner

self. "Positive Thinking" can only reach the surface. Such sayings as, "I will get a job," "I will be more

calm this time," "This season I’ll hit 300," are sayings which do not change the self image. The self

can only be changed through preparation, confidence and success.

To build confidence you must be prepared thoroughly. You must know your subject and yourself from

top to bottom. This preparation is the first step toward changing one’s self image. The second step

is that of practice and mastery of the subject (success). Remembering your successes, the

enjoyment and "feel" of succeeding. The final step is taking the newly developed image and putting

it to use.

CHARACTER, DISCIPLINE AND ORGANIZATIONCHARACTER, DISCIPLINE AND ORGANIZATIONCHARACTER, DISCIPLINE AND ORGANIZATIONCHARACTER, DISCIPLINE AND ORGANIZATIONCHARACTER, DISCIPLINE AND ORGANIZATION

CHARACTER:CHARACTER:CHARACTER:CHARACTER:CHARACTER:Character is the direct result of mental attitude. You can’t wish yourself into character. Character has always

been man’s greatest ally. The difference between individuals is certainly in the areas of effort, in

unstoppable determination, in the strong will to succeed. But, the true leader in all fields is found to have

the ability of sacrifice, self-denial, in love and courage and in modesty and disciplined will. Talent may get

you to the top, but it takes character to keep you there. That is the difference between great and little men,

between great players and the mediocre ones.

DISCIPLINE:DISCIPLINE:DISCIPLINE:DISCIPLINE:DISCIPLINE:Discipline wins ball games, it will reinforce you in the toughest situations. The disciplined athlete maintains

correct technique in extreme pressure situations. He will not get caught up in the emotion of the contest,

and will stay aloof or above the situation, keeping a clear analytical mind. The disciplined athlete never

panics. He will always make the percentage play. No peaks or valleys, just a constant effort to improve and

reach his fullest potential. Remember to always stay within your strengths in all situations. We have no

control over others, we only have control of ourselves. Sacrifice personal glory for the welfare of the team.

Many amazing things have been accomplished if no one cares who gets the credit.

ORGANIZATION:ORGANIZATION:ORGANIZATION:ORGANIZATION:ORGANIZATION:Controls must be placed on young men. Perhaps a better word than control is organization. Without

organization and leadership toward a realistic goal, there is no chance of realizing more than a small

percentage of your full potential. It isn’t what you do, but how you do it. No system is any good if players

are not well grounded in fundamentals. Team play comes from integrating individuals who have mastered

the fundamentals into a smooth working unit. Confidence comes from being prepared. The process of

success is actually more important than the result.

1. We will work toward the maximum development of both the individual and the group as a whole.

2. No substitute for work, but you must enjoy it. If you are not enthusiastic, you can’t work up to

your maximum ability.

3. There must always be a definite purpose and goal if you are to progress. Every drill has a

fundamental purpose.

4. If you are not intent about what you are doing, you won’t be able to resist the temptation to do

something else that might seem to be more fun. Remember - the best teacher is repetition, day-

after-day, throughout the season. Don’t give in to temptation.

THE POWER OF YOUR PHYSICAL PRESENCETHE POWER OF YOUR PHYSICAL PRESENCETHE POWER OF YOUR PHYSICAL PRESENCETHE POWER OF YOUR PHYSICAL PRESENCETHE POWER OF YOUR PHYSICAL PRESENCE

1. Outstanding competitors generally have a very powerful physical presence. They physically

exude confidence, strength, calmness and energy.

2. The strong physical presence of a good performance often intimidates opponents.

3. We can substantially control how we feel on the inside by controlling how we appear on the

outside.

4. If you want to feel confident, start acting confident on the outside.

5. If you want to generate positive intensity, start looking intense on the outside.

6. Three methods to improve physical presence:

a Control what you think;

b. Control what you visualize;

c. Control how you look on the outside.

7. Make a commitment to improve your physical image every time you play or practice.

8. When the world has turned against you in competition, when you’ve lost your confidence, and

you’re feeling negative, fight the feelings by controlling how you look on the outside.

9. Throw your shoulders back, pick up your walk and start manufacturing confidence. If you don’t

feel confident, start acting as if you do.

10. Work hard to develop and maintain the physical presence of a champion - no matter how you

feel.

CONCENTRATIONCONCENTRATIONCONCENTRATIONCONCENTRATIONCONCENTRATION

DEFINITION:DEFINITION:DEFINITION:DEFINITION:DEFINITION:Concentration - a natural state of man. It is the distractions that are unnatural. The master skill of anything

that involves human excellence. It is an art that takes practice.

To still the mind you must learn to put it somewhere else. You’ve got to park it. Concentration is the act

of focusing one’s attention. As the mind is allowed to focus on a single object, it stills. Concentration means

keeping the mind here and now.

Most players look at the ball or the general area surrounding the target or ball, but most of the time will

fall short of achieving concentration. They look at a target, but at the same time they are thinking about how

to hit it; how to throw a certain pitch; about the score and what might happen if they fail; or, worse yet, about

the bench jockeys on the sidelines. This is not occupying the mind or stilling it, it is not here and now. These

"what if’s" blur the view of objects and make a clear object seem faster or a large target shrink.

Concentration is a discipline, but a discipline with interest. We must be concerned with what is happening

and not what has happened or will happen. Calm the mind and keep it interested and attentive and it becomes

easy to stay here and now.

The following techniques won’t force concentration, but will give opportunities to concentrate and keep

the mind’s attention.

1. Watching the Ball:

It’s easy to see the ball but not as easy to notice the pattern made by the seams as it spins.

It interests the mind. When looking for the pattern made by the seams, one naturally watches

the ball all the way to one’s bat or glove and begins to focus his attention on it earlier than

before. Sometimes the ball even begins to appear bigger or to be moving slower. These are

natural results of concentration and one of the main reasons we use the Centering Technique.

The ball has one quality which makes it a very good object for concentration, if it is moving. The mind

is attracted by moving objects and has been since birth. Concentrations not staring hard, it is not

trying; but, by following seams you will fall into relaxed concentration. No squinting or straining, but

relaxation.

2. Listening to the Ball:

Listening to the ball is another valuable form of concentration. When it hits the bat it makes a

distinct sound, the quality of which varies considerably, depending upon the point of contact. If

you listen closely, you will soon be able to distinguish a number of different kinds and qualities of

sounds. The sounds of the bat, when hit solid or when jammed. The practice of listening to the ball

isbest used during practice. It will automatically improve your initial reaction or jump. By becoming

sensitive to sound in practice, you will find that you will then use sound automatically during a game.

The idea of concentrating on sound is also a practice technique on here and now centering.

3. Feeling and Awareness:

Few players understand the importance of concentrating attention on feeling and awareness. The

easiest away to get such training is simply to focus attention on the body during practice. It is critical

to for this sense of feel or touch. During practice focus attention on your body, how the movements

feel, the action, as well as images. When concentrating in the areas of feeling and awareness, don’t

expect success in location of pitch or solid contact at the plate, remember, you can only do one thing

at a time.

Important areas of feel:

a. Hitters - Hitter must know where the ball is and where the barrel of the bat is at all times. The

understanding of barrel location on all pitches is important to the success of the aggressive hitter.

b. Pitchers - Pitcher must know where the target is and at all times throughout the windup where

the hand is located and where it properly should be at all times.

c. Infielders - Where the ball is and the movement and location of the glove at all times.

TOTAL CONCENTRATIONTOTAL CONCENTRATIONTOTAL CONCENTRATIONTOTAL CONCENTRATIONTOTAL CONCENTRATION

Total concentration is the ability to immerse yourself in a task without becoming distracted or pulledoff task. Skilled players talk about concentration as a state of "flow", being "in the bubble", or "in acocoon", during which nothing can penetrate their focus. Concentration involves several elements.These include knowing what cues to focus on; staying focused on those relevant cues; keeping narrowand external focus; being able to shift attention; refocusing when distracted; and controlling your thoughtprocess.

1.1.1.1.1. FOCUS ON THE PRESENT MOMENT. FOCUS ON THE PRESENT MOMENT. FOCUS ON THE PRESENT MOMENT. FOCUS ON THE PRESENT MOMENT. FOCUS ON THE PRESENT MOMENT. To play your best, you must keep your mind in the presentmo ment, focused on the requirements of the task at hand. One of the biggest errors you can make is thinking ahead about the results, or thinking about what happened on a previous play. You mustbe aware of when you lose your focus, and then refocus attention on what you need to do toexecute.

2.2.2.2.2. THINK ONLY ABOUT THAT ONE PITCH. THINK ONLY ABOUT THAT ONE PITCH. THINK ONLY ABOUT THAT ONE PITCH. THINK ONLY ABOUT THAT ONE PITCH. THINK ONLY ABOUT THAT ONE PITCH. To help you stay focused in the present, think aboutplaying one pitch, one play at a time. Separate that one pitch or play from the rest and try to look at itas a game in itself.

3.3.3.3.3. FOCUS ON PERFORMANCE CUES. FOCUS ON PERFORMANCE CUES. FOCUS ON PERFORMANCE CUES. FOCUS ON PERFORMANCE CUES. FOCUS ON PERFORMANCE CUES. A prepitch routine focuses your attention by giving you specificperformance cues to follow. If you don't have a routine, your mind wanders aimlessly as you prepareto perform. Your routine should help you assess the conditions and narrow your focus on the task.Your routine also locks your mind into the cues that you must focus on to execute. If you havetrouble focusing on execution, it's time for you to develop a specific prepitch routine.

44444 RELAX YOUR FOCUS WHILE YOU WAIT. RELAX YOUR FOCUS WHILE YOU WAIT. RELAX YOUR FOCUS WHILE YOU WAIT. RELAX YOUR FOCUS WHILE YOU WAIT. RELAX YOUR FOCUS WHILE YOU WAIT. There are not many players who can focus for threehours straight. It is important to be ready to perform when it is your turn, but you don't want to grindon over analyze your next pitch or play.

5.5.5.5.5. USE A WARM UP ROUTINE. USE A WARM UP ROUTINE. USE A WARM UP ROUTINE. USE A WARM UP ROUTINE. USE A WARM UP ROUTINE. All good players use a warm-up ritual starting one hour beforethe game to help them focus their mind for play

6.6.6.6.6. CUE YOURSELF TO CONCENTRATE.CUE YOURSELF TO CONCENTRATE.CUE YOURSELF TO CONCENTRATE.CUE YOURSELF TO CONCENTRATE.CUE YOURSELF TO CONCENTRATE. You must lock in your concentration once it is your time toperform. To help click in, try using a physical trigger to focus your mind, such as tightening the strap onyour glove or batting glove before starting. At this point you want to turn your attention to preparation andexecution and if anything else enter your mind. Let it pass through.

7.7.7.7.7. REHEARSH WHILE YOU WAIT.REHEARSH WHILE YOU WAIT.REHEARSH WHILE YOU WAIT.REHEARSH WHILE YOU WAIT.REHEARSH WHILE YOU WAIT. Physically and mentally rehearsh while you wait. When it is your turn, it will be second nature.

GOAL SETTINGGOAL SETTINGGOAL SETTINGGOAL SETTINGGOAL SETTING

Most people set many goals in their lives without realizing they are doing it.

Goals give individuals a sense of direction. As a college baseball player it is important to set both longand short range goals. It will enable you to set priorities and assist in reaching your full potential.

Effective goal setting will initiate a motivation that will allow you to focus attention, energy and activityin a more effective manner.

Research in the area of sport performance reveals that the consistently best performances areaccomplished by those individuals who set goals in practice or training as well as during competition. Goalsetting should also be practiced with your personal and family lives.

THE PURPOSE OF GOAL SETTING...THE PURPOSE OF GOAL SETTING...THE PURPOSE OF GOAL SETTING...THE PURPOSE OF GOAL SETTING...THE PURPOSE OF GOAL SETTING...1. Provide MOTIVATIONMOTIVATIONMOTIVATIONMOTIVATIONMOTIVATION (mobilizes your effort).2. Provides DIRECTIONDIRECTIONDIRECTIONDIRECTIONDIRECTION (a mission to accomplish).3. Provides FEEDBACKFEEDBACKFEEDBACKFEEDBACKFEEDBACK (positive or negative).4. Develops COMMITMENTCOMMITMENTCOMMITMENTCOMMITMENTCOMMITMENT and PERSISTENCEPERSISTENCEPERSISTENCEPERSISTENCEPERSISTENCE.5. Develops CONFIDENCECONFIDENCECONFIDENCECONFIDENCECONFIDENCE.6. Develops SELF-DISCIPLINESELF-DISCIPLINESELF-DISCIPLINESELF-DISCIPLINESELF-DISCIPLINE.7. Increases the QUALITYQUALITYQUALITYQUALITYQUALITY of training and practice.

GUIDELINES FOR EFFECTIVE GOAL SETTING...GUIDELINES FOR EFFECTIVE GOAL SETTING...GUIDELINES FOR EFFECTIVE GOAL SETTING...GUIDELINES FOR EFFECTIVE GOAL SETTING...GUIDELINES FOR EFFECTIVE GOAL SETTING...1. Set specific - measurable goals.

a. Examples of goals that are too vague or general:"I want to pitch well.""I want to go nine innings.""I want to be more competitive."

b. Examples of a specific goal."I want to get my first pitch in for a strike.""I need to track the pitch better."

2. Set performance not outcome goals.a. Example: (Performance Goal)

"I want to maintain my intensity, rhythm and location."

Example: (Outcome Goal)"I want to walk fewer hitters."

3. Set positive goals.a. Example: (Negative Goal)

"I don’t want to hang this one."Example: (Positive Goal)"I am challenging with this one."

4. Outline a plan to achieve goals.a. Example of a poor plan.

"I am going to work harder in practice."

b. Example of an effective plan: (Have at least 2 goals each day):"I am going to work on my alignment to improve throwing accuracy.""I am going to work on a loose arm in the bullpen."

5. Set short, medium and long range goals.a. Pitch, hitter or at bat, inning, game.b. Daily, series of at bats or games, monthly, season.

6. Foster a commitment to your goals. DISCIPLINE yourself to set and strive to reach your goals.

7. Establish practice and game goals.

8. Find support for your goal attainment.

Example: Teammates or coach, "someone who runs or lifts with you."

9. Evaluate and re-adjust goals. Remember failure is a positive feedback.

10. Establish a target date to accomplish each goal."I want my fastball at 80% by Thanksgiving break."

TYPES OF GOALSTYPES OF GOALSTYPES OF GOALSTYPES OF GOALSTYPES OF GOALS

1. Mechanical (skills), techniques). 2. Performance (PERCENTAGES, but not B.A., wins, strikeouts or homeruns.) 3. Strategic (Execution). 4. Mental (Self-Control, routines, one-step-at-a-time.) 5. Personal.

PROBLEMS IN GOAL SETTINGPROBLEMS IN GOAL SETTINGPROBLEMS IN GOAL SETTINGPROBLEMS IN GOAL SETTINGPROBLEMS IN GOAL SETTING

1. Set too many goals. 2. Not given enough time to achieve the goal. 3. Failure to recognize individual differences, and modify goals. 4. Goals are to general. 5. Failure to create a supportive goal setting atmosphere.

THE MENTAL PICTURETHE MENTAL PICTURETHE MENTAL PICTURETHE MENTAL PICTURETHE MENTAL PICTUREA PERSONAL PRACTICE SESSIONA PERSONAL PRACTICE SESSIONA PERSONAL PRACTICE SESSIONA PERSONAL PRACTICE SESSIONA PERSONAL PRACTICE SESSION

Mental pictures offer you an opportunity to "practice" new skills and attitudes. This is possible becauseyour nervous system can’t tell the difference between a physical experience and one that is vividly imagined.If we picture ourselves performing a phase of the game it is nearly the same as the actual performance.Mental practice helps to make perfect.

A good example is for a pitcher to mentally rehearse each pitch just before throwing it. He throws "his"strike perfectly in his imagination, "feels" the coil and balance just as it should, "feels" himself exploding,releasing the ball correctly and following through. He then begins his windup and depends on what is called"muscle memory" or the unconscious to carry out the pitch just as he has imagined it. The important thingis to make these pictures as vivid and detailed as possible.

Before you can have a clear mental picture that is beneficial to you, you first must become acquaintedwith the correct physical fundamentals. The human brain is an automatic goal-seeking machine which steersits way to our target or goal by use of past experience and stored information, automatically correcting faultswhen necessary. This goal-seeking machine within you can operate in only one way. It must have a targetto shoot at, whether it is making solid contact at bat, fielding a ground ball correctly or throwing a strike. Youmust first clearly see a thing in your mind before you do it. When you do see, the rhythm of the ground ball,fielding it out in front, looking it into the glove and making the throw, "your creative success mechanism" withintakes over and does the

job better than you could do it by conscious effort or will power. A good example of this is if you begin"thinking" while in the batters’ box, you often find the ball being thrown right by you. When you get into thebox, the only thing on your mind should be "hit the ball." All your mental work is done outside the box; insidethe box you let your "muscle memory" or unconscious do the work.

Remember, it doesn’t matter what happened at your last at bat, your last pitch or last fielding chance, seeyourself acting, feeling, being as you want it to be! If you hold a picture of yourself long and steadily enoughin your mind’s eye, you will be drawn toward it. Picture yourself vividly as defeated and that alone will makevictory impossible.

The mental picture in athletics builds and reinforces practice. It gives you a new self-image. You will findyourself "acting differently," doing things correctly, automatically and spontaneously. Don’t confuse thismethod with wishful thinking or fantasizing, it is the practice of doing.

There is a high rate of forgetting in learning of any motor skill, and for this reason, if the athlete can havereminders in front of him (mental picture) it becomes easier to believe and establish technique.

Technique for Mental PicturesTechnique for Mental PicturesTechnique for Mental PicturesTechnique for Mental PicturesTechnique for Mental Pictures

1. Break movement down into details.2. Make the play in slow motion - eyes open.3. Make the play in slow motion - eyes closed, get a feel.4. Make the play at normal speed - eyes closed5. When a successful action has been completed, replay it instantly and establish the feel

needed to perform the skill.

Facts that Improve PerformanceFacts that Improve PerformanceFacts that Improve PerformanceFacts that Improve PerformanceFacts that Improve Performance

1. Your level of performance is a direct reflection of the way you feel inside.2. When you feel right, you can perform right.3. Playing well is a natural consequence of the right kind of internal feelings.4. Playing as well as you can at the moment occurs automatically when the right emotional balance has

been established.5. Mental toughness is the ability to create and maintain the right kind of internal feeling regardless of the

circumstances.6. The most important step you can take to perform to your best is to create a particular climate within

yourself and maintain it, no matter what!

YOU WILL PERFORM BEST WHEN YOU EXPERIENCEYOU WILL PERFORM BEST WHEN YOU EXPERIENCEYOU WILL PERFORM BEST WHEN YOU EXPERIENCEYOU WILL PERFORM BEST WHEN YOU EXPERIENCEYOU WILL PERFORM BEST WHEN YOU EXPERIENCETHE FOLLOWING FEELINGSTHE FOLLOWING FEELINGSTHE FOLLOWING FEELINGSTHE FOLLOWING FEELINGSTHE FOLLOWING FEELINGS

1. When you feel relaxed and loose. 2. When you feel a sense of calmness and quiet inside. 3. When you feel no anxiety or nervousness. 4. When you feel charged with high energy. 5. When you feel optimistic and positive. 6. When you feel a genuine sense of fun and enjoyment in your play. 7. When your performance feels effortless. 8. When you feel automatic and spontaneous in your play. 9. When you feel mentally alert.10. When you feel mentally focused and tuned in.11. When you feel highly self-confident.12. When you feel in control of yourself.

SAMPLE THOUGHTS THAT PRODUCE PRESSURESAMPLE THOUGHTS THAT PRODUCE PRESSURESAMPLE THOUGHTS THAT PRODUCE PRESSURESAMPLE THOUGHTS THAT PRODUCE PRESSURESAMPLE THOUGHTS THAT PRODUCE PRESSURE

1. What if I don’t do well?2. What if I blow it now, I’ll never be the same.3. The pressure is awesome!4. I’ll never live it down if I lose.5. My career or scholarship is on the line.6. Just think of what I’ll lose if I don’t pull this one out.

SAMPLE THOUGHTS THAT REDUCE PRESSURESAMPLE THOUGHTS THAT REDUCE PRESSURESAMPLE THOUGHTS THAT REDUCE PRESSURESAMPLE THOUGHTS THAT REDUCE PRESSURESAMPLE THOUGHTS THAT REDUCE PRESSURE

1. I’m simply going to focus on doing my job the best I know how.2. I’m going to have one hell of a lot of fun out there, no matter what.3. Pressure is something I put on myself.4. Even If I’m not the greatest today, it won’t be the end of the world.5. Winning and losing is for the fans; I simply perform.6. I love tough situations; the tougher the situation, the better I perform.7. I’m going to be OK - no matter what.

CONTROLLING ATTITUDESCONTROLLING ATTITUDESCONTROLLING ATTITUDESCONTROLLING ATTITUDESCONTROLLING ATTITUDES

1. Pressure is something I put on myself.

2. Winning will take care of itself; I simply perform.

3. Hard work can be fun.

4. When I can enjoy, I can perform.

5. Choking is not a weakness of character.

6. I accept full responsibility for myself.

7. I simply focus on doing the best I can at every moment.

8. Mistakes simply represent feedback and are a necessary part of learning anything well.

ENERGIZING ATTITUDESENERGIZING ATTITUDESENERGIZING ATTITUDESENERGIZING ATTITUDESENERGIZING ATTITUDES

1. I will always give my best effort.

2. I take pride in what I represent.

3. I am going to thoroughly enjoy myself as I perform.

4. Having fun is an important key to playing well.

5. My attitude is offensive rather than defensive.

6. I strive to be positive and enthusiastic no matter what.

7. I’m willing to pay the price, no matter what.

8. I will be successful.

SELF-CONTROL AND CONTROL SPEEDSELF-CONTROL AND CONTROL SPEEDSELF-CONTROL AND CONTROL SPEEDSELF-CONTROL AND CONTROL SPEEDSELF-CONTROL AND CONTROL SPEED

Self-control is the command of both a disciplined mental attitude and physical movement during any

given situation. It is the confidence that one can handle any situation with the poise and coolness needed

to perform efficiently. The major tests for self-control fall into three areas, PRESSURE, FAILURES and

ANGER.

Pressure, as we will more clearly cover later, causes the adrenaline to build. This adrenaline, or

"excitement" can be used in two completely different ways. If you use this excitement correctly, it can give

you strength, power, and enable you to make plays you would not normally be able to make. But, if the

excitement turns to timidness or fear it can rob you of your skill and ability you ordinarily have to call upon.

Failures fall into two categories, personal and teammate. If too much emphasis is placed on the

mistake, fear begins to tear apart one’s confidence. Fear or anger at a teammate’s error leads to a do-nothing

situation. You begin to fear you will make a mistake, or try to make up for one error by overcompensating

and breaking your own self-control.

Anger is probably the most common deterrent to self-control. The umpire may miss one, a teammate

may boot one or the pitcher may brush you back. If you become so enraged that you lose control of yourself,

you will also lose the physical factors needed for maximum performance.

To develop self-control, a ballplayer must first understand the phrase, "Under Control Speed." A

good definition of Control Speed is the ultimate speed you can execute and still perform efficiently. A vivid

example would be a pitcher. If he rears back and fires a pitch at 100% it’s liable to hit half-way up the

backstop. So the smart pitcher finds his rhythm and control speed; or how hard am I able to throw and still

throw strikes, usually its around 90%.

When reading about Control Speed a word that often appears is Rhythm. The young infielder and

outfielder must learn to vary his rhythm with the speed of a ground ball or when throwing a runner out. He

must be able to learn when to charge the ground ball (slow roller, short hop) and when to adjust, lay back

(smash). Learning to develop this radar sense on ground balls is not an easy task. It takes hundreds of

ground balls for the infielder or outfielder to find the maximum control speed at which he can perform

efficiently.

The pitcher also is dependent upon Rhythm. Without precise control and knowledge of his body actions

the pitcher loses his effectiveness for adjustment and consistency. The development of both Self-Control

and Control Speed is not easily accomplished - it will take hours of disciplined practice and self-appraisal.

As a coach or a ball player, you must be concerned with the plays that most often break control speed; these

are called "Hurry Situations" and should be practiced most frequently. The word hurry should be a sin and

never used on the baseball diamond. Anytime you must hurry, you will break control speed and usually

commit the error. As written previously, the good practice session is geared to cover these pressure

situations and allow the ballplayer to learn to adjust his speed to the situations. The following pages are lists

of both Hurry Situations and Do-Nothing Situations.

HURRY SITUATIONSHURRY SITUATIONSHURRY SITUATIONSHURRY SITUATIONSHURRY SITUATIONS - These are situations that force you to hurry. You must learn to overcome these

situations by practice and confidence. You must be able to perform an action correctly under pressure and

at control speed.

HURRY SITUATIONS IN HITTINGHURRY SITUATIONS IN HITTINGHURRY SITUATIONS IN HITTINGHURRY SITUATIONS IN HITTINGHURRY SITUATIONS IN HITTING 1. Pitcher with real good stuff.

2. Pitcher with "junk."

3. Pitcher that uses extra fast ball.

4. When the pitcher has got you jammed.

5. After the pitcher "knocks" you down.

6. When you have 2 strikes.

7. In a tight game with runners in scoring position.

8. Some ball player or fan heckling you.

9. Umpire misses one on you.

10. After striking out last time or times before.

11. When the pitcher throws the ball by you.

12. When you are trying to impress someone.

DO-NOTHING SITUATIONSDO-NOTHING SITUATIONSDO-NOTHING SITUATIONSDO-NOTHING SITUATIONSDO-NOTHING SITUATIONS - These are situations when you become afraid, lose your confidence, let

yourself become discouraged, or you let "other things" not related to baseball enter your mind.

DO-NOTHING SITUATIONS IN HITTINGDO-NOTHING SITUATIONS IN HITTINGDO-NOTHING SITUATIONS IN HITTINGDO-NOTHING SITUATIONS IN HITTINGDO-NOTHING SITUATIONS IN HITTING1. When you let other things enter your mind besides hitting the ball.

2. When you are overly concerned about "hurrying" (Don’t be afraid to be a little aggressive in this

situation.)

3. When you have swung at a bad pitch.

4. When you are playing a club that you feel is inferior.

5. When you are trying to impress someone - stay at your control speed.

HURRY SITUATIONS IN FIELDINGHURRY SITUATIONS IN FIELDINGHURRY SITUATIONS IN FIELDINGHURRY SITUATIONS IN FIELDINGHURRY SITUATIONS IN FIELDING1. Slow hit ground ball.

2. Not knowing how to play the hops on a bounding ground ball - be in rhythm with the ball.

3. Ground ball that hugs the ground - because this is the lowest point to field a ground ball - want to come

up soon - stay down on the ball.

4. When you kick the ball, and keep it in front of you - the tendency is to hurry and either throw the ball

away or to kick the ball again.

5. After you make an error and try to make up for it.

6. A pressure situation of when a player with good speed hits a ground ball or is running the bases -

you

either have him or you don’t - so what’s the rush.

7. Trying to impress someone - be yourself, that’s why they are watching you in the first place.

8. (Outfielders) throwing runner out on a ground ball.

9. (Outfielders) throwing runner out at the plate on a ground ball or fly ball.

DO-NOTHING SITUATIONS IN FIELDINGDO-NOTHING SITUATIONS IN FIELDINGDO-NOTHING SITUATIONS IN FIELDINGDO-NOTHING SITUATIONS IN FIELDINGDO-NOTHING SITUATIONS IN FIELDING1. When you feel you might hurry.

2. When you do not know how to play the hops on a ground ball, you lay back on the ball instead of

charging it for the short hop - be in rhythm with the ball.

3. When you think you might kick the ball or throw it away, this is caused by lack of confidence and

practice.

4. When you say, "I hope he doesn’t hit the ball to me."

HURRY SITUATIONS IN PITCHINGHURRY SITUATIONS IN PITCHINGHURRY SITUATIONS IN PITCHINGHURRY SITUATIONS IN PITCHINGHURRY SITUATIONS IN PITCHING1. When they are hitting shots off of you and you don’t adjust.

2. When you are not throwing strikes and you refuse to adjust.

3. When a good hitter is at bat.

4. When your fielders kick a couple.

5. When the umpire misses a couple.

6. A fast runner on base.

7. After someone has knocked one downtown.

8. When you are in a jam, bases loaded, etc

In all of these situations, the pitcher must learn to keep his cool and his poise.In all of these situations, the pitcher must learn to keep his cool and his poise.In all of these situations, the pitcher must learn to keep his cool and his poise.In all of these situations, the pitcher must learn to keep his cool and his poise.In all of these situations, the pitcher must learn to keep his cool and his poise.

DO-NOTHING SITUATIONS IN PITCHINGDO-NOTHING SITUATIONS IN PITCHINGDO-NOTHING SITUATIONS IN PITCHINGDO-NOTHING SITUATIONS IN PITCHINGDO-NOTHING SITUATIONS IN PITCHING1. When the mound doesn’t suit you - you’ve got to adjust.

2. When the umpire or your fielders kick a few and you give up.

3. When you are afraid that you might make a mistake.

4. When a poor hitter is at bat (not concerned).

5. When a good hitter is at bat (you become afraid and lose your confidence).

Emotional high, physical explosion, loud and verbal

this will be only a momentary high, a deep emotion

valley will follow. Setting yourself up for a fall, difficult

to rebound.

Build a lead, begin to be successful, probably feel the

fight is over. Lack of concentration, inability to approach

game one pitch at a time.

Overly pleased with yourself, success leads to lack of

concentration, build an early lead and sit on your laurels,

score early and stop.

Great play, home run, taking the lead, recognition,

evaluate, visualize and move on.

Error, strikeout, bad pitch, failure to execute,

falling behind. Regcognition, evaluate,

visualize and move on.

Panic, hurry in pressure situation, "anxiety, loss of routines,

result oriented"

Expectation of failure, negative actions "blame it on

someone, coach, umpire or teammate.

Emotional death valley, bottomless pit no breaks, everyone

or everything, is against me, feel sorry for yourself.

** SUCCESSFUL STATE OF MIND **** SUCCESSFUL STATE OF MIND **** SUCCESSFUL STATE OF MIND **** SUCCESSFUL STATE OF MIND **** SUCCESSFUL STATE OF MIND **

+4

+3

+2

+1

-3

-2

-4

PIGSKINSYNDROME

OVER CONFIDENTLACKADAISICAL

IINABILITY TO REMAININ PRESENT

FAILUREFIXATION

CONTROLLEDEXCITEMENT

CONTROLLEDEMOTIONS

COMPLACENT

THE EMOTIONAL ROLLER COASTERTHE EMOTIONAL ROLLER COASTERTHE EMOTIONAL ROLLER COASTERTHE EMOTIONAL ROLLER COASTERTHE EMOTIONAL ROLLER COASTER

POINT OF NORETURN

-1

THE REALITIES OF BASEBALL THAT ARE EASY TO FORGET

1. YOU PLAY THE GAME BECAUSE YOU LOVE THE GAME, NOTBECAUSE YOU MUST BE A STARTER.

2. YOU CANNOT MAKE UP FOR A MISTAKE (FAILURE TO BUNT, ABASE ON BALLS, FAILURE TO MOVE A MAN, A DROPPED THROW,A PASSED BALL ETC.)

3. YOU CAN MOVE ON TO THE NEXT MOMENT OR SITUATION ANDBECOME ENGROSSED IN THE DETAILS OF SUCCESS.

4. NOR CAN YOU IGNORE A MISTAKE, IT IS REALITY, ITHAPPENED. NOW YOU MUST LEARN, ADJUST AND VISUALIZEWHAT YOU EXPECT TO HAPPEN. AN ALIBI WILL NOT CREATE APERSONAL POSITIVE ENVIRONMENT.

5. THE CONSTANT EXPECTATION AND VISUALIZATION OFSUCCESS KEEPS YOU IN POSITIVE FRAME OF MIND.

6. ROUTINES KEEP YOU IN THE MOMENT. THEY HELP REMOVEANXIETY AND ALLOW YOU TO BE AWARE OF YOUR SENSES ANDGOALS.

7. ANGER AT A TEAMMATE WILL NOT HELP THE SITUATION. MOSTLIKELY YOU ARE NOT ANGRY AT THE TEAMMATE BUT AT THESITUATION, THE COACH, OR YOUR OWN PERFORMANCE.

8. IT IS TO LATE TO FEEL SORRY FOR YOURSELF AND ANGRYABOUT YOUR SITUATION, YOUR ROLE HAS EVOLVED OVERTIME AND IS NOT GOING TO CHANGE IN AN AFTERNOON.

9. SELFISHNESS IS A CHARACTER FLAW. BE A QUALITY PERSONAND A GREAT TEAMMATE.

10. TAKE PRIDE IN YOUR DISCIPLINE, SELF CONTROL ANDEXECUTION.

BEWARE OF THE PROZAC PHRASES

The current athlete has developed a very bothersome and unproductive behavior that is nowappearing at all levels, professional, collegiate and scholastic. When faced with the reality ofadversity, mistakes, errors or failure players turn to a crutch, a Prozac Phrase, to alleviate thepain and depression or responsibility of their actions.

There are three Prozac Phrases that are most often used by the current athlete, each has it’s owncharacteristics, yet all promote a mentality not conducive to individual growth.

YEAH, BUT

These two words are usually followed with an excuse or things like my high school coach, Mydad told me .., It doesn t feel comfortable or the ever present “What if” ... Always keep in mind itis not “What if”, it is “What is”. We need not concern ourselves with the anticipation of whatmight happen. We only need to be concerned with those areas in which we have direct control.“YEAH, BUT” is an easy way for uncoachable players to negate instruction, giving them analternative reason not to comply.

MY BAD

The most popular of the Prozac phrases is My Bad. It is the cool way to say, I’m sorry. Anapology is never needed on the playing field. Everyone knows if you made mistake, your parentsknow, so does your boy or girlfriend, the fans know and especially your teammates. They allknow it was “ Your Bad “.My Bad is a distraction from the standpoint that nothing is being accomplished to correct oradjust the mistake. The player is attempting to draw attention away from the error or mistake.This is selfish attempt to place the focus on the athlete so that teammates will offerencouragement in this time of distress. He wants to remove the guilt of failure or stupidity, to betold, “ it will be okay “. This is the easy way out rather than looking for the more constructive andmore difficult avenue of what caused the error or mistake.The athlete needs to be reminded that no one thinks that he intentionally made a mistake;everyone understands it was not done on purpose. To stop feeling sorry for yourself, be aWarrior, use your frustration to create motivation, not the need to be cradled in your mother sbosom and told everything will be okay when it is not.

OH YEAH.

Usually followed by (I forgot). This is an unacceptable response. It is the head coachesresponsibility to create repetitions to engrain proper reactions. It is the player’s responsibility toremember and execute.“OH YEAH “ is no more than an excuse for getting, ignoring or being emotionally weak andundisciplined. It is an attempt to free responsibility of carrying out a difficult task that must bepracticed.

Remember mentioning fault cannot mend wounds; it is a selfish act, one only done to makeoneself feel better. It does not fix anything. Level with yourself in the face of adversity, an AlibiIke will return to that well time and time again.

VISION: GET MEANING FROM WHAT YOU SEEVISION: GET MEANING FROM WHAT YOU SEEVISION: GET MEANING FROM WHAT YOU SEEVISION: GET MEANING FROM WHAT YOU SEEVISION: GET MEANING FROM WHAT YOU SEE

If a player understands the importance of the eyes, then he can appreciate the fact that vision is getting

meaning from what you see. In the game of baseball, when the eyes are centered on the ball, the individual is

attempting to gather information such as rotation, pitch trajectory, velocity and movement or as a defensive

player, angles, hops and speed of the ground ball. It is more than just "keeping-your-eye-on-the-ball," it becomes

the process that enables the player to make split second unconscious adjustments.

DON’T IGNORE PRESSURE! EXPLORE IT!DON’T IGNORE PRESSURE! EXPLORE IT!DON’T IGNORE PRESSURE! EXPLORE IT!DON’T IGNORE PRESSURE! EXPLORE IT!DON’T IGNORE PRESSURE! EXPLORE IT!

The difference between a "Pressure Ball Player" is not some inherent quality that one has and another

hasn’t. It is largely a matter of how they learned to react to pressure situations. See pressure as an opportunity

to prove oneself, don’t ignore pressure - explore it! Turn every crisis into an opportunity.

A pressure situation can either make you or break you. The situations cause an excitement in you. If

you use this excitement correctly, it can give you strength, power and quickness you do not ordinarily possess.

But, if the excitement turns to timidness, fear of making mistakes, or a lack of confidence, it can rob you of your

skill, self-control, and ability that you ordinarily have to call upon.

The pressure player, in sports or business, is the person who comes through in the clutch. He uses his

excitement to perform better under the pressure of a challenge. This individual is invariably the person who has

learned to react consciously or unconsciously to a pressure situation. The pressure player thrives on clutch

situations. He always remains in an analytic mind, never getting caught up in the emotion of the situation.

Coaches should try to encourage their athletes to be above or aloof to the action. By keeping aloof, the young

player can evaluate his responsibilities and stay under control, always making the disciplined decision.

The only way this attitude can come to life is to develop confidence in yourself and your skills in given

situations. To respond to the challenge in the situation rather than the menace; turn all crisis into opportunities,

to grow as an individual. This is achieved only by practice and repetition, so when a pressure situation does arrive

you react unconsciously and make the play. This is the reason we practice "Pressure Situations" everyday, so

when it does happen in the game, you react positively because you have made the same play under pressure

successfully hundreds of times before.

CPR MANEUVER FOR THE BASEBALL FIELDCPR MANEUVER FOR THE BASEBALL FIELDCPR MANEUVER FOR THE BASEBALL FIELDCPR MANEUVER FOR THE BASEBALL FIELDCPR MANEUVER FOR THE BASEBALL FIELD

The word "choke" is a dirty five-letter word in the sport, especially if it leads to failure. No one will admit toothers that they choked. But everyone is choking their head off out on the field. It's how you handle it. The issueisn't whether you choked or not. What is more important is how you handle yourself when it happens.

What does it mean to choke? First, choking is a response to perceived pressure. When you feel pressure tosucceed, the mind kicks into motion. The end result is that a player doesn't produce good pitches or at batscompared to what he or she is capable of doing. Choking basically starts with poor focus of attention. In otherwords, your mind gets sidetracked in all the "hype" of the event. The fear of failure looms even larger when thestakes are higher. Now the mind begins to race with all sorts of thoughts that are unrelated to the task. Thephysical manifestations of anxiety set in. Your mouth gets dry, your hands sweat, your breathing becomeslabored, and you feel like someone is strangling you. The key is to not get sidetracked and strangle yourself inthe first place. But if your mind wanders under pressure, here are some suggestions for getting back on track.

1.1.1.1.1. CHALLENGE YOURSELF TO PLAY YOUR BEST.CHALLENGE YOURSELF TO PLAY YOUR BEST.CHALLENGE YOURSELF TO PLAY YOUR BEST.CHALLENGE YOURSELF TO PLAY YOUR BEST.CHALLENGE YOURSELF TO PLAY YOUR BEST. Many players take a defensive approach to their gamewhen they feel the heat. Instead of playing defensive and trying to avoid a negative outcome, challenge yourselfto play your best. Take a positive approach, Use an aggressive mindset instead of an "avoidance" mindset. Ifyou try to avoid failure, most likely you will focus more on that thing you fear the most

2.2.2.2.2. PLAY LIKE YOU DON'T CARE. PLAY LIKE YOU DON'T CARE. PLAY LIKE YOU DON'T CARE. PLAY LIKE YOU DON'T CARE. PLAY LIKE YOU DON'T CARE. One of the problems you face is that you care so much about suceedingthat you try too hard to make it happen. You need to play like you don't care, but if you work at somethingyour whole life, It's hard not to care,3.3.3.3.3. TAME THE DEMONS OF THE PAST.TAME THE DEMONS OF THE PAST.TAME THE DEMONS OF THE PAST.TAME THE DEMONS OF THE PAST.TAME THE DEMONS OF THE PAST. Memories from the past can also play a role in how we handleourselves during times of adversity. Some players draw from their past to help them succeed. Yet othersfocus on the negative experiences and this sabotages their play, those memories of the past will haunt you.Use it only if it is to your advantage. If you had a negative experience, Don't let your mind wander on thepresent matters. If you have a positive experience to draw from, use it to feel confident.4.4.4.4.4. BE YOUR OWN COACHBE YOUR OWN COACHBE YOUR OWN COACHBE YOUR OWN COACHBE YOUR OWN COACH. . . . . What you say to yourself can have a big effect on how you feel andbehave. Positive self-talk can be one of your most powerful assets during the game. Pay attention to whatyou say to yourself. Your self-talk should always be encouraging and supportive. Use your inner coach topump yourself up, calm yourself down, or to help focus your mind on the present if necessary.5.5.5.5.5. STAY TASK ORIENTED.STAY TASK ORIENTED.STAY TASK ORIENTED.STAY TASK ORIENTED.STAY TASK ORIENTED. Most of your fear relates to the outcome of the event. The fear causes you toget ahead of yourself rather than focus on the task at hand. The best way to deal with pressure is to separatethe task from the consequences of your actions. Focus on what you can control, which is execution andstaying in present. Be process oriented rather than result oriented.

FOCUS AND FLOWFOCUS AND FLOWFOCUS AND FLOWFOCUS AND FLOWFOCUS AND FLOW

FOCUSFOCUSFOCUSFOCUSFOCUS is the complete attention to the execution of the skill

FLOWFLOWFLOWFLOWFLOW is the state of being completely engrossed in the execution of a performance to the exclusion of

everything else.

All your attention is FOCUSED FOCUSED FOCUSED FOCUSED FOCUSED either

On the skills or routine performed

Or on the input from your senses relevant to the sport

You are fully focused of the activities being performed, and are:

Not aware of your own awareness, consciousness of self or ego

Not evaluating the quality of skills during performance

Not concerned with distractions such as results or other peoples expections

Not making any conscious decisions in your mind or reasoning with words - you

are trusting your body to follow its prepartation

You are in complete control of actions and reactions

You feel almost in an altered state of consciousness: achieving flow is

exhilarating, and gives a powerful feeling of competence.

DO NOT PERMIT WHAT YOU CANNOT DO TO INTERFERE WITH WHAT YOU CAN DO.DO NOT PERMIT WHAT YOU CANNOT DO TO INTERFERE WITH WHAT YOU CAN DO.DO NOT PERMIT WHAT YOU CANNOT DO TO INTERFERE WITH WHAT YOU CAN DO.DO NOT PERMIT WHAT YOU CANNOT DO TO INTERFERE WITH WHAT YOU CAN DO.DO NOT PERMIT WHAT YOU CANNOT DO TO INTERFERE WITH WHAT YOU CAN DO.REPEAT YOUR SWING AT YOUR PITCH EVERYTIME, THROW YOUR PITCHES IN YOURREPEAT YOUR SWING AT YOUR PITCH EVERYTIME, THROW YOUR PITCHES IN YOURREPEAT YOUR SWING AT YOUR PITCH EVERYTIME, THROW YOUR PITCHES IN YOURREPEAT YOUR SWING AT YOUR PITCH EVERYTIME, THROW YOUR PITCHES IN YOURREPEAT YOUR SWING AT YOUR PITCH EVERYTIME, THROW YOUR PITCHES IN YOURRHYTHM ON EVERY PITCH.RHYTHM ON EVERY PITCH.RHYTHM ON EVERY PITCH.RHYTHM ON EVERY PITCH.RHYTHM ON EVERY PITCH.

Failure

F – FrustrationNot succeeding as fast as we want. Remember the Scientist who said, “ At the bestresearch is about 99 percent failure and 1 percent success and the 1 percent the onlything that counts. “Baseball is similar to Science, there are to many failures to getcaught up in each one. Replay the successes, see it happen, feel it happen and forgetthe rest.The world’s most successful people have been the biggest failures.

A – Anger (Misdirected Aggression)Man cannot control what happens to him, but he can control how he responds to hisfailures. Remember, Luck (good or bad) can’t last a lifetime unless you die young.

I – Insecurity (Can’’’’’t cut it anymore)Never accept failure before it has taken place. What worries you, masters you. Ifyou are to fail, fail while attempting to succeed.

L – Leadership (Abandon it!)All great leaders are like a rubber ball, they rebound after every defeat. You mustget up off the ground because in every failure is the seed of an equal or greaterbenefit.

U – Undisciplined (Result vs. Process)Pay attention to the details (Fundamentals)

R – Resentment ( Self- pity, becomes the victim)The only water that can sink a ship is the water that gets inside. Life is formed from theinside out. What you are inside determines the issues in the battle of life. Always separatethe event from yourself.

E – Excuses (Never my fault) Don’t generalize away your mistakes. He who hopes to avoid all failure and misfortune is trying to live in a Fantasyland. The only place where a dream

becomes impossible is in your own thinking.

PROCESSPROCESSPROCESSPROCESSPROCESS

WINNING AND WINNERSWINNING AND WINNERSWINNING AND WINNERSWINNING AND WINNERSWINNING AND WINNERSWinning is overcoming obstacles to reach a goal. But the value in winning is only as great as

the value of the goal reached.

"You’re still going to win with preparation, dedication and plain old desire. If you don’t havegenuine desire, you won’t be dedicated enough to prepare properly."

Bear BryantBear BryantBear BryantBear BryantBear Bryant

"Winning is peace of mind. Knowing that we have done our best. We have no control overothers, we only have control of ourselves. We must strive to reach our fullest potential."

John WoodenJohn WoodenJohn WoodenJohn WoodenJohn Wooden

"Winning and goals go together. Remember, winning implies forward movement a n dsense of purpose (goal)."

Dr. Maxwell MaltzDr. Maxwell MaltzDr. Maxwell MaltzDr. Maxwell MaltzDr. Maxwell Maltz

"The winning in life formulates goals that are worthwhile for him. He achieves them by risingabove self-doubt and inhibition to realize his full potential as a human being.

Dr. Maxwell MaltzDr. Maxwell MaltzDr. Maxwell MaltzDr. Maxwell MaltzDr. Maxwell Maltz

* Winners turn crisis into opportunity.* Winners hunger for success. A single-minded drive for victory and he wants everyone to know it.* Winners relish every second of the fight. Every disciplined situation is used as a psychological

booster to pump extra reserves of confidence and drive into his game.* At Citrus we give an image of "look at us. This is Citrus at work, doing what we do best! We have

a worthy opponent and no matter what, we’re going to beat him."* When an opponent faces Citrus he must feel our will to win and know we are out to beat them - no

matter what you do or how long it takes. It becomes somewhat frightening to the opponent.* No one has ever become a champion in any sport without possessing a high degree of drive. That

surging compulsion for success, which propels you forward through the barriers of pain and effortto achieve your goal, is indispensable to the winner.

PROCESSPROCESSPROCESSPROCESSPROCESS

We must enjoy the process of striving toward our goal. That goal could be the purchase of ahome, a car, preparing for a marriage, raising a family, graduating from college, being a successin the business world, or in relationships with family and friends.

If this team has an area that it needs to improve it is in the intensity and the discipline of our dailywork. We need to gather ourselves before practice, get into the frame of mind that "I will practicelike a champion and respect the effort and discipline of practice." There is only so much time toprepare, we need to appropriate and wisely use that time.

Understand and incorporate the following terms:

INDIVIDUAL MODIFICATION INDIVIDUAL MODIFICATION INDIVIDUAL MODIFICATION INDIVIDUAL MODIFICATION INDIVIDUAL MODIFICATION (Practice)(Practice)(Practice)(Practice)(Practice)Each individual must take the basic fundamentals of a skill or technique and adapt those

fundamentals to their specific strengths.

STATIC TECHNICAL ROUTINESTATIC TECHNICAL ROUTINESTATIC TECHNICAL ROUTINESTATIC TECHNICAL ROUTINESTATIC TECHNICAL ROUTINE (Stubborness) (Stubborness) (Stubborness) (Stubborness) (Stubborness)Ego and the fear of failure are strange compansions. They combine to form a stubborn

resistance to adjustments and change. This is what got me here and I'm not going to change nowattitude. This attitude will not allow the individual to catch up with the rapid changing environment.

STRATEGIC FLEXIBILITYSTRATEGIC FLEXIBILITYSTRATEGIC FLEXIBILITYSTRATEGIC FLEXIBILITYSTRATEGIC FLEXIBILITY (Game) (Game) (Game) (Game) (Game)The awareness of what is taking place around the individual, the ability to adapt during an activity

to changes and approaches in a fundamental way that will lead to a greater percentage of success.

In each of these terms the ability to adjust plays the dominant role.

ADJUST - ADJUST - ADJUST - ADJUST - ADJUST - The ability to make changes that allow for a greater opportunity of success.

"The name of the game is adjustment. You can look at a guy’s speed, arm strength, all those kindsof tools, but to me the most important tool a player can have is the ability to adjust. It doesn’t matterhow good he is, he won’t reach his highest level unless he can learn to adjust."

Karl KuehlKarl KuehlKarl KuehlKarl KuehlKarl KuehlDirector of Player DevelopmentDirector of Player DevelopmentDirector of Player DevelopmentDirector of Player DevelopmentDirector of Player Development

Oakland AthleticsOakland AthleticsOakland AthleticsOakland AthleticsOakland Athletics

SKILLS THAT ASSIST ADJUSTMENTSSKILLS THAT ASSIST ADJUSTMENTSSKILLS THAT ASSIST ADJUSTMENTSSKILLS THAT ASSIST ADJUSTMENTSSKILLS THAT ASSIST ADJUSTMENTS

1. AWARENESS:AWARENESS:AWARENESS:AWARENESS:AWARENESS: An overall view of the surroundings. An understanding of what is needed toachieve the task at hand. Removing oneself from the "emotional entanglement," or the pressureof the situation. (Aloofness, play above the game)

2. INTELLIGENCE:INTELLIGENCE:INTELLIGENCE:INTELLIGENCE:INTELLIGENCE: The ability to realize that to achieve the task at hand changes maybe neededto reach the goal. The stubbornness of strength versus strength does not always win the battle.Adaption to a changing environment allows oneself to constantly be on the aggressive.

3. KNOWLEDGE:KNOWLEDGE:KNOWLEDGE:KNOWLEDGE:KNOWLEDGE: To make positive, reasonable changes one must have a proper backgroundin the fundamentals of the situation a clear understanding of the cause and effect in the skillcomponents must be understood before common sense changes can be executed.

4. CONFIDENCE:CONFIDENCE:CONFIDENCE:CONFIDENCE:CONFIDENCE: An honest belief in one’s ability to succeed.This belief is extremely important,otherwise, the fear of the unknown will not allow the proper changes to be initiated.

THE IMPORTANCE OF ROUTINESTHE IMPORTANCE OF ROUTINESTHE IMPORTANCE OF ROUTINESTHE IMPORTANCE OF ROUTINESTHE IMPORTANCE OF ROUTINES

Every good performance has routines. Some are more obvious and elaborate than others.They’re easy to see when athletes hit and pitch in baseball, serve and return serve in tennis,dive, golf, and shoot free throws in basketball. Although unrelated to the mechanics of a strokeor movement, rituals can become powerful triggers for creating your ideal performance state(the internal conditions at which you will perform your best). They help in deepening concentra-tion, turning on the automatic, raising your intensity, staying loose, and more.

Unfortunately, when things start to go badly or when we start to feel pressure, we oftenshort circuit our routines. We start rushing. Even though we are not aware of it, we may takefewer deep breaths, visualize differently, cut down on pre-performance time or even drasticallyincrease pre-performance time. In difficult situations, we must be sure to take more thanenough time to prepare prior to execution and complete our pre-performance routine in itsentirety.

Ask yourself the following:• Do you have a routine that helps you feel loose, confident, energized, etc.?• Do you practice your pre-performance routine so that it becomes a powerful trigger for

your idealperformance state?

• Do you short circuit your routine when you start struggling?• Do you study the routines of other top competitors in your sport that you admire? (I know you all do)

(Taken with modifications from Mental Toughness Training For Sports (1982 by James E. Loehr.)

RECOGNITIONRECOGNITIONRECOGNITIONRECOGNITIONRECOGNITIONDisplay, Removal,

Netutralizeof Emotion

STERNUM UPSTERNUM UPSTERNUM UPSTERNUM UPSTERNUM UPTURN IT AROUNDTURN IT AROUNDTURN IT AROUNDTURN IT AROUNDTURN IT AROUND

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GOALGOALGOALGOALGOALCenter on responsiblity

at handThe job to be accoumplished

REFOCUSREFOCUSREFOCUSREFOCUSREFOCUS

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EMOTIONALEMOTIONALEMOTIONALEMOTIONALEMOTIONALMAINTENANCEMAINTENANCEMAINTENANCEMAINTENANCEMAINTENANCE

ROUTINEROUTINEROUTINEROUTINEROUTINE

"The Six Rs""The Six Rs""The Six Rs""The Six Rs""The Six Rs"

FOCUS AWARENESSFOCUS AWARENESSFOCUS AWARENESSFOCUS AWARENESSFOCUS AWARENESSHere and Now

ROUTINE AWARENESSROUTINE AWARENESSROUTINE AWARENESSROUTINE AWARENESSROUTINE AWARENESSPositive Habits

Confidence

Security

AWARENESS REMOVES PRESSUREAWARENESS REMOVES PRESSUREAWARENESS REMOVES PRESSUREAWARENESS REMOVES PRESSUREAWARENESS REMOVES PRESSUREAwareness allows:1. An aloofness (above the situation) that will remove

you from the anxiety and emotion of the situation.2. Analytical judgement rather than an emotional reaction.

ACTIVATIONACTIVATIONACTIVATIONACTIVATIONACTIVATIONTo increase the energy level (ENERGIZE):

Center on the INHALE & AGGRESSIVE SELF TALK.To decrease the energy level (RELAXATION):

Center on the EXHALE & CALMING SELF TALK.

OFFENSE

HITTING PARAMETERS

1. Timing is being in the right place at the right time. Good hitters are online and on time.

2. The bigger the separation of the belly button and the hands the better thehitter.

3. The longer the bat can remain on the path of the pitch the better thehitter.

4. Any movement out of sequence means strength out of sequence and abreak down of the swing.

5. Hitting is a linear movement, a rotation around an axis and a directionalmovement of the hands.

6. The hands need to remain close to the body during hip rotation. This is arotational movement not a pushing action.

7. When the heel of the stride foot hits the ground the hips must then beginto open.

8. At “Point of Contact” the rear leg is no longer weight bearing.

9. When the pitcher separates his hands, the hitter should weight transferback to the rear instep, stride and separate.

All pre pitch movement should be done slow, easy and early.

10. The stride foot should hit the ground at the release of the pitch.

11. Hitters using an open stance should use a “Tap and Go” method.

12. The lead elbow is a hitter’s compass.

MENTAL PREPARATION FOR HITTINGMENTAL PREPARATION FOR HITTINGMENTAL PREPARATION FOR HITTINGMENTAL PREPARATION FOR HITTINGMENTAL PREPARATION FOR HITTING

A. GETTING DRESSED FOR GAME Things You DoFirst preparation per game A.Separation from daily routine & personal issuesYou are putting on the ultimate baseball playerCheck all your equipmentSpecial music you listen to

B. ARRIVAL AT THE FIELDSetting up equipment B.Warm up with team

Stretching-feel where you are at on this day.Stretchyour body into centered perspectiveRunning-feel body coming together

C. BATTING PRACTICE1. Performance C.

Warm up by swinging batsSlowly begin to get into hittingWork out kinksGood practice swings

2. ConcentrationEstablish goals for B.P.

3. CopingWarm ups are not the game imagery

D. BEFORE THE GAME1. Performance D.

Study the pitcher warming up-determinerelease pointImage self making good contactCheck scouting informationPlan your strategy

2. ConcentrationMaintain or obtain proper arousal levelFeel confidence, intensity, inner strengthYou are comfortable, in control

3. Coping TechniquesRelaxation/activation proceduresBreathing techniquesMonitoring self-talkStretchingTalk to teammates, humor, etc.

E. IN THE HOLE1. Performance E.

Bat selection & preparationStretching - get body loosePut on batting glove-ultimate hitter arrives

2. ConcentrationStudy the pitcher-learn from every pitch he throwsRelate before game informationYou are getting mentally and physically ready

3. Coping TechniquesWhatever is productiveMonitor your self-talk

F. ON DECK1. Performance F.

Final loosening upImagery of hitting ball

2. ConcentrationAs you step into circle, concentration focusesin deeperFine tune body and thoughtsGet in the grooveCrisp, quick images-feel contactAllow energy (color) to fill every cell of your body-awesome

3. CopingUse your techniquesFocal point in stadiumMonitor self-talk

G. MOVING TO PLATE1. Concentration G.

With each step concentration intensifiesConfidence, awesome

H. TAKE SIGNAL1. Performance H.

Breathe nice and easy-THINKTake signal-quick image of successful execution

2. ConcentrationClear, know what you need to do

I. STEPPING INTO THE BOX1. Performance I

Centering self in the box-balance pointQuickly scan and relax bodyWarm up swingsMake immediate adjustments to meet demands ofsituationBreathe-relax (concentration narrows)Release the shoulders, feel hands (trigger point)

2. ConcentrationShifts of focus of attentionSmart, quick and strongReady-you and the pitcherCentered within

3. CopingFocus on pre-hitting routine

J. NOW SHIFT ATTENTION TO PITCHER1. Performance J.

Once centered within, attention shifts topitcher’s shoulderFine tune to release area

2. ConcentrationFocused and readyTunnel visionCocoon of silence

K. RESPOND TO THE SITUATION

L. FEEDBACK1. Performance L.

Process feedback:More information on the pitcher & situationUse it to your advantageStay positiveMake adjustment to the pitcher

2. ConcentrationProcess informationLet go of previous pitchKeep it positiveGo to pre-hitting routine

3. CopingMonitor self-talkImagery

M. STEP OUT OF THE BOX1. Performance M.

Step out of the box and reloadTrace your centering pointTake breath-clearing techniqueTake signalYour own methods

2. Coping

Use focal points

Center

Keep it positive

N. REGAINING YOUR FOCUS AT THE PLATE-CLEARING

Step out of the box

Turn away from the pitcher

Tighten-release

Some routine to LET GO

Turn to focal point

Take a breath

Turn to pitcher-totally focused on next pitch

Apply your pre-hitting routine

OWL SWING GLOSSARYOWL SWING GLOSSARYOWL SWING GLOSSARYOWL SWING GLOSSARYOWL SWING GLOSSARY

AccelerationAccelerationAccelerationAccelerationAcceleration The increasing change of velocity of the hands, arms and barrel head from

the beginning of the swing through contact.

Angle of ApproachAngle of ApproachAngle of ApproachAngle of ApproachAngle of Approach The angle at which the barrel head approaches the pitch.

AxisAxisAxisAxisAxis An imaginary straight line through the center of the body, around which it

should rotate during the swing.

Cast (Out and Around)Cast (Out and Around)Cast (Out and Around)Cast (Out and Around)Cast (Out and Around) To release the wrists prematurely on the swing, causing the barrel head to

arrive ahead of the hands and arms. Often caused by top hand dominate swing.

Center of GravityCenter of GravityCenter of GravityCenter of GravityCenter of Gravity The point in the body, somewhere in the pelvic area, where the torso, legs and

hips all balance. Zen followers call this the "one" position.

Center of RotationCenter of RotationCenter of RotationCenter of RotationCenter of Rotation The axis around which the body winds and unwinds, usually referred to as

rotation of the "one" into the pitch.

Clearing the Left HipClearing the Left HipClearing the Left HipClearing the Left HipClearing the Left Hip Reaction to the pitch, by opening the front hip, and allowing rotation and the

hands to remain inside the pitch

Come Off the PitchCome Off the PitchCome Off the PitchCome Off the PitchCome Off the Pitch Premature opening of the lead shoulder.

ConnectionConnectionConnectionConnectionConnection The coordination of the hips and hands. Keeping the elbows and hands close

to the body during rotation and the barrel behind the hips. Centrifugal force will

release the hands from inside the pitch.

Directional HittingDirectional HittingDirectional HittingDirectional HittingDirectional Hitting Intentional opposite field hitting. Contact is made over the plate and with the

inside half of the ball.

Drop KneeDrop KneeDrop KneeDrop KneeDrop Knee Emphasis on the rear knee working as a balancing and directional device.

Hands InsideHands InsideHands InsideHands InsideHands Inside Describes the swing path in which the barrel head approaches the pitch from

inside and accelerates through the pitch.

HookHookHookHookHook Describes swing path in which the barrel head approaches the pitch from

outside and then pulls across.

Knob DownKnob DownKnob DownKnob DownKnob Down Initial action of the bottom (lead) hand. It shortens path to the pitch and assists

in keeping inside the pitch.

Out to InOut to InOut to InOut to InOut to In Anticipation of pitch away, continuation of rotation of the hips for a ball inside.

Power FadePower FadePower FadePower FadePower Fade A swing path from inside to out that imparts backspin. Insures contact without

sacrificing power.

Pre-performance RoutinePre-performance RoutinePre-performance RoutinePre-performance RoutinePre-performance Routine A ritual used before every pitch to initiate the vision sequence and help the

batter remain in the moment.

OWL SWING GLOSSARYOWL SWING GLOSSARYOWL SWING GLOSSARYOWL SWING GLOSSARYOWL SWING GLOSSARY

Pre-pitch movementPre-pitch movementPre-pitch movementPre-pitch movementPre-pitch movement Preliminary movement used to activate the swing from the bottom to the

top.

Pull, Pop, Elongate, RollPull, Pop, Elongate, RollPull, Pop, Elongate, RollPull, Pop, Elongate, RollPull, Pop, Elongate, Roll Actions of the hands during the swing lead hand pull, top hand pop with

hips, barrel follows the ball, hands roll over and finish high.

ReleaseReleaseReleaseReleaseRelease To uncock the wrists to a palm up, palm down position at point of contact.

Situational HittingSituational HittingSituational HittingSituational HittingSituational Hitting Prime concern is advancement of runners, see Execution Tips.

StackStackStackStackStack The proper balance position throughout the swing, knees between the

ankles, hips

between the knees, shoulders over hips, chin down at contact.

VisualizationVisualizationVisualizationVisualizationVisualization Forming a mental picture of the correct swing.

CENTRIFUGAL FORCE HITTING THEORYCENTRIFUGAL FORCE HITTING THEORYCENTRIFUGAL FORCE HITTING THEORYCENTRIFUGAL FORCE HITTING THEORYCENTRIFUGAL FORCE HITTING THEORY

In this theory the swing is initiated by the rotation of the torso around a stationary axis. The acceleration of

the hand is the result of centrifugal force or rotational energy.

This method differs from the Lau weight transfer swing, traditional hitting is initiated by the hands. Rotating

around a stationary axis is a “bottom to top” movement where the knees, torso and shoulders all rotate in

unison. The hands are accelerated from the energy of the rotating shoulders. All thoughts of force and or

lateral movement must be forgotten. It’s important to remember that rotation around a stationary axis is

generated from the ground up. The rotation of the hips and torso comes mainly from the action of the feet,

knees and legs.

LEAD HAND HITTING PHILOSOPHYLEAD HAND HITTING PHILOSOPHYLEAD HAND HITTING PHILOSOPHYLEAD HAND HITTING PHILOSOPHYLEAD HAND HITTING PHILOSOPHY

Shortest Path to the BallShortest Path to the BallShortest Path to the BallShortest Path to the BallShortest Path to the Ball

Whenever the knob of the bat goes, the barrel quickly follows.Whenever the knob of the bat goes, the barrel quickly follows.Whenever the knob of the bat goes, the barrel quickly follows.Whenever the knob of the bat goes, the barrel quickly follows.Whenever the knob of the bat goes, the barrel quickly follows.

By taking the knob of the bat to the ball, you accomplish:By taking the knob of the bat to the ball, you accomplish:By taking the knob of the bat to the ball, you accomplish:By taking the knob of the bat to the ball, you accomplish:By taking the knob of the bat to the ball, you accomplish:

a.a.a.a.a. Taking the shortest path, a straight line, to the ballTaking the shortest path, a straight line, to the ballTaking the shortest path, a straight line, to the ballTaking the shortest path, a straight line, to the ballTaking the shortest path, a straight line, to the ball

b.b.b.b.b. Keep the head of the bay close to the rear shoulder ready to accelerate into the pitch.Keep the head of the bay close to the rear shoulder ready to accelerate into the pitch.Keep the head of the bay close to the rear shoulder ready to accelerate into the pitch.Keep the head of the bay close to the rear shoulder ready to accelerate into the pitch.Keep the head of the bay close to the rear shoulder ready to accelerate into the pitch.

c.c.c.c.c. The hands stay inside the pitch before releasing the barrel.The hands stay inside the pitch before releasing the barrel.The hands stay inside the pitch before releasing the barrel.The hands stay inside the pitch before releasing the barrel.The hands stay inside the pitch before releasing the barrel.

Create BackspinCreate BackspinCreate BackspinCreate BackspinCreate Backspin

When hitting the baseball, it’s important for the hands to remain flat and extend through the ball.When hitting the baseball, it’s important for the hands to remain flat and extend through the ball.When hitting the baseball, it’s important for the hands to remain flat and extend through the ball.When hitting the baseball, it’s important for the hands to remain flat and extend through the ball.When hitting the baseball, it’s important for the hands to remain flat and extend through the ball.

a.a.a.a.a. This action creates backspin, which allows the ball to carry farther.This action creates backspin, which allows the ball to carry farther.This action creates backspin, which allows the ball to carry farther.This action creates backspin, which allows the ball to carry farther.This action creates backspin, which allows the ball to carry farther.

b.b.b.b.b. Assist in stopping premature rolling of the wrists creating topspin. Topspin in the leastAssist in stopping premature rolling of the wrists creating topspin. Topspin in the leastAssist in stopping premature rolling of the wrists creating topspin. Topspin in the leastAssist in stopping premature rolling of the wrists creating topspin. Topspin in the leastAssist in stopping premature rolling of the wrists creating topspin. Topspin in the least

desired flight, because the ball will not carry.desired flight, because the ball will not carry.desired flight, because the ball will not carry.desired flight, because the ball will not carry.desired flight, because the ball will not carry.

c.c.c.c.c. Keeping the bat as flat as possible for as long as possible exposes the sweet spot of theKeeping the bat as flat as possible for as long as possible exposes the sweet spot of theKeeping the bat as flat as possible for as long as possible exposes the sweet spot of theKeeping the bat as flat as possible for as long as possible exposes the sweet spot of theKeeping the bat as flat as possible for as long as possible exposes the sweet spot of the

bat in and through the hitting zone longer and adds additional bat speed for the swing.bat in and through the hitting zone longer and adds additional bat speed for the swing.bat in and through the hitting zone longer and adds additional bat speed for the swing.bat in and through the hitting zone longer and adds additional bat speed for the swing.bat in and through the hitting zone longer and adds additional bat speed for the swing.

Lead Hand Extension

The lead hand extends longer and therefore has more leverage than the top handa. Perfect full extension will finish high and begin to release the top hand.b. The goal should be to create at least as much force going toward the pitcher as

he is creating toward the hitter.c. Take the knob of the bat to the ball, have flat hands through the hitting areas,

achieve extension and a high finish.

CONSISTENCY OF THE STROKECONSISTENCY OF THE STROKECONSISTENCY OF THE STROKECONSISTENCY OF THE STROKECONSISTENCY OF THE STROKE

Adjustments can be made easier when there is a consistency of feel and of techniquewithin the swing. By establishing this feel and stroke, the body will be able to make automaticminute adjustments needed to handle each pitch. With a consistency of feel it will be easierto become aware of developing flaws.

We have found that the easiest way to begin the development of a solid stroke is tobreak the swing into two areas - the upper body and the lower body.

LOWER BODYLOWER BODYLOWER BODYLOWER BODYLOWER BODYThis is geared basically to controlling the length of the stride and powering the rear

hip or backside forward and through the pitch. Another term we will use is weight transfer,or weight driven into the lead foot. The lower body must be considered just as importanta factor as the hands in establishing a consistent stroke. If the lower body drags through,it will anchor the backside causing the shoulder to drop and an upward arc in the swing. Ifthe rear hip is not powered through the pitch, extension is almost impossible and the hitterwill be able to be jammed even by mediocre pitching.

Stride:Stride:Stride:Stride:Stride: The stride is a movement that prepares you to swing. You can’t stridedifferently on each pitch. Curve ball or fast ball makes no difference, the stride is alwaysconsistent in length. Most hitters stride at the pitcher’s release, yet it must be rememberedthat the longer you are able to wait before committing yourself, the better the quality ofcontact. The most important aspect of the stride is that the body weight and hands do notcommit with the stride. If the stride is longer than 10," this will cause the eye level to drop2" to 3." This will also lead to premature weight transfer or a lunge. Once the upper bodyis committed, the batter is finished. Always stride - then hit, never get caught striding andhitting at the same time. Many young hitters fall into this category and get caught lungingand are out in front of the off-speed pitch. Keep in mind that all actions in hitting areintertwined and lead to one another. The stride is important for balance and weight transfer.To maintain the balance, the lead foot should be closed. If it opens and points to the pitcher,the front side will prematurely open. A good check point or teaching method used by CharlieLau is to make sure the lead foot is closed and the back toe will end up pointing directly tothe ground after the swing is completed.

UPPER BODYUPPER BODYUPPER BODYUPPER BODYUPPER BODYAll to often the hitter commits the front half of the body, opening the lead shoulder

before the weight transfer and rear hip begins the forward explosion into the pitch. Byallowing this action, the hitter rolls off the outside pitch and more often than not, jams himselfor tops the inside pitch. We will use two terms in order to help establish the propertechnique: 1. "Knob Down inside the pitch" or 2. "Hands through the box."

By keeping the hitters hands inside the pitch, it enables a consistent feel as well ashelping create bat speed and short stroke. If the hitter makes the adjustment for the pitchlocation by burying the front shoulder and driving the hands between himself and the arrivingball, both the inside and the outside pitch can be covered.

Many hitters take the long swing to get around on the inside pitch (drags the barrel)and the ball will get inside the hands and jams the hitter. By pulling Knob Down and drivingthe rear hip inside the pitch, the hitter will clear the hips and accelerate the bat across thebody exposing the fat part of the bat to the ball. The longer you can keep the barrel of thebat on the plane of the pitch, the greater chance of solid contact.

If the hitter can attempt to fade the ball back up the middle it will allow the bat to remainon the plane longer. The technique used is very similar to hitting the ball the other direction,the hands slightly lead the barrel through the initial action and then explode into the pitchwith the rear hip and weight shift. If we can combine this technique with the Knob Downinside the pitch, we have the ultimate short stroke. A common fault with this technique isthat the young hitter will quit just before contact instead of continuing to accelerate andpower all the way through the pitch.

Bat speed is especially important on the breaking ball. If the lead shoulder hasremained closed and the hands back, the hitter can explode on the ball whether it be insideor outside. The basic problem on the slider away is that the hitter slows bat speed and popsthe ball up or weakly grounds out.

Remember, a smooth, relaxed swing is the goal. Tension is the enemy. A smoothswing can only be established by attempting to drive the ball back up the center of the field.A concentrated effort on attempting to pull tightens the arms and cuts down the naturalfluidity of movement and weight transfer.

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SEQUENCE BSEQUENCE BSEQUENCE BSEQUENCE BSEQUENCE B SEQUENCE ASEQUENCE ASEQUENCE ASEQUENCE ASEQUENCE A

Wade Boggs-Side View-Base Hits on Inside and Outside Pitches

(Computer Analysis by Bio-Kinetics, Inc., October 1988)

Wade Boggs-Top View-Base Hits on Inside and Outside Pitches.

IIIIInside Pitchnside Pitchnside Pitchnside Pitchnside Pitch

Outside PitchOutside PitchOutside PitchOutside PitchOutside Pitch

IIIIInside Pitchnside Pitchnside Pitchnside Pitchnside Pitch

Outside PitchOutside PitchOutside PitchOutside PitchOutside Pitch

MASS HITTING DRILLMASS HITTING DRILLMASS HITTING DRILLMASS HITTING DRILLMASS HITTING DRILLThis drill deals with the basic fundamentals of hitting and can be taught to a large group of players. Mass

Hitting allows the coach to break down the technique of hitting and also allows the player to individualize and

adapt his skills. The advanced method of this drill incorporates a tension removing ritual and a vision

sequence for each pitch.

To begin this drill, place the hitters in lines that resemble those used for calisthenics. A pitcher is needed

to go through his motion in order to assist in developing the vision sequence and key the offense mechanics

of the swing.

Begin the Mass instruction by following the natural bio-kinetic chain of movements, using the ground as

the propelling power source.

1. Feet-Feet-Feet-Feet-Feet-Stance, balanced position (head between the knees, the center of gravity placed between the

balls of the feet), a "stacked" position. Pre-pitch Movement, a body at rest tends to stay at rest, a body

in motion tends to stay in motion.

2. Stride-Stride-Stride-Stride-Stride-A timing device, takes place at release or as the pitcher’s hand moves toward the hitter. "Stride

then hit, never stride and hit simultaneously." All good hitters trigger the swing by gathering back and

striding away fro the hands. To maintain a "stacked" position the weight must still remain inside the

balls of the feet.

3. Back Foot Trigger-Back Foot Trigger-Back Foot Trigger-Back Foot Trigger-Back Foot Trigger-After the stride foot lands, the back foot initiates the swing by rotating inward

on the ball of the foot.

4. Rear Knee-Rear Knee-Rear Knee-Rear Knee-Rear Knee-The knee continues the rotation into the pitch and the weight shift. This action must be

completed on every pitch no matter the velocity. The rear knee acts similar to a boat’s rudder,

directing the hip and trunk rotation into the pitch.

5. Hip Rotation (Center of Gravity Rotation)-Hip Rotation (Center of Gravity Rotation)-Hip Rotation (Center of Gravity Rotation)-Hip Rotation (Center of Gravity Rotation)-Hip Rotation (Center of Gravity Rotation)-Completes the progressive rotating action and the lower

body weight shift. This rotation assists the acceleration of the hands in a directional movement toward

the pitch.

6. Hands-Hands-Hands-Hands-Hands-Lead Hand: The lead hand (bottom hand) is extended inside the flight of the pitch.

Top Hand: Maintains a proper barrel approach by keeping the barrel above and behind the

hands, accelerates the barrel into and through the contact zone. The hands will

remain in the "lag position" until they are in front of the trunk. The deceleration

of the hands at extension causes a transfer of energy from the arms and hands

to the bat. This transfer of energy allows the barrel to rapidly whip through the

contact zone.

7. Head-Head-Head-Head-Head-Once the stride foot lands the head should never again move. The head will remain at the top

of the "stack" through out the swing. At point of contact the chin should be down. If the head remains

in a disciplined position at point of contact all other phases of the swing tend to naturally make the

proper adjustments.

VISION SEQUENCEVISION SEQUENCEVISION SEQUENCEVISION SEQUENCEVISION SEQUENCEThis is a narrowing of the vision sequence; from a broadhis is a narrowing of the vision sequence; from a broadhis is a narrowing of the vision sequence; from a broadhis is a narrowing of the vision sequence; from a broadhis is a narrowing of the vision sequence; from a broad

viewpoint to a fine center on an approaching pitch.viewpoint to a fine center on an approaching pitch.viewpoint to a fine center on an approaching pitch.viewpoint to a fine center on an approaching pitch.viewpoint to a fine center on an approaching pitch.Soft Center-Soft Center-Soft Center-Soft Center-Soft Center-A relaxed view of the total pitcher.

Sequence: During pre-pitch movement.Fine Center-Fine Center-Fine Center-Fine Center-Fine Center-Narrow vision to the logo of the pitcher’s cap.

Sequence: As the pitcher rotates his shoulders to align toward the hitter.Fine Center on the Ball-Fine Center on the Ball-Fine Center on the Ball-Fine Center on the Ball-Fine Center on the Ball-The eyes shift to the release point and lock into the center of the baseball.

Sequence: As the pitcher’s hand rotates into the release point or as the hitter’s stride foot lands.Tracking the Pitch-Tracking the Pitch-Tracking the Pitch-Tracking the Pitch-Tracking the Pitch-Track the center of the ball all the way to the contact zone. This will assist the

hitter to see the ball on the way to the plate, rather than just a white blur.Sequence: During the Foot/Knee trigger.

"You only see what you look for"-Dr. William HarrisonIf done correctly this vision sequence will automatically allow the body to make the adjustments to variousspeed and pitch locations.

Relaxation/Tension Free RitualRelaxation/Tension Free RitualRelaxation/Tension Free RitualRelaxation/Tension Free RitualRelaxation/Tension Free RitualAny skill is best performed in a relaxed tension free state of mind. The following is pre-pitch ritual to assist theindividual in tension removal and the occupying the rational mind. The ritual can be used between pitches(while on the mound, at the plate or on defense) to assist emotional maintenance during the game’s pressure

situations.

Focus AwarenessFocus AwarenessFocus AwarenessFocus AwarenessFocus AwarenessHere and Now

Routine AwarenessRoutine AwarenessRoutine AwarenessRoutine AwarenessRoutine AwarenessPositive Habits, SecurityConfidence

PerformancePerformancePerformancePerformancePerformanceCorrect/IncorrectRhythm,Technique

Execution

SelfSelfSelfSelfSelfJoy/Anger

Hurried/Controlled

RECOGNITIONRECOGNITIONRECOGNITIONRECOGNITIONRECOGNITION

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REFOCUSREFOCUSREFOCUSREFOCUSREFOCUS

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6 R's6 R's6 R's6 R's6 R'sEMOTIONALEMOTIONALEMOTIONALEMOTIONALEMOTIONAL

MAINTENANCEMAINTENANCEMAINTENANCEMAINTENANCEMAINTENANCEROUTINEROUTINEROUTINEROUTINEROUTINE

Awareness Removes PressureAwareness Removes PressureAwareness Removes PressureAwareness Removes PressureAwareness Removes PressureAwareness allows:1. An aloofness (above the situation)

that will remove you from the anxietyand emotion of the situation.

2. Analytical judgement rather than anemotional reaction.

ActivationActivationActivationActivationActivationTo decrease the energy level (Relaxation)center on the Exhale & Calming Talk toincrease the energy level (Energize)

TIPS TO HELP THE HITTER LEARN TO WAIT LONGERTIPS TO HELP THE HITTER LEARN TO WAIT LONGERTIPS TO HELP THE HITTER LEARN TO WAIT LONGERTIPS TO HELP THE HITTER LEARN TO WAIT LONGERTIPS TO HELP THE HITTER LEARN TO WAIT LONGER

1. The hitter’s ability to visualize the pitch on the way to the plate coincides with ability to wait (vision sequence).

2. All good hitters have the patience to follow the Bio-kinetic Hitting Chain. Patience will keep the hitter fromcommitting the upper body and hands too early.

3. Be Relaxed! By being able to relax, the hitter will never sacrifice power but will assist in quickness. The quickerthe hitter, the longer he will be able to wait.

4. A downward arc in the swing will allow the barrel of the bat to follow the shortest course in order to meet theincoming pitch. The shortness of the stroke will allow the hitter the quickness needed to wait longer.

5. Good hitters get ready to hit early. They are never in a hurry or never feel rushed.

6. As the pitcher’s rear end rotates to the hitter, the hitter’s rear end rotates inward. This action will delay the initialmovement forward and allow the hitter to wait longer.

7. All hitters with the ability to wait look for the ball away and adjust to the inside pitch.

8. Attempt to hit every pitch up the middle with backspin. Fade hitting allows the hitter to keep the barrel on theplane of the pitch for a longer period of time.

9. A good hitter will flow to the fastball and keep going for the breaking ball. Stopping the flow will terminate thebio-kinetic chain and initiate an improper shoulder rotation.

10. Attempt to hit the ball as hard as possible, but with as little force as possible.

11. The farther a pitch is away from the hitter, the longer he must wait The lower the pitch, the longer the hitter mustwait.

12. Waiting is far from being passive, it may be the most active state of all. In its secret lay the beginning and theend of all action, the exact moment to strike.

A BODY IN MOTION TENDS TO STAY IN MOTIONA BODY IN MOTION TENDS TO STAY IN MOTIONA BODY IN MOTION TENDS TO STAY IN MOTIONA BODY IN MOTION TENDS TO STAY IN MOTIONA BODY IN MOTION TENDS TO STAY IN MOTIONBy using this law of physics, we are able to establish a rhythmic action into the pitch. Establish a relaxed stance,

as the pitcher is about to release, drop into a ready position (weight centered on ball of the rear foot) and drive the backsideforward and into the pitch. A term often used is "you must shift back in order to go forward." Always attempt to lead withthe hands slightly ahead of the barrel and inside the pitch. When using this method, we must still center and see theball on the way, attempt to establish a slight downward stroke with the beltline parallel to the ground (Knob Down).

Remember, a good hitter will never be out of a good balanced hitting position. The stride with this method isnothing but a natural short movement that takes place just following the backward shift into the ready position. As youstride, allow yourself to always get the bat into the "ready position" at stride. The coil or ready position is equivalent toa pitcher’s windup. Lau’s idea is that you set your weight in motion, moving back and forth on the balls of your feet sothat when the ball approaches, you rock smoothly forward as you start to swing. This is called a positive motion towardthe pitch.

THE GROOVED STROKETHE GROOVED STROKETHE GROOVED STROKETHE GROOVED STROKETHE GROOVED STROKEEach hitter must establish his own "grooved stroke," a swing that is adapted to his strengths and enables the barrel

to get on the plane of the pitch as soon as possible. A grooved stroke is the hitter’s objective because the consistencyof feel allows the body to make automatic adjustments needed to become a good hitter.

HANDSHANDSHANDSHANDSHANDSAll hitters have been reminded to keep the front shoulder in toward the pitch. Yet it is really the proper extension

of the lead hand that enables the front shoulder to remain driven into the pitch. If the shoulder opens early, the lead handwill pull across the chest, jamming the hitter, preventing extension and pulling off the outside pitch.

The hitter must make the adjustment for pitch location by extending the lead hand between himself and the arrivingpitch. Both the outside and inside pitches can be covered by splitting the difference between the ball and the hitter.

SHORT STROKESHORT STROKESHORT STROKESHORT STROKESHORT STROKEThe term "knob down, rear hip" is another synonym for short stroke. By pulling the lead hand forward and down,

along with the backside explosion, allows the hitter the shortest stroke. In all pitches, both high, low, in or out, are initiatedby pulling down with the lead hand, the barrel will be able to plane every pitch.

EXTENSION AND FINISH HIGHEXTENSION AND FINISH HIGHEXTENSION AND FINISH HIGHEXTENSION AND FINISH HIGHEXTENSION AND FINISH HIGHIn athletics, all power moves are concerned with flexion to extension and hitting is no different. The

good hitter will extend through each pitch imparting backspin on every ball hit. There is nothing more

disappointing than to drive a pitch and see it top spin to the ground. Top spin drives are caused by too much

top hand and improper extension. To insure proper extension, the top hand should be removed beyond

contact and the lead hand will finish high above the head. Do not misunderstand, the top hand is not released

until beyond contact. The "loose" top hand allows for bat whip and prevents the club head dragging through

the contact zone. The loose top hand grip will allow the bat to move freely in the hand.

By finishing with the lead hand high above the shoulders, it assures proper extension. If the lead

hand finishes below the shoulders, the bat was pulled across the chest preventing extension and pulling off

the ball.

100% BELOW THE BELT100% BELOW THE BELT100% BELOW THE BELT100% BELOW THE BELT100% BELOW THE BELTAll coaches have told hitters to "look for the fast ball and adjust to the curve." It is my belief that what

is really being said is to start your lower body on every pitch as if it were a fast ball (100%) and discipline your

upper body by keeping the lead hand back. By following this method, the hitter is able to handle the good

fast ball and still make the adjustments with the lead hand for the breaking ball.

PAY ATTENTION TO RESULTSPAY ATTENTION TO RESULTSPAY ATTENTION TO RESULTSPAY ATTENTION TO RESULTSPAY ATTENTION TO RESULTSEvery ball hit can tell the hitter if his stroke is correct. The ideal ball will have backspin and a slight

fade. Some pitches that are pulled will have no fade but will be straight with no hook.

If a ball is hooked, the barrel is going outside the pitch. This is a top hand dominant stroke causing

poor extension and premature opening of the shoulders. Another example of the top hand beginning the

stroke rather than the bottom hand is the top spin line drive.

Should the ball be hit directly into the ground, the problem is committing the upper body with the stride

and involving too much shoulders into the swing. High lazy fly balls are caused by improper weight shift. If

the lower body is not cleared, the barrel will drag causing a "knob up swing."

KNOB DOWN, INSIDE THE PITCHKNOB DOWN, INSIDE THE PITCHKNOB DOWN, INSIDE THE PITCHKNOB DOWN, INSIDE THE PITCHKNOB DOWN, INSIDE THE PITCHBy extending the lead hand inside the pitch, the barrel begins inside and accelerates through the

contact zone. Many hitters have called this an "inside-out stroke," but when combined with the proper weight

shift and extension, it becomes the most consistent hitting stroke.

HOW DO I GET A SHORTER MORE CONSISTENT SWING?

HANDS INSIDEHANDS INSIDEHANDS INSIDEHANDS INSIDEHANDS INSIDE1. Lead hand emphasis and a relaxed top hand2. Extrapolation of the pitch3. On every pitch have a repeatable positive initial reaction4. Lower body continuation

DIRECTIONDIRECTIONDIRECTIONDIRECTIONDIRECTION1. Locate feet up in the box and off the plate2. Extrapolation of the pitch3. Attempt to hit the inside, top half of the ball4. Lead hand extend and top hand remove

CONNECTIONCONNECTIONCONNECTIONCONNECTIONCONNECTION1. Keep relaxed elbows close to the rib cage2. All contact is made at a 90 degree angle (high/low, inside/outside)3. The rear knee, rear hip and back elbow align at point of contact

PROPEL THE BAT WITH THE FEETPROPEL THE BAT WITH THE FEETPROPEL THE BAT WITH THE FEETPROPEL THE BAT WITH THE FEETPROPEL THE BAT WITH THE FEET1. Maintain a tension-free upper body (neck, shoulders, arms and hands)2. Apply Power without Force, initiate shift and hip rotation with the feet3. Let the barrel automatically release from inside the pitch, let the bat swing tself

VISUAL CONTACT BY THE METHOD OF CENTERINGVISUAL CONTACT BY THE METHOD OF CENTERINGVISUAL CONTACT BY THE METHOD OF CENTERINGVISUAL CONTACT BY THE METHOD OF CENTERINGVISUAL CONTACT BY THE METHOD OF CENTERING

See the ball on the way to the plate and don’t hit a blur, should be the motto of all good hitters. We

are very concerned with the proper visual contact. Besides allowing for your most important asset, vision,

it enables the hitter to wait longer and almost ensure solid contact.

Dr. Bill Harrison, hired by the Kansas City Royals to develop visual training, has developed a new

method of visual concentration, "centering." "Hitting the baseball is called the single most difficult act

performed by an athlete," said Dr. Harrison, "But it only takes a slight movement of the eyes to turn a thrown

baseball into a blur." The vision of most hitters is affected when they are thinking about the future pitch or

worrying about proper technique. When a hitter is in a slump he will adjust physically by changing his grip

or stance, and in doing so falls deeper into the slump. Usually the problem could have been solved by making

a mental or visual adjustment. Believe it or not, tension does affect vision, and also believe it or not,

attempting to pull causes tension throughout the swing.

METHODS OF CENTERING ON THE BASEBALLMETHODS OF CENTERING ON THE BASEBALLMETHODS OF CENTERING ON THE BASEBALLMETHODS OF CENTERING ON THE BASEBALLMETHODS OF CENTERING ON THE BASEBALL

The outstanding athlete has that ability to isolate himself from his surroundings and concentrate. A

successful hitter must be centering or concentrating on the ball. If he goes to the plate thinking about his

stance or the bad call last time, then he is centering on those thoughts and not the ball, and chances of solid

contact are greatly reduced.

"To really see the ball, the batter must look for some specific information," said Dr. Harrison. "The

most effective way of doing this is to look at the middle or the center of the ball, such as the imaginary

horizontal line that would go through the middle." Instead of merely looking for the ball, he has tuned into

it.

Centering of concentration is the most important factor in hitting a baseball. When the eyes are

centering on the ball, it clears the mind and allows the aggressive "hit the ball" attitude to take over. When

the hitter can fine center on the ball, he becomes visually aware of detail (direction, rotation, speed, and

height).

Technique Technique Technique Technique Technique - As the pitcher rocks into pitching motion, the hitter should fine-center his eyes on the cap

insignia. Then just prior to release of the ball, pick up the ball in the release zone and center.

HOW TO PRACTICE CENTERINGHOW TO PRACTICE CENTERINGHOW TO PRACTICE CENTERINGHOW TO PRACTICE CENTERINGHOW TO PRACTICE CENTERING

1. Practice centering on objects in the surroundings by looking at as much detail as possible.

2. Learn the difference between centering and only looking at something. Practice this off the playing field,

as well as on, until it becomes second nature to observe detail in everything.

3. Practice soft-centering to take in a wider field of view then narrow down to a fine center on a specific

object. Learn to shift back and forth from soft-center to fine-center.

4. To form the habit of centering, spend a few minutes each day practicing against a pitcher throwing at

three-quarter speed. During this drill, always have new baseballs with darkened seams. This will enable

easier fine-centering and extrapolation. This drill can also be used to check the weight shift and proper

hand commitment.

POWER FADEPOWER FADEPOWER FADEPOWER FADEPOWER FADE

It takes only about .50 of a second to move the hand from the start of the swing to impact. Thisdoesn't allow much time to recognize and locate the pitch. All power hitters start the swing withthe lower body. Arms, hands and wrists merely respond to the change of direction. The initialmove should be a gather to the right instep and shift to the left side with the lower body. Hap-pening almost at the same time, the hips start to clear--turn to the left--and the right elbow dropsinto the slot along the side of the upper body. The last thing to move is the bat. Many hittersdon't understand this and try, instead, to start the swing by moving the bat. Do that and you'llunload too early and never explode through the ball. The bat moves as a result of the otherforces applied during the swing; it does not move on its own.

When the bat reaches halfway down, with the barrel parallel to the ground, you've reached the"delivery" position. At this point, it's possible to know exactly how you're going to deliver thebarrel through impact and ball's resulting flight.

The right elbow: It feels attached to the right side just above the hip. The left arm is flexed withthe upper arm hugging the chest. You're doing it correctly if it feels as if the arms are pullingdown.

Up untill this point the barrel should not move outside the hands. The barrel must remain insidethe hands, angled more toward the body than the ball. If the barrel is outside you have con-sciously used your hands to release the bat prematurely (using a casting action), or allowedyour right shoulder to swing too far out toward the ball rather than down.

Checkpoint: If an imaginary extension of the knob points down somewhere on or parallel to theball, the bat is on-plane and set to make solid contact. This is called an "on-line delivery".

If you swing through the on-line delivery position, shifting weight from your right foot to your leftfoot while clearing your hips fully around to the left, you will be hitting with your maximum power.

Impact: Impact is the result of everything that happened before, but that doesn't mean you can'twork on the proper positions and when you practice, freeze the key positions so you can betterfeel them when you swing.

You want to feel that you're standing tall at impact. The result of using the ground as leverage tocreate power.

Follow-Through and Finish: Two ingredients of an explosive impact. To hit through the ball fullyand finish correctly, keep your legs driving until you feel that all your weight has transferred tothe inside of the left leg and foot. Your right shoulder should finish closer to the ball than yourleft and you must be in balance. Many power hitters practice by swinging full out, then holdingtheir finish like statues.

Right

THE MECHANICS OF A HOME RUNTHE MECHANICS OF A HOME RUNTHE MECHANICS OF A HOME RUNTHE MECHANICS OF A HOME RUNTHE MECHANICS OF A HOME RUNBy: Lou PiniellaBy: Lou PiniellaBy: Lou PiniellaBy: Lou PiniellaBy: Lou Piniella

Schools of thoughtSchools of thoughtSchools of thoughtSchools of thoughtSchools of thoughtThere are basically two schools of thought when it comes to hitting a baseball. One school of thought

was developed by Ted Williams, the legendary Boston Red Sox slugger. The Williams school emphasizesa rotation of the hips to generate power. The second school of thought is best articulated by Charley Lau.The Lau school puts a premium on making contact with the ball. Lau asks you to keep your head down andshift your weight from back to front as you swing. If you throw your hips as Williams recommends, your handsare going to drag and your swing is going to be a little longer. Your navel is going to lead, and your handsare going to catch up a pitch you have more time to catch up to the ball. The higher a pitch is in the strikezone, the harder it is to catch up to it. Your swing has to be shorter and more compact. The problem is thatas the ball moves up the strike zone, it will hop a little more and have 2 to 3 miles per hour more velocity.The hitting method I’m going to describe is fundamentally derived from the Lau school, but with a variationdesigned to deliver more power.

The stanceThe stanceThe stanceThe stanceThe stanceWhat you want in your stance is balance. Balance allows you to do a lot of things. It allows you to get a goodweight shift. It allows you to go out after a breaking ball. It allows you to wait on an off-speed pitch. The goodhitter will lean forward across the plate and then shift his weight back. In terms of positioning the feet, thehome-run hitter cannot have a very closed stance. Most stances are about shoulder height-a position thatallows them to stride and make good use of the weight transfer in their lower bodies when they swing. Thereshould be a little movement in the feet. Like a tennis player awaiting a serve, your feet should not bestationary.

The triggerThe triggerThe triggerThe triggerThe triggerAll home-run hitters have one thing in common-the front-knee cock. It’s really their trigger to get everythinggoing. When the knee cocks, you’re shifting weight to the back leg and getting ready to drive off it. Most ofthe guys hitting the ball out of the park have a slightly open or square stance. As the knee is cocked, youget a small turn at the hip and at the shoulder. This turning motion helps the hitter get his hands back. Atthis point, the great home-run hitter do something you can’t teach. Amazingly, most of your home-run hitterdon’t have classic swings. Most of them have hitches-a little up/down motion with the bat at the start of theirswing that’s just innate. Hitch or not hitch, at this point there should be a straight line coming up from yourback foot through your hip to the top of your back shoulder. This is a power position. Your shoulders shouldbe fairly horizontal at the start of the swing, but as you make contact, the front shoulder is going to be a littlehigher than your back shoulder. This is because there’s no such thing as a level swing. Everyone swingsslightly up. Home-run hitters swing slightly more up than other hitters. The higher you finish, the more poweryou get-not to mention lift.

A loose batA loose batA loose batA loose batA loose batThe bat should be held in a relaxed, loose grip. Somebody should be able to pull it right out of your hands.

The bottom hand should grip the bat a little more tightly than the top. The bottom hand is the lead handbecause this hand gives you the extension. All your home-run hitters get bottom-hand extension. That’swhat gives them power. Everyone thinks the top hand gives you power, but the bottom hand provides mostof it. The top hand steers the bat. If the top hand dominates the swing, the bat will be in and out of the hittingarea very quickly. With bottom-hand extension, you stay in the hitting area much longer. Now here’s whereI disagree with Lau and his disciples. They suggest bottom-hand extension, but with top-hand release of thebat upon contact. I don’t agree with that because you lose power. You’re not getting the back side of yourbody to drive through the ball. The bottom hand gets the hitter to the ball. The top hand gets the hitter throughthe ball. By holding into the bat with both hands into the follow-through, you get a total weight shift thatdelivers more power into the swing. You only let go of the bat when you’ve driven all the way through theball-when it’s no longer physically possible to hold onto the bat because the bottom hand has extended wellbeyond the top hand’s ability to hand on. At that point, your back foot is slightly off the ground or has pivotedso only the toe is touching the dirt. With the Lau method, you get a pretty good lateral weight shift, but nota total weight shift. Without a total weight shift, you can’t generate the power to drive the ball out of the parkas consistently. Techniques helps a lot, of course, but a lot of what comprises a home-run hitter occursnaturally. There’s the hitch for one thing. Home-run hitters also go to the ball quicker. They don’t take a longtime deciding on whether or not to swing. For the most part, home-run hitters use a bat that is 2 to 3 ouncesheavier than most, with a thinly tapered handle and lots of barrel at the end. It takes a man to swing it. Home-run hitters want a club to slug the ball. When they connect properly, the ball is as likely to go out of the parkas it is anywhere else.

AUTOMATICSAUTOMATICSAUTOMATICSAUTOMATICSAUTOMATICS

The automatic offensive philosophy is no more than common sense baseball strategy, It is an

organized plan that can be developed into an immediate goal oriented offense that isolates areas of

importance and can be easily evaluated. As the word indicates, Automatics means there are no signals

given to the batter or base runner from the coach. Execution strategy automatically takes place dependent

upon an individual’s strengths and weaknesses, game situation, the score, number of outs and the inning.

Automatics, depending on player personnel, are a versatile goal oriented offense that can be either

a run-an-inning small game offense or a big bang three run home run philosophy. It allows for specificity in

practice for both an individual and the team. Each player can be evaluated on their contribution to a team’s

ability to score runs. The system places importance on an individual’s ability to execute inside an offensive

philosophy. Success depends on each players ability to master his individual skills in relationship to the

Automatics.

The Automatics force players to remain in the moment and become process-oriented rather than

result oriented. Anytime players are more concerned with the process rather than the result it helps elimi-

nate selfishness and the pressures of the game.

AUTOMATICSAUTOMATICSAUTOMATICSAUTOMATICSAUTOMATICS

NO OUT NO OUT NO OUT NO OUT NO OUT - no base runner (Goal, leadoff on base).

1. Excecution innings begin with quality pitches and quality strokes and solid two strike hitting.

2. Get six pitches or more as a hitter.

3. 2-0 take! Straddle (5 IN.), Roll, never back off the plate.

4. Force as many pitches as possible before the first out is recorded

NO OUTNO OUTNO OUTNO OUTNO OUT - Runner on First (Goal: Advance the runner into scoring position, remove D.P.).

1. SACRIFICE BUNT ONE AND ONE HIT AND RUNNER 3-2 COUNT

Option #1 Drag or push (1 strike) 1st Following Strike Run and hit

Slash 0-0 Sac. Bunt (1 strike) Hot Verbal

Command (Movement) Option #2 San Diego Slap

Read Slash (Follow Drag)

NO OUTNO OUTNO OUTNO OUTNO OUT - Runners on first and second (Goal: Advance both runners, remove D.P.).

1. SACRIFICE BUNT ONE AND ONE HIT AND RUN 3-2 COUNT

Hard Bunt - 3B Hard Bunt - 3B Coaches Choice Run and hit

Read depth of 1B Read depth of 1B San Diego Slap Check Stop Sign

NO OUTNO OUTNO OUTNO OUTNO OUT - Runner on second (Goal: Advance runner to 3B, score run).

1. Situational Hitting Plan (Complete at bat to right side)

a. RH up in the box, off the plate, inside half of the ball, hit first execution pitch.

b. LH back in the box, up on the plate, clear rear knee, lead hand extend and roll.

c. Optional bunt against same side pitcher.

d. Base runner - Baseline lead, by pitcher, right side, slow roller.

NEVER MAKE THE FIRST OUT OF AN INNING AT THIRD.NEVER MAKE THE FIRST OUT OF AN INNING AT THIRD.NEVER MAKE THE FIRST OUT OF AN INNING AT THIRD.NEVER MAKE THE FIRST OUT OF AN INNING AT THIRD.NEVER MAKE THE FIRST OUT OF AN INNING AT THIRD.

NO OUTNO OUTNO OUTNO OUTNO OUT - Runner on third or second and third (Goal: score the run, advance the secondary runner).

1. Scoring G.B. Scoring F.B. Base runner

a. no stride Direction Read infield

b. Knob to pitchers feet Lead hand extend, Angle down off the bat

top hand remove, React back on ball in the air

finish high.

NO OUTNO OUTNO OUTNO OUTNO OUT - Bases Loaded (Goal: Score the run, continue to apply pressure).

1. Hitter Base runners

a. Take a strike Station to station

b. Quality at bat No reaction lead

c. Get a pitch that can Relay pitches

be driven in the air React back on ball in the air

ONE OUT ONE OUT ONE OUT ONE OUT ONE OUT - Runner on first (Goal: Advance runner two bases, remove D.P.).

1. HIT AND RUN STOLEN BASE/RUN AND HIT 3-2 COUNT BASE RUNNER

a. No stride, wide base Primary base stealer(take BB) Run and Hit No picks

b. Tension free , knob, San Diego Slap Two strides,look

hands inside a. Put ball in play in, react to ball,

c. fade stroke b. Read and react to infield play pick up coach.

HIT ANDRUN OPTIONSHIT ANDRUN OPTIONSHIT ANDRUN OPTIONSHIT ANDRUN OPTIONSHIT ANDRUN OPTIONSA. Pitch Count Hot Verbal

135 Even (0-0, 1-1, 2-2) Instant hit and run

246 Ahead (1-0, 2-1, 3-1) Cancellation

0-2 pitch Behind (0-1, 1-2)

ONE OUTONE OUTONE OUTONE OUTONE OUT - Runners on first and second (Goal: Score run, remove D.P.).

1. HITTER BASE RUNNER AT SECOND

a. Quality at bat, quality pitch a. One out angle, quality secondary lead.

b. Drive in run b. React back on ball in the air

c. Relay pitches and zone

d. Read depth of 3B

ONE OUTONE OUTONE OUTONE OUTONE OUT - Runner at third or second and third (Goal: Score the run).

HITTER BASE RUNNER

a. Scoring G.B. a. Read Infield

b. Scoring F.B. b. Angle down off the bat.

c. Option #1 (Squeeze) c. Wild pitch expectation

predetermind pitch d. React back on ball in the air.

d. Drag or push, deep corner read e. Squeeze, break on separation of hands.

ONE OUTONE OUTONE OUTONE OUTONE OUT - Runners ai first and third (Goal: score the run, advance the runner from first, remove D.P.).

FIRST AND THIRD OFFENSE HITT AND RUN BASE RUNNERS

a. Color a. Verbal, live color a. Score on allG.B.’s.

b. 1st, 2nd, 3rd number b. 3-2 count b. Break up two

c. San Diego Slap

HITTER

a. Quality at bat

b. Quality pitch to drive in the air

1. No out steal: first movement, 100% thru second base.

3B: Hard bluff as ball passes pitcher’s head.

2. One Out Steal: first movement, slide and scramble at 75%

3B: Make ball by pitcher’s head.

3. Two Out Steal: first movement, slide and scramble at 60%

3B: make ball by the pitcher’s head.

4. Pick at first: basic reaction according to the number of outs.

3B: Read left hand 1B, read eyes, right hand 1B chin or numbers.

5. Delay: basic reactions according to the number of outs.

3B: react to ball out of hand.

6. First and Third Sac: hard bunt to 3B

3B: Trail 3B, break on throw to first.

TWO OUT TWO OUT TWO OUT TWO OUT TWO OUT - Runner on first (Goal: Hitter - drive the ball up the alley. Base runner - get into scoring pos.).

1. HITTER BASE RUNNER

a. Quality at bat, drive the ball Primary and secondary look to run (1-0, 2-1, 3-1).

b. During a stolen base attempt delay awareness

drive the fast ball, swing thru Expect to score on an extra base hit, force a perfect

the breaking ball. throw

Read pitch in the dirt

TWO OUTTWO OUTTWO OUTTWO OUTTWO OUT - Runner on second (Goal: Score the run).

1. HITTER BASE RUNNER

a. Quality at bat, quality pitch Two out angle, score on any base hit

b. Put ball in play with two strikes Quality secondary lead (no pickoffs), move on 2 strike

swing.

c. Draw the throw at 2B on a close Relay pitches.

Play at the Plate. Score from second on every ground ball.

TWO OUTTWO OUTTWO OUTTWO OUTTWO OUT - Runner on third (Goal: Score the run).

1. HITTER BASE RUNNER

a. Two out runs are scored on Break the pitchers concentration

quality strokes Expect the wild pitch.

b. Put in play with two strikes.

c. Corners, deep drag or push bunt.

NEVER MAKE THE THIRD OUT OF AN INNING AT THIRD BASE.

IT IS NOT JUST A SWING, BUT A SPECIFIC SWINGIT IS NOT JUST A SWING, BUT A SPECIFIC SWINGIT IS NOT JUST A SWING, BUT A SPECIFIC SWINGIT IS NOT JUST A SWING, BUT A SPECIFIC SWINGIT IS NOT JUST A SWING, BUT A SPECIFIC SWING

When attempting to excute all hitters need to be reminded that it is not just a swing but a specific swing.

Adjustments need to be made in order to help the ball club score. Young hitters fail to make the appropriate

adjustments for three reasons; selfishness, fear of failure and ignoring a situational hitting plan. In all executions

situations, as well as, two strike hitting the hitter need only pay attention to specific details to be successful.

RUNNER AT SECOND, NO OUTRUNNER AT SECOND, NO OUTRUNNER AT SECOND, NO OUTRUNNER AT SECOND, NO OUTRUNNER AT SECOND, NO OUT

Specific details:

Hitting Plan:Hitting Plan:Hitting Plan:Hitting Plan:Hitting Plan: This ia a situational plan, the hitter must be ready to put the first pitch that can be hit to the right side.

In the Box: In the Box: In the Box: In the Box: In the Box: Right-hand hitters must move forward in the box, place the right foot in the middle of the plate and

back-off by 8 to 10 inches.

Left-handers must move to the rear of the box, within 5 inches of the plate, and the right foot even with the back

corner of the plate.

Swing path and contact pointSwing path and contact pointSwing path and contact pointSwing path and contact pointSwing path and contact point: Right-hand hitters must use a fade stroke and hit the inside of each pitch. The

right wrist backhands and rolls over the ball.

HIT AND RUNHIT AND RUNHIT AND RUNHIT AND RUNHIT AND RUN

Specific details:

In the Box: In the Box: In the Box: In the Box: In the Box: Move to the front half of the box. Place the rear foot in the middle of the plate. To remain in a balanced

position, use the no-stride flexed-knee method.

Swing path and contact point:Swing path and contact point:Swing path and contact point:Swing path and contact point:Swing path and contact point: Use a connected fade stroke, making contact inside the feet.

SCORING GROUND BALLSCORING GROUND BALLSCORING GROUND BALLSCORING GROUND BALLSCORING GROUND BALL

Specific details:

Hitting Plan: Hitting Plan: Hitting Plan: Hitting Plan: Hitting Plan: Once again this is a situational hitting plan, put the first pitch that can be hit up the middle in play.

In the Box: In the Box: In the Box: In the Box: In the Box: Move up in the box and off the plate.

Swing path and contact point: Swing path and contact point: Swing path and contact point: Swing path and contact point: Swing path and contact point: Fade stroke, attempt to backhand the pitch up the middl;e on the ground.

Scoring Fly Ball: Scoring Fly Ball: Scoring Fly Ball: Scoring Fly Ball: Scoring Fly Ball: Attempt to hit a fly ball to the opposite field. To secure the barrel from rolling over, extend with

the lead hand and finish high.

TWO STRIKE HITTINGTWO STRIKE HITTINGTWO STRIKE HITTINGTWO STRIKE HITTINGTWO STRIKE HITTING

Specific details:

Hitting Plan: Hitting Plan: Hitting Plan: Hitting Plan: Hitting Plan: Direction hit every pitch in any location. Never let the barrel get ahead of the hands.

In the Box: In the Box: In the Box: In the Box: In the Box: Put both feet on the chalk line and straddle the plate, from this position the hitter will have coverage

of both sides of the plate.

Swing path and point of contact:Swing path and point of contact:Swing path and point of contact:Swing path and point of contact:Swing path and point of contact: The hands are driven inside the path of the pitch, never muscle with the upper

body, use the lower body and hips to handle any inside pitch. The path is that of a connected 90 degree angle.

TYPES OF HITTERSTYPES OF HITTERSTYPES OF HITTERSTYPES OF HITTERSTYPES OF HITTERS1. Zone HitterZone HitterZone HitterZone HitterZone Hitter: Looks for ball in definite zone - up - down - up & away - etc., (not concerned

with what the ball does as long as it is in the zone you want.)2. Pitch HitterPitch HitterPitch HitterPitch HitterPitch Hitter: Looks for a particular pitch - curve - slider - fastball.3. Zone & Pitch HitterZone & Pitch HitterZone & Pitch HitterZone & Pitch HitterZone & Pitch Hitter: Looks for a particular pitch in a certain zone - fastball away -

hanging curve - etc.4. Attack HitterAttack HitterAttack HitterAttack HitterAttack Hitter: "I will hit the first good pitch I see. Must be able to wait. (If you find yourself

taking too much, go to this.)5. Speed HitterSpeed HitterSpeed HitterSpeed HitterSpeed Hitter: Looks for hard "stuff" or soft "stuff." (Not concerned with what pitch does

as long as it is the speed you want.)6. Direction HitterDirection HitterDirection HitterDirection HitterDirection Hitter: Wants to hit the ball to a particular field - up the middle - right field -

second baseman-left field - etc., (can use this to help you adjust to certain pitch -example: right hand hitter is ahead of fast ball he is looking for - adjust to hit the ball tosecond baseman - this does not necessarily mean you will hit the ball to the secondbaseman, you might end up hitting it through the hole between short and third, whereasif you did not adjust you would have missed it completely). Good for two strikes.

7. Direction & Pitch Hitter Direction & Pitch Hitter Direction & Pitch Hitter Direction & Pitch Hitter Direction & Pitch Hitter: Looking for a certain pitch to hit in a certain direction - righthand hitter looking for fast ball away to hit to right field - looking for ball up to hit fly ballto score run from third base, etc.

8. Fast to Slow HitterFast to Slow HitterFast to Slow HitterFast to Slow HitterFast to Slow Hitter: Set your rhythm for his fastest pitch and if he gives you anythingslower, keep your hands back so you can still handle it. (Can use this when you arehitting with two strikes.)

HITTING PLANHITTING PLANHITTING PLANHITTING PLANHITTING PLANThe pitcher has the definite advantage on the hitter. He knows where the pitch is going

and what the pitch is going to do. The only way a good hitter can consistently hit a goodpitcher is to have a hitting plan. You will not always be able to depend on your reaction abilityin these situations. This plan can be developed by becoming familiar with the pitcher andhis pattern of pitches.

The hitter should have an idea of what pitch the pitcher is predominately throwing (hardstuff or soft stuff) and look for that speed. The hitter should go to the plate looking for onespeed, you can change your plan between pitches, but still only look for one speed.

HITTING PLANHITTING PLANHITTING PLANHITTING PLANHITTING PLANWORKSHEETWORKSHEETWORKSHEETWORKSHEETWORKSHEET

HIGHBALL HITTER LOWBALL HITTER

OUTER 2/3

OR

INNER 2/3

NO STRIKE

Speed in power

zone. Cheat to

power zone

SPEED

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SPEED

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SPEEDS

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ALL

SPEEDS

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TWO

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ONE STRIKE PLANNO STRIKE PLAN

Take all pitches in

zone of weakness

ONE STRIKE

Be able to hit all

pitches, regardless

of speed, in power

zone

TWO STRIKE

Expand the strike zone

by two ball widths

Hit all pitches

opposite direction

Keep the barrel

behind the hands

Take all pitches in

zone of weakness

PIT

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PITCHER STEREOTYPESPITCHER STEREOTYPESPITCHER STEREOTYPESPITCHER STEREOTYPESPITCHER STEREOTYPES

STANDARD COLLEGESTANDARD COLLEGESTANDARD COLLEGESTANDARD COLLEGESTANDARD COLLEGETYPE ATYPE ATYPE ATYPE ATYPE A

STANDARD COLLEGESTANDARD COLLEGESTANDARD COLLEGESTANDARD COLLEGESTANDARD COLLEGETYPE BTYPE BTYPE BTYPE BTYPE B

PROSPECTPROSPECTPROSPECTPROSPECTPROSPECT

SUSPECTSUSPECTSUSPECTSUSPECTSUSPECT

FINESSE PLUSFINESSE PLUSFINESSE PLUSFINESSE PLUSFINESSE PLUS

COMEDIANCOMEDIANCOMEDIANCOMEDIANCOMEDIAN

FERNANDOFERNANDOFERNANDOFERNANDOFERNANDO

FREAKFREAKFREAKFREAKFREAK

GUN SLINGERGUN SLINGERGUN SLINGERGUN SLINGERGUN SLINGER

Followed disciplined hitting plan. Be able tohit curveball with one strike. Take low rota-tion. Respect slider with two strikes, fight offfastball.

Wait him out to see if he will have command.Cheat fastball in every situation that he mustchallenge. Patience will get you a good pitchto hit.

Be aggressive, look fastball and attempt to hitearly in the count. Try not to get behind in thecount. By being too selective, he will domi-nate the hitter. Remain tension free, flow withthe pitch. Avoid muscling the pitch, it willcause a slow bat.

Set pre-pitch movement to his fastball. Waitfor a mistake or base on balls. He will giveyou one or the other. Respect one pitch.

Adjust 0-0 hitting plan. The first pitch curvewill be the best to hit. Take fastball early incount. Keep hands inside the pitch. Take lowpitch. Bunt and steal. Crowd the plate.

Similar to above. This guy can’t fool a goodhitter. Maintain good 0-0 discipline. Bepatient, you will get a pitch to drive.

Take all the pitches from mid thigh down,force him to bring pitch up. Right hand hitters,get hands inside and fade the ball. Left-handed hitter, crowd the plate and get ex-tended. Move up in the box.

Make pitch be above mid-thigh. Attempt to hitevery pitch opposite way. Very few freakscan get the pitch over twice in a row. Stayunder control.

Control half the plate for two strikes. Nor-mally fairly easy to steal. Crowd the plate withtwo strikes and cheat other half. Fight off thefastball inside or make the ball hit you on the

Sinker-Slider, 81-84 mph, lowballpitcher, can throw both pitches forstrikes.

Type A, but may be erratic; will fallbehind in the count.

Great Fastball, 85-90 mph; sharpbreaking pitch with command.Challenges the hitter.

85-90 mph, good breaking ballbut has no command of eitherpitch. Falls behind in the count.

Throws curveball and offspeedpitches for strikes. Uses fastballas a change.

A finesse pitcher without control.Can’t throw fastball by the hitter,will hang breaking ball.

Lhp, sinker or screwball.

Uses split finger fastball, forkknuckleball.

Runs fastball in on the hands,throws sweeping slider away. At-tempts to get the hitter to sacrificehalfof the pla te.

IMPORTANCE OF BUNTINGIMPORTANCE OF BUNTINGIMPORTANCE OF BUNTINGIMPORTANCE OF BUNTINGIMPORTANCE OF BUNTING Too many hitters don’t like to bunt. They hang their head, kick the dirt, and literally hate to bunt. Many agame has been lost because a hitter has just been too lazy and not worked on the bunting aspect of the game.A good bunter must want to bunt. He must have the desire and want to sacrifice for the team. A good bunting team can change the complexion of a game, within the matter of one inning. It can breaka pitcher’s rhythm and concentration and loosen up a defense. The key to the bunt is the advancement ofrunners and scoring runs. A good bunter needs only average speed if he can perfect his technique. The bunt can also be used to end batting slumps, as well as improve batting averages. This isaccomplished by bunting as often as you possibly can during practice. It develops a greater concentrationin following the pitch and studying the strike zone. This procedure is a tremendous asset in getting a hitterto stop chasing bad pitches.

TYPES OF BUNTS AND TECHNIQUESTYPES OF BUNTS AND TECHNIQUESTYPES OF BUNTS AND TECHNIQUESTYPES OF BUNTS AND TECHNIQUESTYPES OF BUNTS AND TECHNIQUES There are four basic types of bunts, each with a different goal in mind. The first and most often used is thesacrifice bunt. Its primary objective is to move a runner into scoring position. The sacrifice bunt is usually notused when you are down by two or more and with one out unless it is the pitcher or an extremely weak hitterat the plate. The drag bunt and the push bunt are used to get runners on base. The fence type of bunt is theleast used, the squeeze. Its objective is to score the all-important run. It is a morale builder for the offensiveteam and a demoralizer for the defense.

PROPER BUNTING TECHNIQUEPROPER BUNTING TECHNIQUEPROPER BUNTING TECHNIQUEPROPER BUNTING TECHNIQUEPROPER BUNTING TECHNIQUE We believe in teaching one type of sacrifice bunt to everyone: the pivot in place method. The pivot in placebunt is superior because: (1) it requires less movement and less chance of error, (2) it allows the slash positionto be reached with excess body movement, (3) it makes it easier to bunt the low pitch. We want the hitter to pivot early, usually as soon as the pitcher reaches his set position. This will allow usto read the defense and make the proper adjustments. It’s important to set up as far forward in the batter’sbox as close to the plate as possible. This provides the maximum amount of fair territory. The bunter should establish a very wide stance, with both feet pointing toward the pitcher and the weightconcentrated over the lead foot. The wide stance allows for the maximum lowering of the body to the low pitchwithout having to move the hands. The bat should be held at the top of the strike zone, close to the line ofsight. The bat is choked up two or three inches with the bottom hand and slide the top hand up near the label,gripping the bat with a loose fist, thumb on top. The actual bunt is executed by bending the back knee to lowerthe body, while keeping the bat at the top of the strike zone. For the low pitch, the back knee must go all theway to the ground, and the bunter must bend at the waist.

DRAG BUNTDRAG BUNTDRAG BUNTDRAG BUNTDRAG BUNTRight-hander:Right-hander:Right-hander:Right-hander:Right-hander: The drag bunt is a valuable offensive weapon. It can loosen up the overpowering pitcher and shake upthe opposition. The difference between the drag bunt and the sacrifice bunt is that the hitter conceals hisintentions much longer. Just before or just as the pitcher releases the ball, the bat is brought over the top to a position out in front,just below the shoulder level. The head of the bat points toward first parallel to the baseline and is slightlyelevated to eliminate the pop up.

Left-hander:Left-hander:Left-hander:Left-hander:Left-hander: The left-hander uses the basic technique whether pushing (toward 3rd) or dragging (toward first). As thepitcher releases the ball, the left-handed bunter takes a short step toward the pitcher with his left foot. Thiswill achieve two purposes: it gives more fair territory to bunt in to, and it keeps the bunter from pulling awayfrom the plate and leaving the ball behind. Many drag bunters drop their rear foot back before contact. We fee this alerts the defense prematurelyand causes the ball to be funneled back to the pitcher.

PUSH BUNTPUSH BUNTPUSH BUNTPUSH BUNTPUSH BUNT The push bunt is nothing more than a running sacrifice in which the ball is bunted hard toward the secondbaseman. The push bunt is usually poorly defensed. It causes confusion and indecison. As the pitcher releases the ball, the bunter steps toward the second baseman with his back foot and buntson the move, keeping the right elbow in and the left hand in a wrist-back position. The only ball that can’t bepushed is the low inside pitch.

32 INDIVIDUAL OFFENSIVE DRILLS32 INDIVIDUAL OFFENSIVE DRILLS32 INDIVIDUAL OFFENSIVE DRILLS32 INDIVIDUAL OFFENSIVE DRILLS32 INDIVIDUAL OFFENSIVE DRILLS

1. Centering (increased visual contact and helps still the mind). 2. Shoulder to shoulder (keeps head down at contact, allows for elongation of bat). 3. Dead leg (method to work on shortening the stride and balance). 4. Exaggerated forward lean (allows establishment of feel of the forward weight shift). 5. Pre-pitch movement (allows body to stay in motion). 6. Hands back as stride foot lands (keeps hands in ready position-disciplines upper

body). 7. No stride hitting (allows work on weight shift, enables shortening of stride). 8. Remove top hand after contact (helps establish lead hand extension, neutralizes tight

top hand grip). 9. Knob down, rear hip inside the pitch. (Short stroke, centering, proper approach to ball.)10. Fade hitting (helps short stroke, barrel control and waiting).11. Direction hitting (opposite field hitting, mastery of techniques).12. Front foot closed, rear toe pointed to the ground. (Check points of weight shift balance.)13. Initiate lower body, discipline upper body (100% below belt, fastball to curve ball).14. Contact at 90 degree angle (proper hand action and acceleration through contact).15. Fingernails up at point of contact (bat whip, proper power angle, proper grip).16. Bunting (increases habit of tracking the ball).17. Pepper (help is centering and barrel control; four-man game, the ball returns to center).18. Bat throw (weight shift, ready position, lead hand extension, top hand throw).19. Fence drill (short stroke, prevents out-and-around or top hand dominate stroke).20. Hands through the box (planes barrel, short stroke, proper approach).21. Drive lead elbow down (initiates proper swing action, helps keep front side in).22. Toe-to-toe hitting (emphasis on proper weight shift and balance).23. Extrapolation (pre-game hitting drill, centering and tracking the pitch).24. Pull knob to the ball (lead hand extension flexion to extension, maintains proper

front side).25. Cheat (lower body drive, concentrated anticipation, selective aggressiveness).26. Finish high with hands (hands finish above shoulders assures extension).27. Knee drill (isolation of hand action keeps head in proper position).28. Bounce/hit verbal command (helps timing between lower body and hands).29. Drop toss (forces lower body initiation and lead hand extension).30. 1-2-3 balance, start swing from the one position (technique to understand feel of

balance).31. Slap the monkey-twice (proper hand action).32. Mass swing (large group, step-by-step breakdown of the swing).

All of these may be used off a pitching machine, batting tee, or during live hitting,All of these may be used off a pitching machine, batting tee, or during live hitting,All of these may be used off a pitching machine, batting tee, or during live hitting,All of these may be used off a pitching machine, batting tee, or during live hitting,All of these may be used off a pitching machine, batting tee, or during live hitting,batting practice should never be just swinging. Each pitch must be isolatedbatting practice should never be just swinging. Each pitch must be isolatedbatting practice should never be just swinging. Each pitch must be isolatedbatting practice should never be just swinging. Each pitch must be isolatedbatting practice should never be just swinging. Each pitch must be isolatedconcentration on your individual improvement.concentration on your individual improvement.concentration on your individual improvement.concentration on your individual improvement.concentration on your individual improvement.

BASERUNNING - FOOTSTEPS TO VICTORYBASERUNNING - FOOTSTEPS TO VICTORYBASERUNNING - FOOTSTEPS TO VICTORYBASERUNNING - FOOTSTEPS TO VICTORYBASERUNNING - FOOTSTEPS TO VICTORYGame Situation:Game Situation:Game Situation:Game Situation:Game Situation:

The baserunner movement is controlled by the game situation. The number of outs, the score and the fieldersarm play a big part of whether you try for the additional base or play it safe. The situation will vary according to the number of outs in the inning. In the early going, the baserunner is liableto take a few less chances in hopes of developing a big inning. But as an inning progresses, with two outs anda runner on second base, the base runner is most likely to attempt to take the extra base, forcing the outfielderto hurry his throw. The runner always scoring from second on a base hit forcing a perfect throw.

The score often plays a key role in baserunning. If you are down more than two runs, it’s foolish to takechances. With your run you will have a lesser chance of its being important.

The outfielders arms are the greatest variables that a baserunner must evaluate. Each runner must study thestrength and accuracy of the opposing outfielders arms during pre-game infield. This knowledge can be invaluablein a pressure situation. A rule of thumb that all baserunners should follow is, "Never make the first out of an inningat third base or home plate."

Step One: Reaching first base.Step One: Reaching first base.Step One: Reaching first base.Step One: Reaching first base.Step One: Reaching first base. After contact, pick up first base as soon as possible. When attempting to beat a ground ball, as you reach thefinal 10 yards, the body should begin to lean forward, changing the center of gravity. The runner then drivesthrough the bag, stomping vigorously on the bag. This body lean and stomp have influenced many an umpire’scall at first. The runner should never continue running down the right field line. The brakes should be appliedimmediately, and look directly to the right for a ball that might have been thrown by the first baseman. On a single, the hitter should begin an "early round," not the question mark usually taught. The "early round"increases the time to second base and allows the runner a straight line path toward second base.

Step Two: Runner on first.Step Two: Runner on first.Step Two: Runner on first.Step Two: Runner on first.Step Two: Runner on first.Signals: One of the most agonizing moments for a coach is to be giving a signal, only to have his runner

not paying attention. The ideal time to give a signal is immediately following a pitch or a foulball. This helps prevent the opposition from concentrating on picking up the coach’s signals.

Types of Leads:Types of Leads:Types of Leads:Types of Leads:Types of Leads:One Way Lead: One Way Lead: One Way Lead: One Way Lead: One Way Lead: Usually a longer lead than normal, but one that has all of the weight on the left foot,enabling a quick return to first. This lead is often used when you wish to see the pitcher’s first moveto first.Two Way Lead:Two Way Lead:Two Way Lead:Two Way Lead:Two Way Lead: The length of the two-way lead is determined by the individual’s abilities to get backto the bag safely. The rule of thumb is that you increase the lead until forced to dive back to the bag.Walking Lead: Walking Lead: Walking Lead: Walking Lead: Walking Lead: The walking lead is exactly that! The runner begins his walking movement from thebag as the pitcher comes to his set position. The advantage of this type of lead is that it enables therunner to have a moving start and to use his body momentum.Hit and Run:Hit and Run:Hit and Run:Hit and Run:Hit and Run: Usually a safe lead, with the main importance making sure that the pitcher is going tothe plate.

Step Three:Step Three:Step Three:Step Three:Step Three:The greatest sin for a baserunner is to be picked off, especially when in scoring position. No runner shouldNo runner shouldNo runner shouldNo runner shouldNo runner should

ever be picked off second base. ever be picked off second base. ever be picked off second base. ever be picked off second base. ever be picked off second base. As a runner, you can easily achieve a safe lead without encouraging a pick-off attempt. After securing the safe lead, you can easily extend the lead as the pitch is being delivered. The runnerat second has a coach for help but should depend upon his own ability to get back to the bag safely.

When advancing from second on a ground ball, with less than two outs, the best rule for a runner to follow is:Make the ball be hit by the pitcher or to the right side of the infield.Make the ball be hit by the pitcher or to the right side of the infield.Make the ball be hit by the pitcher or to the right side of the infield.Make the ball be hit by the pitcher or to the right side of the infield.Make the ball be hit by the pitcher or to the right side of the infield. The runner must always be remindedto follow the catcher when returning to second base.

Steal of Third:Steal of Third:Steal of Third:Steal of Third:Steal of Third: This is usually accomplished on the pitcher. While sitting on the bench, notice if the pitcher isvarying his looks to second. Is he a one-looker? Two-looker? This knowledge gives you the extra step that willenable a successful steal of third.

The Oakland Steal Attempt:The Oakland Steal Attempt:The Oakland Steal Attempt:The Oakland Steal Attempt:The Oakland Steal Attempt: The Oakland method is a technique of keys and self discipline. This method isnot a forced technique but one that if practiced correctly will naturally take place. The runner will key off two areas:the pitcher’s head and the pitcher’s lead knee. The runner establishes the lead and through observation chooseswhich head look to extend toward third. The second key is the lead knee, if directly following the extension thepitcher lifts his lead knee the runner is going. This method generates a moving jump when stealing third base.If the pitcher should vary the look, this runner only extends and holds his ground; or, if there is a pause betweenthe head and the knee, the runner extends and puts on the brakes.

Delayed Steal:Delayed Steal:Delayed Steal:Delayed Steal:Delayed Steal: Establish a "no-pick-off lead." Then as the pitcher begins his movement to the plate, thebaserunner extends off first with two long glides. As the runner completes the second glide, he anticipates thecatcher receiving the ball and breaks for second. If the gliding movement is done correctly, the defense shouldbe caught completely off guard.

Straight Steal of Home:Straight Steal of Home:Straight Steal of Home:Straight Steal of Home:Straight Steal of Home: Usually done with a right-hander at the plate and established with some type of verbalsign. After establishing the break point, the steal will be a direct line to the plate. The hitter should establish himselfas far back in the box as possible. This will push the catcher farther and farther back away from the plate. In oursteal of home, we use a full swing. The swing is always at a high strike level. This will allow the baserunner toslide low under the swing and it will also stop the catcher from coming out to meet the pitch. Left-hander is theeasiest to steal home on.

Step Four: Step Four: Step Four: Step Four: Step Four: Scoring from third base.The baserunner leading off third is always in foul territory, preventing the chance of being hit by a fair ball. After

a pitch has been made, the runner moves back to the bag inside the line preventing a clear line of view for thecatcher. The runner on third should be tagged automatically on all fly balls with less than two outs. The reasoningbehind this is that usually even if the soft fly drops, you can easily score without a close play.

The runner on third is usually only concerned with two signals. The double steal and the squeeze play. Thedouble steal falls into two basic categories, the bush and the straight steal.

Bush:Bush:Bush:Bush:Bush: Used against left-handed pitchers. As the pitcher’s body comes to the set position, the runner at firstbreaks prematurely, hoping to lure the pitcher after him. Simultaneously the runner at third breaks, if any play ismade on the first runner, a run will score easily from third.

Straight Double Steal:Straight Double Steal:Straight Double Steal:Straight Double Steal:Straight Double Steal: The runner on first attempts to steal second, he pulls up short hoping for a rundown.The responsibility for the runner on third is to make the throw be by the pitcher’s head make the throw be by the pitcher’s head make the throw be by the pitcher’s head make the throw be by the pitcher’s head make the throw be by the pitcher’s head and attempt to steal.By making the ball be by the pitcher’s head, this will eliminate a pump fake by the catcher, as well as a cutoff playby the pitcher. When stealing home, it is usually easier to use a hand-grab into fair territory away from the catcher.

Stolen Base - An Offensive WeaponStolen Base - An Offensive WeaponStolen Base - An Offensive WeaponStolen Base - An Offensive WeaponStolen Base - An Offensive WeaponThe good baserunner runs every time he has the opportunity. It is not a spur of the moment deed. A

successful steal is accomplished only concentration and practice. Bases are usually stolen on a pitcher’sBases are usually stolen on a pitcher’sBases are usually stolen on a pitcher’sBases are usually stolen on a pitcher’sBases are usually stolen on a pitcher’sweaknessweaknessweaknessweaknessweakness that enables the runner to achieve a greater jump.

Examples of faults you most often observe would be a pitcher whose left shoulder is open too far towardfirst base, as his shoulder moves home the runner is able to go. Some pitchers have exaggerated leg kicks(Marichal) or may cock their lead knee-many young left-handers have developed that bad habit. Don Drysdalehad a bad habit of leaning forward with delivery to the plate.

The good baserunner runs every time he has the opportunity. The most important aspect of the steal isthe initial jump. That first step is the driving crossover step. If you can get a good jump, it will not make anydifference how strong the catcher’s arm, he will not throw you out.

Remember, it is the baserunner’s responsibility to study pitchers and infielders, do they always make thetag in a certain manner? What pitcher does the throw in a certain situation?

One way of focusing the pitcher’s movement is while on the bench, watch him through the air holes in yourcap. When you look at a pitcher this way it helps focus precisely on each movement. Perfect your runningtechnique, the stolen base is an offensive weapon that can make a mediocre offensive team into a winner.

Advanced Baserunning TechniquesAdvanced Baserunning TechniquesAdvanced Baserunning TechniquesAdvanced Baserunning TechniquesAdvanced Baserunning TechniquesControlled Extension:Controlled Extension:Controlled Extension:Controlled Extension:Controlled Extension:

The extension is taken with each pitch. It is a driving crossover, just as if you were stealing on the pitch,except you come under control and pick up the contact zone. A good extension is two-fold: (1) It allows live practiceoff the pitcher’s move to the plate, and (2) it gives you momentum as the ball enters the contact zone and allowsyou the extra few feet needed that will enable you to "take-someone-with-you" on a double play.

Read the Angle of the Pitch:Read the Angle of the Pitch:Read the Angle of the Pitch:Read the Angle of the Pitch:Read the Angle of the Pitch:The aggressive baserunner works on reading the angle of each pitch into the plate area. If the baserunner

can anticipate the ball bouncing in the dirt, he will be able to break early; and, even if the catcher can block thepitch, by the time he scrambles to his feet and the ball, the baserunner should be standing on second base. Thistechnique is not easily mastered - it takes extreme concentration and daily practice.

Hit and Run:Hit and Run:Hit and Run:Hit and Run:Hit and Run:When breaking on the hit and run, not as much gamble is needed. Be sure the pitcher is going to

the plate. Remember, the goal of the hit and run is to move a baserunner into scoring position and to removea possible double play. The runner must look into the plate after two strides to read contact and reactaccordingly.

One Out Zoning:One Out Zoning:One Out Zoning:One Out Zoning:One Out Zoning:This play is set to force the defense into a hurry situation. If the infielder hurries his throw and pulls

the catcher off the plate, it will be a run and also a runner on first base.The runner on third takes a walking lead, his eyes are fixed into a zone directly in front of the plate,

extending to the cutout of the pitcher’s mound. The runner, if the ball hits into the zone, breaks immediately,not worrying where the ball has been hit. If the runner is caught "dead," then and only then he will get intoa rundown. The rundown will allow the batter runner to read rundown and break for second base. Even ifthe lead runner is tagged out, we will still have a runner in scoring position with two outs and would have forcedthe defense to make a pressure play in a hurry situation.

Over-Extension (Ox) - No Outs:Over-Extension (Ox) - No Outs:Over-Extension (Ox) - No Outs:Over-Extension (Ox) - No Outs:Over-Extension (Ox) - No Outs:This play is used with runners on first and second, no out, and a big hitter we don’t wish to bunt at

the plate. The hitter will square to bunt and take the pitch (yelling at the runner at first to return to bag). Thebaserunner at first will over-extend (usually slipping or another decoy) to draw a throw to first, as the catchercocks to throw to first. The runner at second will extend with the play and break for third on the throw. Withthe runner advancing to third, the throw to third should allow both runners to advance into scoring positionwithout sacrificing the big hitter.

One Out - Over-Extension:One Out - Over-Extension:One Out - Over-Extension:One Out - Over-Extension:One Out - Over-Extension:Runners at first and second with one out, hitter squares on the pitch. He takes the pitch, and the

runner at second over-extends and breaks for third with the throw, the runner at first breaks for second.

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OFFENSE AND DEFENSE OF THE FIRST AND THIRD DOUBLE STEAL

Philosophy1. Never make the first out of an inning at home plate.2. Score the automatic run.3. Evaluate how the runners reached base.4. Is it worth the risk to run on a 3-2 count?5. Will the defense attempt to make a play? If not how will the action be forced?6. With two out force a play to be made at the plate.

Offensive Plays1. No out straight steal.

Runner at first — Steal on First movement, 100% to 2B with hard slide.Runner at third — Shorten lead on 3B line, as the ball passes the pitcher s execute

a hard two or three step bluff to the plate and quickly return to 3B. Adive back to the base may be required.

2. One out straight steal.Runner at first — Steal on First movement, at 75% of the way down the base line

execute a pop-up slide and return to 1B. Advance to 3B when a play is being made at the plate.

Runner at third. — Standard movement lead inside the 3B line, break to the plate as the ball passes the pitcher s head. Force a throw to the plate.

3. Two out straight steal.Runner at first — Steal on First movement, at 60% of the way down the base line

execute a pop-up slide and return to 1B. Advance to 3B when a playis being made at the plate.

Runner at third — Standard movement lead inside the 3B line, break to the plate as the ballpasses the pitcher s head. Force a throw to the plate.

4. Pickoff at first.Runner at first — No matter the numbers of outs continue with the execution of the

play. Never stop as if you have been fooled. Always run inside the base line inorder to bisect the throw to 2B. Advance to 3B when a play isbeing made at the plate.

Runner at third — Left-handed 1B — Read eyes and chin, break when they rotate to 2B.Right-handed 1B — Read the lead shoulder and look for the numbers,break when they rotate to 2B. Force a throw to the plate.

5. Delay steal.Runner at first — Execute two-hop delay steal technique, complete the play according

to the number of outs. Advance to 3B when a play is being made at the plate.Runner at third — Walk down the 3B line with hands on hips facing the catcher, break

to the plate as the catcher releases the ball. Force a throw to the plate.

6. Fake SqueezeRunner at first — Straight steal on first movement, 100% to 2B with hard slide.Runner at third — Shorten lead, as the pitcher s hands separate take two hard steps toward the

plate, stop, pivot and dive back to 3B.Hitter — As the pitcher separates his hands, pivot in place and show bunt. Take the

Pitch.

7. First/Third Sac. BuntRunner at first — Extend and read bunt.Runner at third — Trail 3B, break for the plate on the throw to first. If the Pitcher or 3B looks

you back remain at 3B.Hitter — Execute a hard bunt down the 3B line. Attempt to bunt the first pitch.

8. Hit and RunRunner at first — Shorten lead and never get picked off. Look in after two steps and react to

contact. Never break stride on a swing and miss, turn it into an appropriatenumber of out play.

Runner at third — Attempt to score on any groundball. If the hitter swings andmisses make the throw be by the pitcher s head. Force a throw to the plate.

OFFENSE AND DEFENSE OF THE FIRST AND THIRD DOUBLE STEAL CONT.

Defense

1. Always attempt to make the play. By preparing to handle this situation you can gain anout, at the worst it will be the same as a no play.

2. If the opposition recognizes that you can defense the play they will not run. This willleave the double play in order.

3. The first throw is the most important. The catcher needs to make the throw belt high orabove.

4. Never run! Always set your feet, align the shoulders and throw.5. Catch all throws from the catcher with two hands when making a return throw to the plate.

By catching the throw with two hands it automatically assists in the alignment of theshoulders.

6. Attempt to close the gaps between infielders whenever possible.7. 2B/SS receives the throw, stops the runner from third with his eyes and walks the runner

from first back to the base.8. If the runner is picked off at first, the 2B rotates behind the runner to receive a throw from

the SS.9. A double check is always needed on a pickoff at 1B. The 1B checks and stops the runner

at 3B with his eyes before the throw to 2B. The SS receives the throw, stops the runner at3B with his eyes and walks the runner back to first.

10. Play Catch!

DEFENSE

AREA DEFENSIVE WORKOUTS

Area workouts are designed to isolate the most important skills needed by position. It should take lessthan ten minutes to complete these drills. An area workout allows both the player and coach to concentrate on thespecific defensive detail needed for each position. Because these drills should be done on a daily basis, quality andattention to detail rather than quantity should be emphasized.

INFIELDER AREA WORKOUTSThird Base1. Progressive Throwing Drill2. Short Hops: Forehand/Backhand3. Bare hand Flip: Forehand/Backhand4. Backhand Ground Ball Plant right foot, drag the left foot, align shoulders, throw long hop to first

base.5. Forehand Ground Ball Keep the feet moving, align to shoulders, and throw the ball to the outfield

side of first base.6. Throw On-The-Run 3B breaks toward first, the ball is flipped in the air, catch, align shoulders

and throw to outfield side of first base.7. Bunt Defense Charge bunt, plant right foot, drag left foot, align shoulders and throw to

2B. Charge bunt, set feet and align shoulders and throw to 1B, keeping thethrow on the inside of the diamond.

8. Double Play Feed Forehand/Backhand9. Relay Technique

Shortstop1. Progressive throwing Drill2. Short-hops Forehand/Backhand3. Bare Hand Reaction Forehand/Backhand4. Right Side of the Ball Field ground ball with the left shoulder on the right side of the ball. This

creates proper angle of approach. Shuffle feet, align shoulders and throwto first base.

5. Backhand Field ground ball deep in the hole, plant right foot, drag left foot, align theshoulders and throw to the outfield side of first base.

6. Rounding Backhand Round a bounding ground ball and throw to the outfield side of first base.7. Slow Roller Throw on the run, align the shoulders and throw to the outfield side of first

base.8. Double Play Feed 1. In the 5-6 hole, plant right foot, drag left foot, align shoulders and

throw to 2nd.2. Drop step, open and throw to 2nd.3. Flip to 2nd.

9. Double Steal Throws

Second Base1. Progressive Throwing Drill2. Short hops Forehand/Backhand3. Bare hand Reaction Forehand/Backhand4. Backhand Ground ball 4-6 hole, plant right foot, drag left foot, align shoulders and throw to

outfield side of first base.5. Forehand Ground Ball Stay low for both catch and throw.6. Forehand Ground Ball

+ 360ßTurn Extend forehand to field ground ball, spin 360ß, get ball out of glove earlyand throw to the outfield side of first base.

7. Slow Rollers Throw on the Run8. Double Play Feeds 1. Jump Spin and align to second.

2. Pivot in Place3. Flip

9. Double Steal Throws

First Base1. Progressive Throwing Drill2. Short hops Forehand/Backhand3. Bare hand Reaction Forehand/Backhand4. 3-6-3 Double Play Align shoulders and make sure the ball is thrown inside the diamond

to the SS to prevent the bisection of the runner.5. 3-1 Underhand Flip Follow through with flip and continue moving toward first base.6. Tag Play Down the Line A bent arm pop tag.7. Force Play at Plate8. Relay Technique

Outfielders1. Progressive Throwing Drill2. Reaction Drills 360 pt., 720 pt. and Forward Roll. The ball is tossed to the player who

spins 360 pt. or 720 pt. or completes a forward roll locates and pointsto the ball and makes the catch.

3. Lateral Line Drills-1. Over the ShoulderPlayer runs at full speed, looking over one shoulder, the ball is thrownover opposite shoulder. The player cuts to the ball, catching it witheither a one hand forehand or backhand.2. Line DriveThe player runs forward, the ball is thrown directly at the player. Adecision must be made whether to catch the ball at full extension, orwith a pop up slide or block the ball with the chest and body.

3. Drop Step, R/LThe player stands in a ready position, the ball is thrown to either theright or left side. The player drops a foot back, opens the shoulders tothe ball, sprints to the spot, points and catches the ball.

4. Elbow Load5 Blind Relay

Catchers1. Progressive throwing Drill2. Blocking No glove, forehand/backhand sides3. Blocking Glove, forehand/backhand sides4. Footwork and Release5. Receiving the Pitch Inside/Outside, High/Low6. Tag Play7. Triangle Throwing Drill8. Pop Flies

INFIELDER GROUNDBALL WORKOUTS

Four Position Groundball Drill

Four fungo hitters hit groundballs to each position. This drill is concerned only with footwork and securing the catch.No throwing is involved in this drill.

Mini Groundballs

Four fungo hitters hit groundballs from 20 ft or less to each position. The infielders begin fielding groundballs on theirknees, alternating backhand and forehand in a series of five ground balls. For safety purposes use Incrediballs or tennisballs.

Double Fungo Workout

This is a simultaneous double fungo workout for the left side of the infield, alternating the play at first base and thedouble play. The first basemen are receiving throws at first base and half way down the line toward second base fromthe second baseman. When the two fungo hitters rotate to the right side of the infield, the first basemen turn a 3-6-3double play and the second basemen make the play at first. The third basemen take the throws from the 2nd baseman sixfeet down the line at first. The alternate drill for the right side has the 2nd baseman turning the double play with theshortstop and the third basemen receiving the throw at first base. The first basemen are taking ground balls deep at firstand returning the ball to the fungo hitter.

Live (Tee) Double Play Groundballs

This drill allows the infielder a realistic view of the barrel of the bat through the contact zone and a live base runner.Outfielders and catchers hit off the tee and work on hitting hard groundballs to the opposite field.

Five Step Infielder Precision Drill

This drill is a systematic approach to reinforce infield fundamentals. The emphasis is on approach and proper handposition in securing the catch.

1. Stationary drills.2 Bare hand ground balls.3. Goofy glove ground balls.4. One hand ground balls.5. Regular ground ball reaction.

DEFENSIVE CONCENTRATION: ROUTINEDEFENSIVE CONCENTRATION: ROUTINEDEFENSIVE CONCENTRATION: ROUTINEDEFENSIVE CONCENTRATION: ROUTINEDEFENSIVE CONCENTRATION: ROUTINE

1. In between pitches, use this time to initiate the routine with easy breathing. This relaxation time shouldbe used to visualize the potential play in advance.

2. Relax (Breathe and Soft Center) at first then, upon the release of the pitch, fine center on the contactzone. The contact zone is the area over home plate that the bat makes contact with the ball.

3. Once the bat hits the ball, fine center on a section of the ball all the way in to the glove. By tracking theball in this manner, the body will be able to make unconscious adjustments.

4. It is only after catch that the eyes lift and locate the target.

5. Remember track the ball all the way into the glove, locate and fine-center the target while shifting the feetand aligning the shoulders towards the target.

INFIELDING TECHNIQUESINFIELDING TECHNIQUESINFIELDING TECHNIQUESINFIELDING TECHNIQUESINFIELDING TECHNIQUES

Stance:Stance:Stance:Stance:Stance:It is comfortable, but still you must be able to react quickly and stay under body control. Your feet are

spread slightly wider than the shoulders, with the weight out over the balls of the feet. The body is startedlow and kept low by bending forward at both the knees and waist. The ultimate stance would have the backparallel with the ground. The arms are kept dangling in front of the body with the glove open to the infield.Don’t get caught hands on knees, it locks you and restricts movement.

Rhythm:Rhythm:Rhythm:Rhythm:Rhythm:The infielder must develop a "radar sense" on ground balls as they come off the bat. He must get in

rhythm with the ground ball immediately, adjusting to the speed of the ball, as well as the bounce.Sure death for the infielder is the "in-between-hop." It is caused by being in poor rhythm and indecision

on the infielder’s part. The infielder wants to field ALL ground balls on either a "big-hop" or a "short-hop."To do this consistently, you must adjust with each hop, knowing when to charge for the "short-hop." A gooddrill is to have the infielder try to call what type of hop he will field the ball on, after the first bounce off thebat.

Procedure:Procedure:Procedure:Procedure:Procedure:The actual fielding procedure is to field the ball clearly out in front of your body, looking the ball into the

glove. You begin low and out in front because it enables you to react easier with the play clearly in front ofyou. Remember, it is easier to react "low to high" on a bad hop because of the natural instinct of self-protection. But to reach high to low is a forced action that must first register in the mind.

Lateral Movement:Lateral Movement:Lateral Movement:Lateral Movement:Lateral Movement:The correct action for moving laterally on a ground ball is to use the cross-over step. The basic of the

cross-over is the drive off the leg closest to the direction and cross-over with the trailing leg. This is quitesimilar to the sprinter’s start, he drives off his lead leg, thrusting the trailing leg forward. This covers the mostamount of ground in the least amount of time. A good verbal command to use in this situation is to "Crossover,Set and Reach."

Fielding a ground ball is not an easy task to conquer. It takes a dedicated effort and hours ofconcentration and self-discipline to become a successful infielder.

Flat Glove:Flat Glove:Flat Glove:Flat Glove:Flat Glove:Bare hand on top, load to the hip, hands and arms out away from the body.

Rounding off Ground Ball:Rounding off Ground Ball:Rounding off Ground Ball:Rounding off Ground Ball:Rounding off Ground Ball:When given enough time, every infielder should attempt to round off the ground ball. By rounding off the

ball, it takes the pressure off the throw and helps establish a sound fielding rhythm. The proper techniqueis for the infielder to get to the right side of the ground ball, then move through the ball directly toward thetarget attempting to field the ball off the nose. By getting on the right side of the ball it will allow a much easierread of the ground ball.

Concentration on Contact Zone:Concentration on Contact Zone:Concentration on Contact Zone:Concentration on Contact Zone:Concentration on Contact Zone:The initial jump at any defensive position is all important. We have found that if the infielder can center into

the hitter’s contact zone, it will enable him to react quicker to the direction, and he will find it easier to distinguishbetween the various degrees of contact. Each infielder must unlock and move as the ball enters the contact zone.This movement is geared to the pitch or the tendency of the hitter. By already being in motion, the infieldersreaction time improves drastically. Remember, a body in motion tends to stay in motion, a body at rest tends tostay at rest.

FIVE STEP INFIELDER PROGRESSION DRILLFIVE STEP INFIELDER PROGRESSION DRILLFIVE STEP INFIELDER PROGRESSION DRILLFIVE STEP INFIELDER PROGRESSION DRILLFIVE STEP INFIELDER PROGRESSION DRILLA systematic approach to reinforce infield fundamentals, with the emphasis on approach and proper hand

position at catch.

Step 1. Stationary DrillsStationary DrillsStationary DrillsStationary DrillsStationary Drillsa. Flip - acclamation to proper stance and glove position.b. Short Hop -Reinforce proper hand action when fielding short hop. "See the ball

bounce," "Stay down until ball bounces," "Softhands, catch the ball with your elbows."For increased glove control alternate forehand and backhand.

Step 2. Barehand Ground BallsBarehand Ground BallsBarehand Ground BallsBarehand Ground BallsBarehand Ground BallsThe emphasis being placed again on balance and the ability to keep the hands in a proper positionat catch.

Step 3. Goofy Glove Ground BallsGoofy Glove Ground BallsGoofy Glove Ground BallsGoofy Glove Ground BallsGoofy Glove Ground BallsAllows the infielder the luxury of a glove, yet forces him to get his hands into the fundamental fieldingposition."Goofy Gloves never lie."

Step. 4. One Hand Ground BallsOne Hand Ground BallsOne Hand Ground BallsOne Hand Ground BallsOne Hand Ground BallsAdvance to a regular glove. Field every ground ball with a proper approach and pyramid position atcatch. We emphasize glove awareness and balance.

Step 5. Regular Ground Ball ReactionRegular Ground Ball ReactionRegular Ground Ball ReactionRegular Ground Ball ReactionRegular Ground Ball ReactionA gradual progression into fielding the ground ball with both hands and proper approach. The emphasisbeing on "getting the short hop" and "get on the right side of the ball."

SLOW ROLLERS - BE QUICK, BUT DON’T HURRYSLOW ROLLERS - BE QUICK, BUT DON’T HURRYSLOW ROLLERS - BE QUICK, BUT DON’T HURRYSLOW ROLLERS - BE QUICK, BUT DON’T HURRYSLOW ROLLERS - BE QUICK, BUT DON’T HURRY

The key word on slow rollers is a quote from the great college basketball coach John Wooden: "Be quick, butdon’t you ever hurry."

Jump:Jump:Jump:Jump:Jump:Probably the most important aspect when fielding a slow roller is the initial reaction or jump on the ball. The

infielder charges at top speed, then he gathers to control speed for the actual pickup and throw. If the infielderbegins at control speed, he will never be able to make the play. Also, it must be remembered that if the infielder’sinitial charge is too slow, he must then make-up time during the actual fielding and throw, frequently causing anerror.

Throw:Throw:Throw:Throw:Throw:Most slow rollers are either stopped or nearing, which means the throw must be made while still low. There

is not time to straighten up and throw. The ideal throw in this situation is one that will allow the throw to be madeoff the throwing leg, while pivoting to open the hips. If the hips can be opened, it will enable a more accurate throwto first or third base.

Fielding Technique:Fielding Technique:Fielding Technique:Fielding Technique:Fielding Technique:The slow roller can be fielded two ways, the barehand or by use of both hands. The speed of the roller dictates

the method that will be used by the charging infielder. The barehand pickup causes many an infielder anguishbecause he will often hurry, pulling his head and leaving the ball behind. The ball must be picked up with the eyes,as well as the hands and fingers in throwing position. Again, with the two-hand method the most important aspectis looking the ball into the glove and having the barehand there for immediate throw. The slow roller is a routineplay and when mastered is both a beautiful play and usually a timely out.

Walking on the Pitch:Walking on the Pitch:Walking on the Pitch:Walking on the Pitch:Walking on the Pitch:When anticipating a bunt, the third baseman should begin walking with the pitch from an angle directly next

to the bag. This method enables a quick read of the hitter’s hand, as well as the proper angle for the throw to first.

DOUBLE PLAY AND BASIC INFIELD PLAYDOUBLE PLAY AND BASIC INFIELD PLAYDOUBLE PLAY AND BASIC INFIELD PLAYDOUBLE PLAY AND BASIC INFIELD PLAYDOUBLE PLAY AND BASIC INFIELD PLAY

"You have to give something to get something," is the motto governing the double play. It can’t be made in thenormal position from the bag. It leaves more room for base hits to go through, but that’s the penalty you pay for puttingmen on base.

The infielder must always be thinking of the pivot, and the subsequent relay of the ball from second base on to first.Before we go any further, a standard line for all pivot men should be, "the throw is better low and in the dirt than highthe throw is better low and in the dirt than highthe throw is better low and in the dirt than highthe throw is better low and in the dirt than highthe throw is better low and in the dirt than highand in the dugout."and in the dugout."and in the dugout."and in the dugout."and in the dugout." The pivot is easier for the shortstop because he comes into the bag moving toward first base. Thesecond baseman, on the other hand, is usually moving almost directly away from first. He must gather himself and beunder control as he reaches the bag. Actually, the second baseman sprints hard until he’s four or five feet from the base.Then he jockeys in, bouncing from one foot to the other, gathering speed and coming under control speed, with his kneesbent so that he can move either way for the throw. With the shortstop, it’s different. He sprints from the bag, slows alittle as he nears it, and then when he sees where the throw to him is, sprints again and hits the bag at top speed.

Four Standard Pivots for Second Baseman:Four Standard Pivots for Second Baseman:Four Standard Pivots for Second Baseman:Four Standard Pivots for Second Baseman:Four Standard Pivots for Second Baseman:Standard:Standard:Standard:Standard:Standard:

The fastest way is to jockey into second base, straddle the bag with your right foot just touching it, take the throwand make a fast flip-like relay on to first. The most important aspect is as you reach for the ball the weight mustThe most important aspect is as you reach for the ball the weight mustThe most important aspect is as you reach for the ball the weight mustThe most important aspect is as you reach for the ball the weight mustThe most important aspect is as you reach for the ball the weight mustbe firmly back on the right leg enabling a stronger throw. be firmly back on the right leg enabling a stronger throw. be firmly back on the right leg enabling a stronger throw. be firmly back on the right leg enabling a stronger throw. be firmly back on the right leg enabling a stronger throw. The bag becomes a shield for protection.

Outside Diamond:Outside Diamond:Outside Diamond:Outside Diamond:Outside Diamond:If the throw is to the left field side of the base, glide to the right, drag your left foot over the bag and throw to first

from behind the bag. This is the easiest pivot because as the left foot drags across the bag the weight shifts to the rightfor an easy toss.

90 Degree Pivot - The most often used pivot:90 Degree Pivot - The most often used pivot:90 Degree Pivot - The most often used pivot:90 Degree Pivot - The most often used pivot:90 Degree Pivot - The most often used pivot:Control speed to the bag, step on the bag with the left foot, right foot strides forward at catch, the weight coils and

is driven down the line at a 90 degree angle for the throw. Do not carry the body momentum toward third, it must plant

on the right leg then go to first.

Standard Pivots for Shortstops:Standard Pivots for Shortstops:Standard Pivots for Shortstops:Standard Pivots for Shortstops:Standard Pivots for Shortstops:Outside:Outside:Outside:Outside:Outside:

The most popular shortstop pivot is to brush the base with your right foot as you slide across it to the right field side.The throw is not made until the right foot is planted. This prevents drifting into right field and throwing behind the body.A good technique is for the shortstop to reach for the ball and then get your body around the hands. This will enablecontrol of body momentum and alignment for the throw.

Inside:Inside:Inside:Inside:Inside:If the throw comes on the pitcher’s side of second, slide to the right, brushing the bag with your left foot and throw

to first from inside the baseline. Another way, usually used on plays close to the bag, is to come in behind the bag, hitthe base with your left foot, transfer weight back to the right foot on the left field side of second and throw to first.

Double Play: Second Baseman’s Throw:Double Play: Second Baseman’s Throw:Double Play: Second Baseman’s Throw:Double Play: Second Baseman’s Throw:Double Play: Second Baseman’s Throw:If a 2B is close to the bag (7ft - 12 ft) he should merely lay the ball up to the shortstop with a back hand flip. A little

farther away (12 ft - 18 ft) he must use a long lay up or underhand toss. To prevent ballooning the underhand toss, stepto the bag with the left foot as the throw is made. Beyond 18 feet you must pivot in place and use a quick arm flip acrossthe body. Far from second you turn the same way, but instead of a short flip, the arm is cocked and more shoulder isput into the throw. Never grab a ball hit into the hole to the left and spin all the way around to throw back to second.That’s flashy, but you will find yourself throwing the ball in left field.

Double Play: Shortstop’s Throw:Double Play: Shortstop’s Throw:Double Play: Shortstop’s Throw:Double Play: Shortstop’s Throw:Double Play: Shortstop’s Throw:Again, the shortstop’s job is simpler than the second baseman. Basically he has one type of throw to make when

he is feeding the ball to the pivot, and that’s an underhand throw to his left. It is very important to open and enable the2B a clear view of the throw. The throw should always go to the pivot man’s letters. This makes it much easier for agood relay to first. When the shortstop nears the bag, he should use a lay up toss, a simple stiff-wristed, underhandtoss.

The Lay-Up or Underhand Toss:The Lay-Up or Underhand Toss:The Lay-Up or Underhand Toss:The Lay-Up or Underhand Toss:The Lay-Up or Underhand Toss:The correct method is to arch the ball as little as possible, enabling the ball to carry on a straight line to the chest.

Always step to the bag, give him your hand, and let it follow through.

The Ricochet Throw to First:The Ricochet Throw to First:The Ricochet Throw to First:The Ricochet Throw to First:The Ricochet Throw to First:By the second baseman on the double play is semi-overhand across the nose - if the ball is received

"heart high" as it should be. The fingers are behind the ball, not under. The clockwise throw, however, issemi-underhand between the letters and the belt, and is often made when receiving low throws at second.The infielder reaches for the ball, catching it with an open glove enabling a quick release.

SECOND BASEMANSECOND BASEMANSECOND BASEMANSECOND BASEMANSECOND BASEMAN"THEY’VE GOT TO BE AGGRESSIVE TO SURVIVE""THEY’VE GOT TO BE AGGRESSIVE TO SURVIVE""THEY’VE GOT TO BE AGGRESSIVE TO SURVIVE""THEY’VE GOT TO BE AGGRESSIVE TO SURVIVE""THEY’VE GOT TO BE AGGRESSIVE TO SURVIVE"

The second baseman, and statistics bear this point out, usually is the mainspring of the double play.Listen to what Eddie Stanky, former 2B, manager and now college coach, has to say on the subject: "Thesecond baseman is associated with more double plays," comments Stanky. "It takes guts to make thedouble play, and it’s the second baseman who has to have the guts because most of the time he’s theman at the pivot, facing a runner coming down from first."

"If you get a spike-shy second baseman, you’re in bad shape. Very few spike-shy second basemen areassociated with winning clubs."

"When a fast runner is bearing down at him, the second baseman has to get off the bag, make a goodpivot, and get the ball away before he gets hurt. Every second baseman has to get hurt, no matter howagile or how fancy he is. You have to get hit on certain plays."

That’s one reason why good second basemen traditionally have been scrappers. They’ve got to beaggressive to survive.Bill Mazeroski could make the pivot probably better than any other secondbaseman in history, and he was extremely quick getting rid of the ball. "Maz is the best second basemanI ever saw," says Harry Walker. "He’d take bad hops and turn them into routine plays. When he madea double play, he moved the ball so fast you’d swear it ricocheted off his glove and into his hand."

INFIELDINGINFIELDINGINFIELDINGINFIELDINGINFIELDING

Cut-Off and Relay Men:Cut-Off and Relay Men:Cut-Off and Relay Men:Cut-Off and Relay Men:Cut-Off and Relay Men:On singles to left or centerfield, with the throw coming to second base, it’s best for the shortstop to go

to the bag, and the second baseman backs him up. On singles to right, second baseman covers and SSbacks him up. Backup men will actually make more plays (on loose balls) than the original receiver.

The cut-off men must always align themselves between the thrower and the receiver so that there’s onestraight line between them; otherwise the throw or the cut-off man will be off. On extra base hits both thesecond baseman and shortstop go out and line up the throw. One of the two is a trailer to direct the lead cut-off man; he directs the cut off man backs up for poor throws.

Go Into the Hole:Go Into the Hole:Go Into the Hole:Go Into the Hole:Go Into the Hole:Often the second baseman or the shortstop must go into the hole, meaning that he must field balls hit

to their extreme right. When done properly, the ball is fielded off the right foot, which must remain stationary,and the throw is made against that foot. The throw is made against the planted instep, and must be overhand.A good method is to plant the right foot at catch, drag the left, align the left shoulder. The left elbowA good method is to plant the right foot at catch, drag the left, align the left shoulder. The left elbowA good method is to plant the right foot at catch, drag the left, align the left shoulder. The left elbowA good method is to plant the right foot at catch, drag the left, align the left shoulder. The left elbowA good method is to plant the right foot at catch, drag the left, align the left shoulder. The left elbowis then pulled downward allowing the ball to be quickly released.is then pulled downward allowing the ball to be quickly released.is then pulled downward allowing the ball to be quickly released.is then pulled downward allowing the ball to be quickly released.is then pulled downward allowing the ball to be quickly released.

Don’t be fooled by the Runner:Don’t be fooled by the Runner:Don’t be fooled by the Runner:Don’t be fooled by the Runner:Don’t be fooled by the Runner:A good infielder stays at the bag when a tag play is coming his way. If it looks like an easy out, be careful

that the runner doesn’t fool you by making a hand grab slide. He deliberately misses the bag hoping thatthe fielder will leave the bag to make the tag. If he succeeds in pulling the fielder off the bag, he then cangrab the bag with his hand before his is tagged. Be alert and don’t let the runner outsmart you. Rememberto stay between the bag and the runner.

Tips for Infielders:Tips for Infielders:Tips for Infielders:Tips for Infielders:Tips for Infielders:1. Lean the weight forward as the pitcher releases the ball so that your are ready to move in any direction.

Always anticipate contact.Always anticipate contact.Always anticipate contact.Always anticipate contact.Always anticipate contact.2. Think where the throw should be made if a ball is hit toward you.3. Move in a step or two for men who might attempt to beat a bunt. Third basemen must walk on theThird basemen must walk on theThird basemen must walk on theThird basemen must walk on theThird basemen must walk on the

hitter.hitter.hitter.hitter.hitter.4. Maneuver on a ground ball so that the play can be made on a big hop or short hop. Don’t let the ball

play you.5. Talk it up on the infield and help each other by yelling such as "home" - "There he goes" or "No play,"

"stay low," "ball’s coming up," "don’t hurry," etc.6. Back up or cover bases.7. Analyze yourself and shortcomings, overcome the weaknesses.8. Catch the ball with your eyes first. Look the ball into the glove. Catch the ball with your eyes first. Look the ball into the glove. Catch the ball with your eyes first. Look the ball into the glove. Catch the ball with your eyes first. Look the ball into the glove. Catch the ball with your eyes first. Look the ball into the glove.

Infield Technique DrillsInfield Technique DrillsInfield Technique DrillsInfield Technique DrillsInfield Technique Drills:1. Lateral movement and reach for the ball.2. Lateral movement, one hand with elbow give.3. One hand and reach for the ball.4. Barehand drill.5. Getting on the right side of ball.6. Goofy gloves.

Additional Drills:Additional Drills:Additional Drills:Additional Drills:Additional Drills:1. Slow Roller and bunts.2. Tag play.3. Relay competition.4. Bad hop.5. Cross over drill.6. Plant right - drag left.7. Circle drill.8. Drop step-pop fly.9. Skeleton double steal throws.

10. Pivots and feeds.

PROPER RELAY TECHNIQUEPROPER RELAY TECHNIQUEPROPER RELAY TECHNIQUEPROPER RELAY TECHNIQUEPROPER RELAY TECHNIQUE

1. All infielders should align themselves in direct line to the target. The only exception is with the thirdbaseman taking the throw to home plate or left-handed first baseman taking a relay throw to home. Thesetwo infielders do not line up directly but back off the lines, giving the outfielders an alley between the relayman and the base line to throw through.

2. The relay man always angles his body parallel to the flight of the ball, enabling him a much quicker throw.3. When the ball is in the air, the relay man must move to get as close to the flight of the ball as pos

sible. If the ball is above the waist or has good velocity, the relay man moves to the ball, reaches to catchthe ball, taking a cross-over step for quickness. If the ball is below the waist, the infielder moves to theball using our plant right, drag left method to get the ball off quicker.

4. All relay throws should be caught with both hands and with an open glove to enable a quicker release.5. If the relay man is in proper position, there is actually no need for a "cut call." If the infielder reads the

throw dying, he automatically cuts and relays the throw. The relay man is in a more advantageousposition than the catcher to judge velocity and direction of the throw.

6. All relay throws from an infielder should be made without help of another relay and should arrive on thefly. The throw itself should never bisect the baseline or the runner.

RUN DOWNS, A ROUTINE OUTRUN DOWNS, A ROUTINE OUTRUN DOWNS, A ROUTINE OUTRUN DOWNS, A ROUTINE OUTRUN DOWNS, A ROUTINE OUT

The rundown situation does not arise in a game as often as other defensive plays, yet it is one of the mostfrequent misplays in baseball. One main fault is that often infielders don’t have a self-confident attitude, when theyhave a runner caught in a rundown. The usual first reaction is to get rid of the ball. The only way to develop afavorable attitude is to work under live situations giving the infielder a chance to build self-assurance in hisexecution of this play.

The basic idea of the rundown is always the same no matter what bases the runner is trapped between. Theput-out should always be made at the base from which the runner came, so if the runner does remain alive he willnot have advanced a base. Many catchers often make this disastrous mistake during a rundown and a game islost as the runner is safe at the plate.

Let us assume a runner is trapped between first and second on a pick-off play:1. The first baseman must run the man far enough off first so he cannot beat a return throw back to first.

The basic rule of thumb for this distance is halfway to second base. Remember, you don’t want torun so hard that you force a play to be made at second base. After making his throw, the first basemanretreats to a point two steps away from the bag,but a step to the outside to avoid illegally blocking thebase.

2. The second baseman takes the thrown ball from the first baseman. His position for the throw is thekey to the whole play. He must catch the ball coming down the line. If he takes the throw at the bag,the runner has time to return, leaving a large gap between himself and the runner. Remember youmust always "shorten-the gap" to prevent the runner from stopping and starting back toward secondbase.Don’t throw unless the runner commits himself to return. Hold the ball high as you begin to drive therunner back.Never hide the ball, because you are also hiding it from the other fielder. Make sure thedefensive counterpart sees the ball at all times, thus he will be ready the moment you throw. Thesecond sacker must charge the runner and force him to run hard. This makes it difficult for the runnerto stop quickly.

3. The next step is the return throw to first, it is the throw most often muffed on this play. We have ourfirst baseman request the throw by yelling "NOW" when he feels the runner has committed himselfand cannot return. He then goes out to meet the throw and apply the tag.

Rundown Tips:Rundown Tips:Rundown Tips:Rundown Tips:Rundown Tips:1. Put-out must be made at the base from which the runner came.2. Put-out should be made with a minimum number of throws.3. Make the runner go at least half-way before making your initial throw.4. Retreat two steps to the bag and off to the side.5. Make tag at the bag not the leg.6. When you want the throw to apply the tag yell, "NOW."7. Always remember to shorten the gap or the runner will force you to make too many throws, thus more of a

chance for escape.8. No runner should ever get away in a run-down, no matter how great he is. If you do it correctly, it is impossible

fort he runner to escape.9. Look for a base to back up, don’t become a spectator.

OUTFIELDINGOUTFIELDINGOUTFIELDINGOUTFIELDINGOUTFIELDING

If you are an outfielder, you know that failure to play a ball correctly is usually costly, especially if there arerunners on the bases. Of course, you must be a good ball hawk. This means you must "get off the mark" fast tocover ground. Naturally, if you have speed it helps you to be a good outfielder. However, pure concentrationovercomes, in many cases, a lack of natural speed.

Learn to Read Contact:Learn to Read Contact:Learn to Read Contact:Learn to Read Contact:Learn to Read Contact:Attempt to read the point of contact. It will help your initial jump along with your concentration. You will find

yourself catching up with the well hit ball and reacting to the "Texas leaguer."

Be Set to Start in Any Direction:Be Set to Start in Any Direction:Be Set to Start in Any Direction:Be Set to Start in Any Direction:Be Set to Start in Any Direction:A good starting position is a crouched position flexed at the ankles, knees and waist. Always keep your eyes

on the ball. When you start back, drop step to either the right of left while continuing to follow the flight of the ball.This takes practice but you can become an expert in a short time by practicing the over-the-shoulder drill, 360 anddrop step dull.

Maneuver in Front of Fly Balls:Maneuver in Front of Fly Balls:Maneuver in Front of Fly Balls:Maneuver in Front of Fly Balls:Maneuver in Front of Fly Balls:Not only is it necessary for an outfielder to maneuver correctly to get in front of the ball to make the catch,

but he must at the same time keep his body in a good position for the throw, knees and elbows are flexed,step forward with the throwing foot at catch. This is an excellent alignment of the feet, and will allow propershoulder alignment. The actual catch should be made off to the outfielder’s throwing shoulder.

Hold the Thumbs Together:Hold the Thumbs Together:Hold the Thumbs Together:Hold the Thumbs Together:Hold the Thumbs Together:There are two ways to catch high flies. In the first method the thumbs are together and the fingers are

up. The palms are turned away from the body. You must keep relaxed in both methods. If you are tense,the ball will pop out of your glove. If you relax, the ball will settle in your glove.

Hold the Little Fingers Together:Hold the Little Fingers Together:Hold the Little Fingers Together:Hold the Little Fingers Together:Hold the Little Fingers Together:In the second method, the fingers again point up, but the little fingers are together instead of thumbs.

The palms are turned toward the body.Some fly balls may be caught either way. However, there are others in which you must make a choice

between the two methods. Practice will enable you to make the proper decision.If you are catching the ball below the belt, drop your hands in front of the body. Keep the little

fingers together and hold them down and face the palms away from you. This is the only way to catchvery low line drives.

Don’t Make the Mistake - Communicate:Don’t Make the Mistake - Communicate:Don’t Make the Mistake - Communicate:Don’t Make the Mistake - Communicate:Don’t Make the Mistake - Communicate:Frequently either of two outfielders may be able to catch the same ball. The first player calling "I’ve got

it" is given preference, although at times the second player might make the catch more easily. If an importantthrow must be made, the player with the stronger arm attempts to catch the ball, providing of course, a goodthrowing position can be attained. In cases of doubt, the center fielder is given the right-of-way. To reinforcethe call, the outfielder backing up must also shout, "You take it" to eliminate any fear of footsteps.

Block Hard Hit Balls:Block Hard Hit Balls:Block Hard Hit Balls:Block Hard Hit Balls:Block Hard Hit Balls:When there is no need for a hurried throw, it is better to block the ball. This is especially true on hard

hit balls. If you try to make a quick pick-up throw, it may cause your eyes to left it hurrying and misplayinga routine single.

If a ground ball is hit to a right-hander, the right knee is on the ground because the outfielder is a right-hand thrower. If you are a left-hand thrower, the left knee drops to the ground. Most outfielders prefer this"knee-on-the-ground" method.

Proper Throwing Rhythm:Proper Throwing Rhythm:Proper Throwing Rhythm:Proper Throwing Rhythm:Proper Throwing Rhythm:Throwing leg drives forward, not behind front leg. This enables the throw to be made as the leg hits the

ground and helps the lead shoulder stay pointed directly at the target.

Overhand to the Plate:Overhand to the Plate:Overhand to the Plate:Overhand to the Plate:Overhand to the Plate:If you expect to catch a runner at the plate, you must throw overhand from the outfield. A backspin throw

to the catcher must be on the first bounce and at the top of the hop. Always keep your throw to the platelow. In case the ball travels wide of the plate, the cut-off man can intercept to catch the batter attemptingto advance. When throwing correctly, the path of the arm will resemble the spoke of a wheel. The handsshould separate at the waist, both elbows raise to shoulder height and in direct line with the target.

Backing Up:Backing Up:Backing Up:Backing Up:Backing Up:It is very important for outfielders to back up thrown balls to the bases on all balls hit to the infielders and

other outfielders. If possible, run to a point behind and in line with the fielder. Always expect the infielderto boot the ground ball, this negative thought will always place you in a proper defense position.

Figure the Next Play:Figure the Next Play:Figure the Next Play:Figure the Next Play:Figure the Next Play:Play heads-up baseball in the outfield. Know the situation before the ball is pitched. Know what bases

are occupied. Is there one out? Are there two out? Are the runners on base fast or slow? Knowing thesethings will help you make the right play. Be a wide-awake outfielder and always remember that short fly ballsare usually easier catches for you than for an infielder.

OUTFIELDER THROWING DRILLS

1. Pre-game Infield

2. Live (Tee) Scoring Groundballs

This drill allows the outfielder a realistic view of the barrel of the bat through the contactzone and a live base runner scoring from second base. A cut off man is optional in thisdrill. Infielders hit off the tee and work on hitting line drives and fly balls to the oppositefield.

3. Three Ball Drill

This drill has all three outfielders throwing simultaneously to 2nd, 3rd and home plate.Infielders at each position throw ground balls to the outfielders. Each outfielder should throw nomore than three throws to each base.

Throwing Rotations

1. 2. 3.9-2 7-2 8-27-5 9-4 9-58-4 8-5 7-4

4. Three Man Blind Relay Drill

This is a three man throwing drill. The emphasis is on the ability to field a ball hit off thefence and find the relay man. The outfielder stands with his back to the fence, a middle personthrows the ball to the right or left of the outfielder. A third outfielder acts as a relay man andmoves to force the outfielder to locate him with the throw. All throws should be made above thebelt of the relay man. After three throws the three outfielders rotate positions.

5. Four Man Long Throw Drill

Four outfielders line up approximately 200 feet in distance from the first and fourth outfielder. Outfielder 2 begins by throwing a ground ball to outfielder 1, whoexecutes a long throw to outfielder 4, using outfielder 3 as a cut off man.The ball is then returned to outfielder 3 who then throws a ground ball tooutfielder 4, who executes a long throw to outfielder 1, using outfielder 2as a cut off man. The ball is returned to the outfielder 2 position and thedrill starts once again. Rotation should take place after an outfielder hasmade two throws.

Outfielder 1111

Outfielder 2

Outfielder 3111

Outfielder 4

Tips for Outfielders:Tips for Outfielders:Tips for Outfielders:Tips for Outfielders:Tips for Outfielders:1. Assume that the strength of right-hand batters is in left field and left-hand batters in right field.2. Play deep for big men and players who take the big swing. Generally move in on smaller men and players

who choke up. Adjustments should be made according to your pitcher. If he has an overpoweringfastball, shade the hitters to the opposite field.

3. Determine the direction and velocity of the wind and consider these factors both in taking your position andpursuing the ball.

4. Return the ball to the infield immediately after making the catch. Hit the cut off man at the chest.5. Permit foul flies to fall with the score tied and less than two outs, if third base is occupied in the last half of

the final inning, unless the runner can be thrown out.6. Back up bases and, if necessary, cover bases and take part in run-downs.7. Watch the opposing team during its batting practice. Notice where each man hits the ball. Notice how hard

he hits the ball. This gives you a clue where to locate your position in the outfield during the game. Asmart outfielder knows something about each opposing player as a hitter and plays the field accordingly.

8. Anytime a ball is hit on the ground to an infielder, anticipate an error. You will find that this will help yourjump on every ground ball hi

9. Don’t throw to home or third on a single when the tying or winning run is at bat, unless you know there is aplay. Keep the winning or tying run 270 feet from home plate.

10. When playing the line-drive hit directly to you, follow this rule: If you see over the line drive - charge! IfIf you see over the line drive - charge! IfIf you see over the line drive - charge! IfIf you see over the line drive - charge! IfIf you see over the line drive - charge! Ifyou can’t see over the ball coming out of the infield, react back.you can’t see over the ball coming out of the infield, react back.you can’t see over the ball coming out of the infield, react back.you can’t see over the ball coming out of the infield, react back.you can’t see over the ball coming out of the infield, react back.

CATCHERS AND UMPIRESCATCHERS AND UMPIRESCATCHERS AND UMPIRESCATCHERS AND UMPIRESCATCHERS AND UMPIRES

1. The umpire is human and entitled to a few mistakes.2. A catcher must have the ability to satisfy the pitcher’s need for an advocate while not angering the umpire3. American League umpire Steve Palermo states, "For me to be able to run a game smoothly, the catcher must throw

the ball back before he asks me anything."4. A catcher who holds the ball while arguing is very unpopular. If he tosses the ball back to the pitcher first, the

attention moves to the mound, and what goes on between catcher and umpire goes unnoticed.5. The catcher should always tell the pitcher if a close call was out of the strike zone. It instills umpire’s confidence.6. Catchers ask umpires to be consistent, "Call the pitch the same in the ninth as in the first."7. Umpires also ask for fairness. "Don’t wait until the ninth or a tense moment to challenge a pitch."8. The catcher must inform the umpire if the pitcher will pitch in a certain pattern or whether he has a unique pitch.

CATCHINGCATCHINGCATCHINGCATCHINGCATCHINGThe catcher is now a team’s psychologist. He is a pitcher’s sense of security, he can restore confidence with a trip

to the mound or by just the way he handles the ball. If a catcher is sloppy behind the plate, it’s going to undermine thepitcher’s confidence in him. Sloppiness also becomes contagious to the remainder of the inner defense. Everything acatcher can do to help his pitcher, no matter how small, is going to make a better pitcher on the mound.

The catcher’s head must be a filing cabinet where strategy is stored. He must know the stuff and mood of everypitcher on his staff and continue to follow the designated scouting reports on each hitter.

Basic Stance, Target, and Handling the Ball:Basic Stance, Target, and Handling the Ball:Basic Stance, Target, and Handling the Ball:Basic Stance, Target, and Handling the Ball:Basic Stance, Target, and Handling the Ball:

Attempt to catch as close to the hitter as possible. Catching close to the hitter can get more strikes for the pitcher. Thecloser you catch a ball to the strike zone, the more it will look like a strike. It also enables the catcher to catch more foultips, and less balls will bounce in front of him.

The initial step is to station the body where he wants the pitch to go. We like to call this a "body target" and makesit easier for the pitcher to concentrate. The "rump" is as high as it can get without being awkward. Too many catcherslet their rear end drag and are in a poor position to react quickly. The weight should be kept forward out over the ballsof the feet. The left foot is slightly forward, the body and glove combine to give the pitcher the best possible target.

The catcher tries to stay down when handling all pitches so as to get the umpire a good look at the ball. Our catcheris not a receiver - he is a "meeter." The word receive means "give" with the ball or bring-it-in. This action takes the ballfarther away from the plate and hides the pitch from the umpire. Catchers "meet" the ball, they reach out and stop it asclose to home plate as possible and in the strike zone. In our program, we prefer to call this technique "framing." Youdon’t wish to fool the umpire, but since he makes the decisions, you just want to help him a little and you should wanteverything you can get.

The Hands Are Important in Framing:The Hands Are Important in Framing:The Hands Are Important in Framing:The Hands Are Important in Framing:The Hands Are Important in Framing:Many young catchers lose 3 to 4 strikes an inning, and in a nine-inning game, that can account for a few outs. Often

on the low pitch a strike will be lost because the catcher should have met the ball and perhaps given it a wrist-flickupward. The high pitch also should be kept in the strike zone and not be yanked out of it. Contrary to the often-heardmaxim that the catcher should "funnel" all balls to his belt buckle; indeed he should not! He should stop the ball as closeto the plate as possible. On occasion there may be movement of the hands, just a flick upward (low pitch) or downward(high pitch) to ensure the ball stays in the strike zone. A sway of the body in either direction will facilitate easier framing.

THE LOW PITCH AND HIGH PITCH ARE MUST STRIKESTHE LOW PITCH AND HIGH PITCH ARE MUST STRIKESTHE LOW PITCH AND HIGH PITCH ARE MUST STRIKESTHE LOW PITCH AND HIGH PITCH ARE MUST STRIKESTHE LOW PITCH AND HIGH PITCH ARE MUST STRIKES - A slight relaxation of the hands as the pitcherreleases the ball will prevent tense hands. Stiff hands make it tougher to handle the ball. The low pitch must be caughtin front and then allowed to "sit." This means the catcher stops the ball in the strike zone and then lets the umpire geta good view of it. The low pitch is kept in the strike zone by an upward flick of both wrists as the ball comes in (not after).The catcher must judge the pitch while the ball is in flight. The high pitch at the letters must be "knocked down" intothe strike zone. Again, the action is as the ball comes in, with the downward movement of the hands, all fingers flickingdownward. Nothing else moves. This is not "jerking the pitch," which means pulling the pitch into the strike zone.

Throwing:Throwing:Throwing:Throwing:Throwing:Gripping the ball across the seams has proven most effective for the majority of catchers at all levels of baseball.

The two fingers are right on top of the ball on almost every throw.In throwing to second base to stop a steal, footwork is as important as a good throwing arm. A catcher must shift

his body weight correctly, so he will have rhythm, power and quickness to get the ball away as soon as possible. Bodymomentum is generated by driving into the pitch (not up) as he catches the ball (not after, which would hindermomentum). The catcher should take a driving step forward with the right foot on the pitch down the middle and theoutside corner. He should catch with two hands bringing both glove and throwing hand to the right ear, simultaneouslythe lead shoulder rotates inward pointing directly toward second base. The throw to second base is not to be placedon the bag as many people think. A better throw is one that the second baseman or shortstop can fall to handle knee-high above the bag. This will give the infielder a chance to make an undisturbed catch and adjust to the slidingbaserunner. A good glove to glove time is two seconds.

Protecting and Blocking Home Plate:Protecting and Blocking Home Plate:Protecting and Blocking Home Plate:Protecting and Blocking Home Plate:Protecting and Blocking Home Plate:Give the runner room to slide, let him see part of the plate. Of course the catcher tags runners out with the ball held

firmly in the bare hand and not in the glove like other infielders. By giving the runner the outside portion of the plate,you know where he will end up sliding. Upon receiving the throw, the catcher pivots to his left and drives the left kneeto the ground, blocking the plate and forcing the runner outside. Be careful not to get caught behind home plate, thiswill give the baserunner a chance to bisect the throw.

Pop Fly:Pop Fly:Pop Fly:Pop Fly:Pop Fly:Almost every pop-up to the catcher will drift back to the infield. First, remove the mask and clear it from the area.

Find the ball, station yourself under the ball with the back to the infield. Remember, as a catcher you are the same asany other defensive player, the easiest method to catch a fly ball is above the head.

Tips for Catchers:Tips for Catchers:Tips for Catchers:Tips for Catchers:Tips for Catchers:1. You and the pitcher control the pace of the game. It is better to work at a quick pace. It will keep the infielders

sharp and won’t allow the hitter a chance to concentrate.2. Get the ball back to the pitcher immediately. Let him govern the speed of the game, not the hitter.3. If a hitter steps out of the box, or immediately after a foul ball, get the signal out to the pitcher (Don’t Hesitate).4. When working in the bullpen, always work on "framing."5. Work daily on blocking the ball in the dirt.6. Work daily on the proper throwing rhythm.7. Pop flys behind the plate should be played with your back to the infield, because of the spin the ball is always

coming back toward fair territory.8. On the scissors play, the throw must be made with good velocity and at shoulder level.9. The double steal pick-off to third is easier if you don’t look the runner back and make a complete follow-through

fake.10. When questioning an umpire’s call, do not turn around. It will be taken as showing up the umpire and may hurt

your pitcher on the next close pitch.11. Set your stance as close to the hitter as possible.

Reasons: Get closer to the strike zone.Shortens the throwing distances.Angle for foul tips is reduced. Easier to be caught.More low pitches are handled before going into the dirt.

12. Catch the ball one handed, but with two hands.

PITCHING

THE ABILITY TO ESTABLISH RHYTHMTHE ABILITY TO ESTABLISH RHYTHMTHE ABILITY TO ESTABLISH RHYTHMTHE ABILITY TO ESTABLISH RHYTHMTHE ABILITY TO ESTABLISH RHYTHMFEELING AND AWARENESSFEELING AND AWARENESSFEELING AND AWARENESSFEELING AND AWARENESSFEELING AND AWARENESS

Few players understand the importance of concentrating attention on the feel of the ball as they are holding it.There are two things that a pitcher must know on every pitch: (1) the target and (2) hand location during the totalrhythm. If he loses contact with either of these, he is in trouble.

The easiest way to get such training is simply to focus your attention on your body during practice. You shouldspend more time each day merely feeling the exact path of your hand during the windup. The greatest attentionshould be placed on the feel of your arm and hand at the coil and also the moment just before the explosion drivingforward to release the ball. This method is called "Physical Centering."

There are many ways to increase one’s awareness of muscle feel. One is to make each of your pitches in slowmotion. Each can be performed as an exercise, in which all attention is placed on the feel of the moving parts ofthe body. Get to know the feel of every inch of your windup, every muscle movement in your body.

By establishing your feel, it helps you become more aware of rhythm. Every pitcher has a rhythm natural tohimself. If you learn to concentrate on the sense of rhythm, it is not difficult to fall into the rhythm most natural andeffective for you.

Rhythm can never be achieved by being overly purposeful about it; you have to let it happen. Remember, itis almost impossible to feel or see anything well if you are thinking about how you should be moving. Forget whatyou should do and just experience.

PITCHINGPITCHINGPITCHINGPITCHINGPITCHING

1. Key to Successful Pitcher is Rhythm. a. Any loss of balance will hinder control and take velocity off of your fastball. b. Your windup should be smooth, fluid and continuous and the same each pitch. Your windup should be

practiced until it becomes second nature.2. Be relaxed while taking the signal from the catcher.

a. Don’t be bent at the waist. It causes stress and tension on your body, plus you must bend overapproximately 100 times. Why add 100 more?

3. There are two positions of the feet when winding up.a. The toe over the mound, the front three spikes off the rubber.

1. Enables a stronger push-off and explosion toward the plate.2. Eliminates pivoting of the ankles.

4. Windup (Arms)a. Three types - no windup, regular (don’t bring hands over head), double pump.b. Conceal the ball.

5. The Pivota. The key to the pivot is good body balance.

1.You rock back and stick the back pocket in the hitter’s face.2.The shoulder at this point is also aimed at the target.3.As you rock or pivot back, the rear leg bends or coils to add the extra push-off needed to help the

pitcher explode. As you explode, you drive the back knee down or drag the knee.4.The lead shoulder is driven directly at the target.5.At the pivot, remember to stay compact, and keep the shoulders over the hips.

6. Stride or Explosion to the Plate.a. After the coiling action, the lead leg drives forward and the ankles extend.b. The foot lands at least at a 90 degree angle from the mound.

1.This allows the hips to explode open.2.Both elbows are at shoulder height. The lead elbow is driven at the target and the pull down along

side the rib cage. c. AT THIS TIME DO NOT LET THE BODY GET AHEAD OF THE ARM. IF THIS HAPPENS, THE ARM

WILL TRY TO MAKE UP THE DIFFERENCE AND THE FASTEST OR CLOSEST WAY BETWEENTHE TWO POINTS IS A STRAIGHT LINE, THE ELBOW WILL DROP AND THE PITCHER WILLTHROW THE BALL ACROSS HIS BODY RATHER THAN OVER THE TOP. TO MAINTAIN PROPERARM ANGLE, THE HANDS MUST BE SEPARATE AT THE BELT OR AT THE KNEE’S HIGHESTPOINT.

7. Follow Through.a. The key to the follow through is that the back leg doesn’t come around until the front leg is planted.

When the rear leg does come around, it doesn’t drag, it snaps upward giving more obody momentumand a more fluid follow through.

b. Remember, the elbow leads the arm.

BIOMECHANICAL RESEARCH - PITICHINGBIOMECHANICAL RESEARCH - PITICHINGBIOMECHANICAL RESEARCH - PITICHINGBIOMECHANICAL RESEARCH - PITICHINGBIOMECHANICAL RESEARCH - PITICHINGTOM HOUSE; PhdTOM HOUSE; PhdTOM HOUSE; PhdTOM HOUSE; PhdTOM HOUSE; Phd

Motion analysis validates six biomechanical coaching imperatives. Everything else isa non-teach, inevitable and/or unimportant.

1. DYNAMIC BALANCEDYNAMIC BALANCEDYNAMIC BALANCEDYNAMIC BALANCEDYNAMIC BALANCEDefined as the head over the center of gravity between the balls of the feet through weight transfer

into launch/ throw. It creates an axis of rotation for the torso and arms when the head and center of gravitytrack as far forward as functional strength and flexibility will allow.

2. POSTURAL STABILIZATIONPOSTURAL STABILIZATIONPOSTURAL STABILIZATIONPOSTURAL STABILIZATIONPOSTURAL STABILIZATIONDefined as keeping the head stable and parallel to the ground/mound from leg lift to launch. This

directs the total body mass toward home plate during weight transfer and the sequential muscle loading/energy release into thebaseball.

3. EQUAL ARM ANGLESEQUAL ARM ANGLESEQUAL ARM ANGLESEQUAL ARM ANGLESEQUAL ARM ANGLESDefined as the alignment of the elbows while having the identical foream angles on both the throwing

and glove arms at foot strike. This facilitates timing in the muscle/energy sequences coming up the body.

4. LATE TORSO ROTATIONLATE TORSO ROTATIONLATE TORSO ROTATIONLATE TORSO ROTATIONLATE TORSO ROTATIONDefined as the hips delaying any rotation until at least 75% of the strength ha s been completed, with

shoulders rotating and squaring up toward home plate over the ball/arch of the plant foot. This positionsthe body’s axis of rotation as close to home plate as functional strength and flexibility will allow. It alsominimizes stress on thethrowing shoulder and elbow.

5. BLOCKING THE GLOVEBLOCKING THE GLOVEBLOCKING THE GLOVEBLOCKING THE GLOVEBLOCKING THE GLOVEDefined as keeping the glove and elbow stationary and inside the width of the body during torso

rotation into launch. This keeps weight transfer and muscle/energy sequencing toward the plate while theupper body rotates and delivers the throwing arm and baseball. Taking the body to the glove gets therelease point closer to homeplate. This will mean more strikes, less time for the hitter to see and track thepitch, later movement on all pitches and less stress on the arm.

6. PITCH MOVEMENTPITCH MOVEMENTPITCH MOVEMENTPITCH MOVEMENTPITCH MOVEMENTBiomechanics determines how the ball will move. The thumb and middle finger must cut through the

middle of thebaseball on all pitches except the split. From then on, it is the angle and position of the palm,wrist and forearm that cause movement and/or change of speed. Examples: Palm straight equals afastball, palm inward equals a breaking ball, palm outward equals a sinker or change.

CHECK POINTS FOR EACH PITCHCHECK POINTS FOR EACH PITCHCHECK POINTS FOR EACH PITCHCHECK POINTS FOR EACH PITCHCHECK POINTS FOR EACH PITCH1. Review Situation2. Cue words, Self coach3. Sign4. Visualize and feel the pitch5. Sternum up6. Let it Happen

RECOGNIZE THAT EACH HITTER IS A SEPARATE GAMERECOGNIZE THAT EACH HITTER IS A SEPARATE GAMERECOGNIZE THAT EACH HITTER IS A SEPARATE GAMERECOGNIZE THAT EACH HITTER IS A SEPARATE GAMERECOGNIZE THAT EACH HITTER IS A SEPARATE GAME

THE PROCESS GOALS FOR BEING A SUCCESSFUL PITCHERTHE PROCESS GOALS FOR BEING A SUCCESSFUL PITCHERTHE PROCESS GOALS FOR BEING A SUCCESSFUL PITCHERTHE PROCESS GOALS FOR BEING A SUCCESSFUL PITCHERTHE PROCESS GOALS FOR BEING A SUCCESSFUL PITCHER1. Throw two of the first three pitches for strikes.2. Pitch ahead of the count, 0-2, 1-2, then3. Finish the hitter by expanding the strike zone.

BEAT THE HITTER PHYSICALLY, MENTALLY, EMOTIONALLYBEAT THE HITTER PHYSICALLY, MENTALLY, EMOTIONALLYBEAT THE HITTER PHYSICALLY, MENTALLY, EMOTIONALLYBEAT THE HITTER PHYSICALLY, MENTALLY, EMOTIONALLYBEAT THE HITTER PHYSICALLY, MENTALLY, EMOTIONALLY1. COND. 1. ROUTINE 1. BREATHE2. STRENGTH 2. MOMENT 2. EVALUATE3. MECHANICS 3. DISCIPLINE 3. STAY ALOOF4. STUFF/LOCATE 4. PROCESS ORIENTED

A METHOD TO IMPROVE THOUGHTS HABITS IS FOR EVERY NEGATIVETHOUGHT HAVE TEN POSITIVE THOUGHTS.

THE FOUR ELEMENTS OF A WINNING PITCHERTHE FOUR ELEMENTS OF A WINNING PITCHERTHE FOUR ELEMENTS OF A WINNING PITCHERTHE FOUR ELEMENTS OF A WINNING PITCHERTHE FOUR ELEMENTS OF A WINNING PITCHER

1. LOCATIONLOCATIONLOCATIONLOCATIONLOCATION is number on due to the fact that a pitcher can win in the Major Leagues bylocating two or more pitches in the strike zone, as well as, having the ability to expandthe strike zone.

2. CHANGE OF SPEEDSCHANGE OF SPEEDSCHANGE OF SPEEDSCHANGE OF SPEEDSCHANGE OF SPEEDS is the second way a pitcher can dominate a hitter by adding andsubtracting velocity with location. Remember, Hitting is timing and changing speedsthrows off timing.

3. MOVEMENTMOVEMENTMOVEMENTMOVEMENTMOVEMENT (Late) with location gets hitters out by making the hitter miss-hit the ball.

4. VELOCITYVELOCITYVELOCITYVELOCITYVELOCITY is last. Velocity with poor location is a recipe for failure.

TALENT DOES NOT EQUAL PERFORMANCE, PREPARATION EQUALS PERFORMANCETALENT DOES NOT EQUAL PERFORMANCE, PREPARATION EQUALS PERFORMANCETALENT DOES NOT EQUAL PERFORMANCE, PREPARATION EQUALS PERFORMANCETALENT DOES NOT EQUAL PERFORMANCE, PREPARATION EQUALS PERFORMANCETALENT DOES NOT EQUAL PERFORMANCE, PREPARATION EQUALS PERFORMANCE

CITRUS COLLEGE PITCHING PHILOSOPHYCITRUS COLLEGE PITCHING PHILOSOPHYCITRUS COLLEGE PITCHING PHILOSOPHYCITRUS COLLEGE PITCHING PHILOSOPHYCITRUS COLLEGE PITCHING PHILOSOPHY

1. Always keep in mind that critical game winning situations can occur in the first inning not just the seventh,eighth or ninth innings.

2. Avoid the "inevitable two," or that the opposition will score two runs in the first inning. Three reasons why theopposition may score; 1. The umpire is attempting to establish a strike zone 2. The opposition’s best hittersare due up 3. Thepitcher has no idea what pitch is working. A first inning guideline to stop the "inevitable two,"1. Be able to power one pitch to the center of the plate 2. Get one out on a pitch out over the plate and oneout on a great pitch 3. Alert the infield to be in position to make a great defensive play.

3. Beware of the "2-2 trap" or the inability to challenge with the best pitch, which will always lead to a base onballs. The pitch thrown on a 2-2 count will be the same one thrown 3-2. For example, if a curveball is missedon 2-2, correct with the same pitch 3-2 to the middle of the plate.

4. Strike out the hitter on 0-2 pitches. Make a great strike, but there is no need to overthrow any pitch. Throwonly pitches that are part of your repertoire and within your rhythm.

5. Eliminate all "no-decision" pitches. A no-decision pitch is one that is far enough out of the strike zone thatthe hitter has no decision whether to swing or not. Attempt to keep the pressure on the hitter by forcing himto decide whether or not to swing on every pitch.

6. In all two out situations, with no runner on base, always throw every pitch over heart of the plate. No pitchshould be called a ball during the next two batters.

7. Play a percentage bunt defense, always stay under control and hustle to get the man at first. The percent agesstate that we will most likely retire the next two hitters. Pick up the ball, adjust the feet and throw the hitterout.

8. When holding a potential base stealer at first, vary the move to the plate between a quick one count and adelayed five count.

SUCCESSFUL PITCHING PERCENTAGESSUCCESSFUL PITCHING PERCENTAGESSUCCESSFUL PITCHING PERCENTAGESSUCCESSFUL PITCHING PERCENTAGESSUCCESSFUL PITCHING PERCENTAGES

1. 67% of leadoff men retired2. 67% first pitch strikes3. 65% strike to ball ratio4. 15 pitches or less per inning pitched5. 3 base on balls or less per nine innings pitched6. 1 hit or less per inning pitched7. Earned run average under 4.00

PITCHER’S PRE-PITCH ROUTINEPITCHER’S PRE-PITCH ROUTINEPITCHER’S PRE-PITCH ROUTINEPITCHER’S PRE-PITCH ROUTINEPITCHER’S PRE-PITCH ROUTINE

1. The primary goal is to throw the ball to the target.

2. Pitcher’s game plan:1. Analyze the situation.2. Visualize the pitcher that you want to throw to the target. Free the motion.3. Fine center on the target.4. Let the ball go to the target.

3. Between pitchers, visualize your proper pitching mechanics. See yourself performing successfully.

4. Keep the minds eye on the target throughout the motion, even if you are not actually looking at the target.

5. After receiving the signal from the catcher, a momentary soft center allows the body to relax.

6. As the motion begins, fine-center on visualizing the pitch in the last 30 feet of flight, traveling directly to thetarget or zone over the plate.

7. A pre-game visualization period of 10 to 15 minutes before the game should be focused on such areas aspitching patterns, the catcher and pick off moves.

8. A pre-pitch routine won’t make a pitcher a winner by itself (mechanics and basic skill is still important), butit will allow the pitcher to fully perform to potential. If a pitcher throws a pitch with 100 percent conviction,throws it with proper velocity, rotation and location, then he has done his job. There is nothing more hecan do, other thanfill his position.

0-0 0.44 0.33 0.11 40.0 4.30-1 0.35 0.28 0.07 17.0 1.10-2 0.25 0.19 0.06 7.5 0.41-0 0.56 0.36 0.20 17.4 3.51-1 0.44 0.29 0.15 15.0 2.31-2 0.31 0.21 0.10 11.9 1.22-0 0.78 0.43 0.35 6.8 2.42-1 0.64 0.33 0.31 9.0 2.82-2 0.48 0.23 0.25 10.4 2.63-0 1 0.62 0.38 2.4 0.93-1 1 0.45 0.55 4.4 2.43-2 1 0.31 0.69 7.1 4.9

0-0 0.58 0.44 0.14 40.0 5.60-1 0.46 0.37 0.09 17.0 1.60-2 0.33 0.25 0.08 7.5 0.61-0 0.69 0.47 0.22 17.4 3.81-1 0.56 0.37 0.19 15.0 2.81-2 0.40 0.26 0.14 11.9 1.72-0 0.85 0.55 0.30 6.8 2.02-1 0.73 0.43 0.30 9.0 2.72-2 0.58 0.29 0.29 10.4 3.03-0 1 0.72 0.28 2.4 0.73-1 1 0.55 0.45 4.4 2.03-2 1 0.39 0.61 7.1 4.3

Spread PlateAppearances

per Game.

Baserunnerssaves per

Game.

Count ChanceBatter willeventually

reach base ifa strike isthrown.

ChanceBatter willeventuall

reach baseif a ball isthrown.

Count Avg. Basesobtained if

ball isthrown

Avg. Bases if strike is

thrown

Spread PlateAppearances

per Game

Bases savesper Game

THE IMPORTANCE OF STRIKESBy

Competitive Edge Decisions Systems

PITCHING INSIDE

Why are pitchers afraid to throw inside?1. The fear of hitting a batter.2. The fear of being taken for a long ride.3. Heated responses from the hitter, coaches, spectators and maybe an

umpire.4. Poor hitting skills at the previous level have led to success in retiring

hitters.5. Cheap, jammed handle hits sometimes fall in for base hits.6. Many pitchers have control problems they look at the hitter or are

conscious of the hitter, rather than the target.

Reasons to pitch inside

1. The constant threat of the inside pitch provokes fear and tension in thehitter.

2. Hitters do not like to be embarrassed or jammed. They don t want theball thrown by them.

3. Hitters want to extend. They must become quicker to handle the pitchinside rather than outside. Throw a pitch in the 6 in. slot between thebatter s box and the plate, it will most likely be a swing and miss,fouled off, or hit for an out.

4. Sets up the ball away.5. Pitching inside forces the pitcher to throw to a spot and block out the

hitter.6. In a double play situation, the hitter can t extend on the ball inside and

will often hit a groundball.7. Success in pitching inside breed s confidence in the pitcher and his

defense.

MENTAL PREPARATION FOR BASEBALL PITCHINGMENTAL PREPARATION FOR BASEBALL PITCHINGMENTAL PREPARATION FOR BASEBALL PITCHINGMENTAL PREPARATION FOR BASEBALL PITCHINGMENTAL PREPARATION FOR BASEBALL PITCHING

A. ARRIVING AT THE FIELD Things You Do

Familiarize yourself with field conditions A.

Select focal point in the stadium

Get equipment bag set up in dugout

Make friends with the mound and rubber

B. WARM UP

1. Performance B.

Begin by getting loose

Feel where your body is at today

Stretch your body into centered perspective

Gradually loosen it up

Feel the rhythm beginning to merge

Work on each pitch

Play with and access your variety of pitches

2. Concentration

Get mentally prepared

Feel the adrenaline pumping

Imagine you are pitching 1st inning at end of the warm-up

so that you are ready

Use your imagery skills before the game to simulate

game conditions

C. APPROACH THE MOUND

1. Performance C.

Know the situation, batter and plays

Check teammates defensive alignment

Check your responsibilities

2. Concentration

Feel the concentration and confidence build as you

walk to the mound

You are an awesome pitcher

You have trained hard and you’ve paid your dues

Clear and ready

TRUST IT

3. Coping Methods

Centering

Breathing point

Focal point

Imagery

Monitoring self-talk

D. ON THE MOUND

1. Performance D.

Mental and physical focus

Know the situation:

Your responsibilities

reassessing situation

adjust appropriately

2. Set position

centered and ready, concentration clicks in

know what you want to throw

imagine yourself throwing the pitch

3. Concentration

Present focus

Total involvement in the task

Controlled intensity

Appropriate focus

E. ON THE RUBBER

1. Performance E.

Final centering

Take the signal

You know what you need to do

Technical aspects of pitch are in your control

READY POSITION-tuned in

2. Concentration

Ready position tunes you in

Ball feels great

Rubber triggers your focus in

You and catcher are connected

F. FINAL FOCUS

1. Performance F.

Breath-inhale (activate) exhale (relax)

2. Concentration

Focus on the target (catcher’s mitt)

Automatic (may want to start with a breath)

Feel the rhythm and power

Controlled intensity as released

3. Coping

Monitor self-talk/Focus on concentration points

G. FEEDBACK

1. Performance G.

Accept the feedback

More information, use it to your advantage

Recall and cherish good pitches

Bring focus to next pitch

Go to pre-pitch routine

2. Concentration

Positive feedback

Monitor self-talk

Learn from pitch

Focus on next pitch: pre-pitching routine

H. REGAINING YOUR FOCUS ON BAD CALLS, ERRORS, ETC.

Acknowledge feeling (anger, upset, etc.) H.

Face toward field-tighten and release, use something physical to let go

Monitor self-talk if needed

Turn to plate and concentration is on next pitch

You are a warrior

I. RUNNER ON BASE

You stay in charge I

You are totally focused on pitch and target

Monitor your self-talk if needed

You know you can handle it

The challenge is exciting

CONTROL - ADVANTAGE TO THE PITCHERCONTROL - ADVANTAGE TO THE PITCHERCONTROL - ADVANTAGE TO THE PITCHERCONTROL - ADVANTAGE TO THE PITCHERCONTROL - ADVANTAGE TO THE PITCHERThe successful pitcher will have a ball/strike ratio of 65% strikes to balls. It has also been established

that the retirement of the leadoff hitter coincides with a low E.R.A. We attempt to have our pitcher reach fora 67% success ratio at retiring the leadoff man in an inning. Also the ability to throw the first pitch for a strike,but not necessarily a fastball, will apply tremendous pressure on the hitter.

The key to any pitcher’s success lies in his ability to consistently throw the ball on a downward plane.The greater the angle of the ball downward, the greater advantage to the pitcher. This is why so many leaguescouts become excited at the sight of a 6’4" pitcher.

If the pitcher’s elbow drops or the pitch is thrown from the side, the ball, whether a fastball or curve,will remain on the same plane enabling the hitter to adjust much easier. The one-plane pitch allows the ballto be hit squarely more often than the pitch that is on a downward plane. It is true there are successful pitchersthrowing from this level, but the percentages are not great. The downward pitch travels on two planes, forwardand down, never giving the hitter a chance to swing his bat parallel to the ground and on the same plane asthe pitch.

As the downward plane is achieved, the pitcher’s control will improve. Control is being able to movethe ball, in and out, up or down, but primarily being able to keep the ball down. The key to accomplishing thedownward plane is proper mechanics (rhythm) and the essential requirement of keeping the elbow up overthe shoulder. The breaking of the hands at the waist allow for full arm movement and arm speed. It will alsoallow the shoulders to drive down and over at release.

HURRYING - PITCHER’S MOST COMMON FAULTHURRYING - PITCHER’S MOST COMMON FAULTHURRYING - PITCHER’S MOST COMMON FAULTHURRYING - PITCHER’S MOST COMMON FAULTHURRYING - PITCHER’S MOST COMMON FAULTHurrying is the greatest fault of all pitchers, both the experienced and the inexperienced. To defeat

the tendency to hurry, each must find his own control speed and rhythm. Hurrying will occur anytime the upperbody gets ahead of the arm, or to state it more clearly, anytime the lead shoulder opens prematurely. Theresults are: (1) A tremendous strain on the shoulder and arm, (2) Loss of speed and high pitches, (3) Theelbow will drop below the shoulder level, (4) Breaking pitches will flatten out.

In correcting this action, you must always work to be balanced on the rear leg during the coil. The leadshoulder is always kept over the hips, allowing compact body rotation. It is important that you do explodeforward with the lower body (rear leg and hip), but first the hands must be separated at thebelt, the arm is swung down, back and up. The areas to observe when working are to be sure that no forwardmovement should begin before the hand moves upward and the forward explosion should not take place untilthe stride leg is planted.

PITCHER’S COMPANION - POISE AND ATTITUDEPITCHER’S COMPANION - POISE AND ATTITUDEPITCHER’S COMPANION - POISE AND ATTITUDEPITCHER’S COMPANION - POISE AND ATTITUDEPITCHER’S COMPANION - POISE AND ATTITUDEBy watching a pitcher’s actions on the mound you should not be able to detect whether he is winning

or losing the ball game. The good pitcher appears emotionless on the mound. The control of one’s emotionscan make or break a pitcher in a pressure situation. Anger robs the individual of the ability to concentrate,and to adjust to a situation rationally.

Many young pitchers stomp around, show disgust or sulk - all of these are not helping to establishthe confident attitude needed on the hill. This attitude telegraphs the opposition that they have finally gottento you. Don’t be cocky, but give an air of confidence. Run to the mound, show everyone that you have a jobto do and are ready to do it. The aggressive pitcher does not wait for success to come to him - he goes outof his way to get it. This attitude will radiate to his teammates and give them an added incentive during apressure situation. The pitcher sets the pace of the game, controls the tempo and will always dictate theconcentration level of the defense. A quick working pitcher is more likely to reach this goal.

FASTBALLFASTBALLFASTBALLFASTBALLFASTBALLThe fastball is still the bread and butter pitch at all levels. It should be the highest percentage pitch in all

the pitchers’ arsenal. By establishing the ability to control your fastball, it will increase the effectiveness of alloffspeed pitches. 1. Always lead with the head when throwing the fastball. 2. The ball should be held in a manner that feels comfortable to the pitcher. Do not choke the ball in your hand, it will hinder the loose wrist and rotation. 3. The fastball can be held two ways:

First:First:First:First:First: The ball is held across the wide seams. By gripping the ball across the seams, it helpsdevelop the "rising fastball," the ball actually does not raise but the rotation helpsmaintain the height and velocity. The four seam rotation allows the ball to look asif it hops or takes off. The pitcher, to achieve this movement, must keep a very loosearm, allowing a whipping action, and vigorously claw at the ball during release.

Second:Second:Second:Second:Second: The ball is held along the two narrow seams. This method when thrown correctlyallows the fastball to sink. It must be remembered when using this method, therelease point is well out in front of the body. The ball must be down or it will hangbecause of the lack of rotation. This pitch is the easiest to learn and control.

4. To allow efficient wrist action, keep the hand on top of the ball during the upward action of the arm. Thiswill allow a fluid wrist snap and enable the pitcher to throw with the hand than the arm. If you want the pitch to sink,point the wrist outward and attempt to get on the inside of the pitch at release point.

KEYS TO THE SPLIT-FINGER FASTBALL - ROGER CRAIGKEYS TO THE SPLIT-FINGER FASTBALL - ROGER CRAIGKEYS TO THE SPLIT-FINGER FASTBALL - ROGER CRAIGKEYS TO THE SPLIT-FINGER FASTBALL - ROGER CRAIGKEYS TO THE SPLIT-FINGER FASTBALL - ROGER CRAIG

1. One secret of being a good pitcher is to have a trick pitch such as the split-finger fastball, knuckleballor screwball.

2. The key to an effective split-finger is to always think fastball. Common sense tells you, if you throwa fastball with the fingers split apart you won’t deliver the pitch with the same velocity as a fastball.

3. Begin by spreading the fingers about one-half inch apart and gradually keep spreading them while workingthe ball down toward the palm.

4. Try not to grip the ball too deeply. Assume a grip which feels comfortable and allows you to throw strikes.Keep the fingers on top of the ball and outside the seams, rather than spreading wide apart.

5. Guard against choking the ball. Choking means setting the ball deep in the hand. This results in a falsesense that you must throw harder than normal.

6. Relax the grip, get the ball as far out in the finger tips as possible, and try to have a slight gap between theball and the middle and index fingers.

7. At the point of release, exert a little pressure on the ball with the joints of your middle and index fingers.This will give the ball a greater tumbling effect.

8. Manipulate the thumb by imparting a little pressure on the ball with the joints of your middle and indexfingers.This will give the ball a great tumbling effect.

9. To improve control place the fingers more on top of the ball, rather than gripping the ball deep in the fingers.10. You also can curl the fingertips of your middle and index fingers, especially the index finger. That friction

will give thepitch even more of a tumbling effect.11. The split-finger fastball does not have to be thrown in the strike zone. The pitch must only appear to be

a strike before dropping out of the strike zone.12. Beware of tipping this pitch! Pitchers often raise the wrist while spreading the fingers to grip the pitch.

CHANGE UPCHANGE UPCHANGE UPCHANGE UPCHANGE UPThe change is the pitch that will cause the hitter to hurry. It is an offspeed pitch that is quite easy to control.

It is a pitch you want the hitter to make contact, most likely the ball will be popped up or pounded into the ground.The following are a few helpful tips on throwing the challenge change up.

1. At release point drive the head to the level of the catcher.2. The standard release is to drive the back of a stiff wrist to the ground, bisecting the body. Most effective

change up pitchers attempt to cause a great deal of back spin. The more back spin the more the pitch willresemble a fast ball.

3. Many pitchers help impede their motion by dragging the rear leg and foot during the follow through.4. We ask our pitchers to use a body target. Our targets for the change are the "shoe tops and shinguards."

THE CHALLENGE CHANGE UPTHE CHALLENGE CHANGE UPTHE CHALLENGE CHANGE UPTHE CHALLENGE CHANGE UPTHE CHALLENGE CHANGE UP

1. Hitters swing at what they see, SHOW THEM THE ARM!2. Separate the hands and get the arm up and keep it close to the body.3. Stay inside and on top of the pitch.4. Attempt to reach out and dust off the catcher’s shoes. Another "feel" is to attempt to bisect your

upper torso with the arm path.5. Always challenge the hitter with the change-up. The hitter needs to visually register a strike.6. There should be no physical adjustment in rhythm or delivery. Maintain arm speed, make adjust

ments with the grip (hand).7. Grip Adjustments

a. circle changeb. pitch fork, three finger forkc. palm balld. two finger chokee. split finger

SLIDERSLIDERSLIDERSLIDERSLIDERThe modern breaking ball, the one the hitters fear and the pitchers love to throw. This love affair is dueto the uncomplicated method of learning and the ability to throw a high percentage of strikes.1. A combination hard curve and fastball, kept on the outer half of the plate or in at the knees.2. The rhythm and motion is exactly the same as a fastball. The release point seems to be out in front

of the body, usually off the lead knee. It may not actually happen this way, but the pitcher needs toexaggerate to that point.

3. We teach to place the middle finger along the wide seam and the thumb on the bottom seam. Cutthe ball, as if slicingbutter with the middle finger, causing a hard, flat break. The importantpoint to remember is that the snap of the wrist, not the elbow is needed to cause movement.Snapping the elbow leads to a larger breakand also arm trouble. Another good teaching method isfor the thumb of the throwing hand to point to the outside corner.

FLATGROUND WORKOUTFLATGROUND WORKOUTFLATGROUND WORKOUTFLATGROUND WORKOUTFLATGROUND WORKOUTThe dynamic and explosive action of a pitcher’ rhythm is such a violent sequence of events that it

will take the body seventy-two hours to heal. A pitcher will always have a price to pay when throwing offthe mound. Pitching off a mound is a tearing down process of muscle strength due to the forces ofgravity, and the sequence of muscle groups that must be used to accelerate and decelerate the armwhen throwing down hill.

To enhance the neuro-muscular breakdown of the pitcher’s mechanics a large number of repetitionsneed be preformed. The problem is how can the pitcher gain more repetition. When it takes 72 hours toheal the body from a mound workout. Tom House, Texas Rangers pitching coach, recommends"Flatground Workouts" for all skill work. The flatground drill can be used to build muscle endurancewithout tearing down muscle strength. By using this workout, repetitions dulls can be done daily thusshortening the learning curve. All teaching is done on flatground, timing is from the mound. The onlytime a pitcher needs to be on the mound is for pregame preparation.

Flatground workouts will allow the pitcher to throw to tolerance. Some days the body may b etolerant of a 60’6" workout, other days it may only tolerant shorter distance. In either case the result isstill the same, minimize the effect of the violent pitching action without sacrificing the development ofneuromuscular shells through repetition.

FLATGROUND PROGRESSION DRILLS DAILY ROUTINEFLATGROUND PROGRESSION DRILLS DAILY ROUTINEFLATGROUND PROGRESSION DRILLS DAILY ROUTINEFLATGROUND PROGRESSION DRILLS DAILY ROUTINEFLATGROUND PROGRESSION DRILLS DAILY ROUTINE

Adjustment tips: All location adjustments must be made with the rear shoulder. At the

completion of the pitch, the rear shoulder is pointed to the target with the

arm pit over the knee.

Progression Drills

1. Sit-down 25 ft. catch (20), using change up grip.

2. Kneeling 30 ft. catch (20), fingers on top of the ball.

3. Standing still 30 ft. catch (10), rotate to align. Emphasize loose arm and hand speed.

4. Separation 30 ft.-45 ft. catch (10), lift, align and separate shoulders.

5. Tuck 45 ft. catch (10), lift, tuck and deliver. (Chair)

6. Bounce Back never more than one foot touches the ground.

7. Chair, follow foot on chair, rotate heal outward, drive rear leg over (10).

through

8. Wall drill Smooth breakdown of mechanics while visualizing a target and working

back shoulder adjustments (15).

Work all pitches in all drills. Smooth will always get better faster. By using the flatground workout

neuromuscular repetitions can be done without fatigue.

THE GOOD CURVE BALLTHE GOOD CURVE BALLTHE GOOD CURVE BALLTHE GOOD CURVE BALLTHE GOOD CURVE BALLThe good curve ball is down-breaking curve. We are not interested in the "flat" curve that many young

pitchers throw. The flat curve is caused by dropping the elbow and releasing the ball off the outside of the indexfinger in a counter clock-wise motion (three-to-nine rotation).

The good curve ball is thrown with a high elbow, the ball being released over the top of the index fingerin a twelve-to-six downward rotation. By top of the finger, we are referring to the top edgeof the index finger, not the tip.

The rotation or spin of the ball against the atmosphere causes the ball to curve. The faster the rotation,the greater the curve. The ball will curve in the direction it is rotating. Learning to spin the ball is the most importantpart of learning to throw the curve because without good rotation, the pitcher can never develop a good curve ball.The following are the steps taken to develop the successful curve ball.

Step One:Step One:Step One:Step One:Step One: GripThe grip should be the same for each pitch, so that the pitch will not be tipped. Determine the pitcher’s

strongest pitch and have him grip all the pitches the way he grips his strongest one. The ideal is to get four seamrotation because the more seams that rotate against the atmosphere the greater the movement of the ball.

The pitcher should hold his fastball across the side part of the seams and then turn the ball aThe pitcher should hold his fastball across the side part of the seams and then turn the ball aThe pitcher should hold his fastball across the side part of the seams and then turn the ball aThe pitcher should hold his fastball across the side part of the seams and then turn the ball aThe pitcher should hold his fastball across the side part of the seams and then turn the ball aquarter turn so that his middle finger is resting along the seam. This is the ideal fingering as it allows thequarter turn so that his middle finger is resting along the seam. This is the ideal fingering as it allows thequarter turn so that his middle finger is resting along the seam. This is the ideal fingering as it allows thequarter turn so that his middle finger is resting along the seam. This is the ideal fingering as it allows thequarter turn so that his middle finger is resting along the seam. This is the ideal fingering as it allows thepitcher a four seam rotation on both the fast ball and curve by exerting pressure with the middle fingerpitcher a four seam rotation on both the fast ball and curve by exerting pressure with the middle fingerpitcher a four seam rotation on both the fast ball and curve by exerting pressure with the middle fingerpitcher a four seam rotation on both the fast ball and curve by exerting pressure with the middle fingerpitcher a four seam rotation on both the fast ball and curve by exerting pressure with the middle fingeron the seam.on the seam.on the seam.on the seam.on the seam.

The finger tip control is very important in throwing the curve. The pitcher’s fingers must learn to feel thecurve ball. The ball should be gripped loosely, but firmly - well out in the fingers because choking the ball back inthe palm will impede the spinning action of the curve. Most of the pressure for the curve is applied by the middlefinger and thumb as the ball is released over the top of the index finger.

Step Two:Step Two:Step Two:Step Two:Step Two: Imparting RotationThis is the most important aspect in throwing the curve. We want the ball to rotate in the twelve-to-six,

downward direction.Hold the ball in front of you below chest level using the proper grip with his index and middle fingers on

top of the ball and the thumb underneath. The ball is held with the hand cocked inward. From this position, thepitcher spins the ball as fast as he can, rotating the band so that the index and middle finger end up on the bottomof the ball and the thumb on the top. The pitcher must do this over and over until the ball is spinning at a good rateof speed in the 12-6 direction.

When the pitcher has demonstrated that he has this simple spinning technique mastered we proceed tothe hand to hand drill. The elbow is raised slightly higher than the shoulder and is bent in toward the ear. The ballis rotated over the top of the index finger and caught in the left hand. In this drill, the whole arm is rotated at theshoulder and the elbow is kept high.

Step Three:Step Three:Step Three:Step Three:Step Three: Throwing the Rotating BallThe elbow must be up and the hand turned in at a right angle toward the ear. The pitcher should attempt

to get himself on top of the ball. He should have the feeling that he is over the ball looking down on it. Thisaction can be helped by taking a very short stride. The pulling down action should be stressed as the ballis released. The ball should be released with the back of the hand facing the hitter.

ANALYZING THE COMMON FAULTS OF THE PITCHERANALYZING THE COMMON FAULTS OF THE PITCHERANALYZING THE COMMON FAULTS OF THE PITCHERANALYZING THE COMMON FAULTS OF THE PITCHERANALYZING THE COMMON FAULTS OF THE PITCHERThe major faults that are forever cropping up among pitchers who are trying to throw the curve are the

lack of good twelve-to-six rotation, the hanging curve and the bouncing curve.Lack of good twelve-to-six downward rotation: If the ball is not rotating properly, it is easy for you to

discover. There will usually be a "button" visible on the ball as it spins toward the plate.

CAUSES OF POOR ROTATIONCAUSES OF POOR ROTATIONCAUSES OF POOR ROTATIONCAUSES OF POOR ROTATIONCAUSES OF POOR ROTATION1.1.1.1.1. Not releasing the ball over the top of the index finger.Not releasing the ball over the top of the index finger.Not releasing the ball over the top of the index finger.Not releasing the ball over the top of the index finger.Not releasing the ball over the top of the index finger.

If the ball is released off the side of the index finger rather than over the top, the results willbe a three-to- nine rotation. It is imperative that you release the curve over the top of the index fingerwith the back of the hand facing the plate.

2.2.2.2.2. Wrist not turned in.Wrist not turned in.Wrist not turned in.Wrist not turned in.Wrist not turned in.The wrist should be turned in toward the ear in the delivery.

3.3.3.3.3. Elbow not half high.Elbow not half high.Elbow not half high.Elbow not half high.Elbow not half high.If the elbow is dropped, the result is a flatting out of the curve.

4.4.4.4.4. Poor finger action.Poor finger action.Poor finger action.Poor finger action.Poor finger action.5.5.5.5.5. Gripping the ball too tightly.Gripping the ball too tightly.Gripping the ball too tightly.Gripping the ball too tightly.Gripping the ball too tightly.

If gripped too tightly, the rotation is retarded because the fingers are not allowed to work freely toimpart good spin to the ball. If the rotation looks too slow, it is a good chance the ball is held too tightly.

6.6.6.6.6. Gripping the ball too far back in the hand.Gripping the ball too far back in the hand.Gripping the ball too far back in the hand.Gripping the ball too far back in the hand.Gripping the ball too far back in the hand.If choked too far back in the hand, the spin will be smothered so that proper rotation cannot beaccomplished.

THE HANGING CURVETHE HANGING CURVETHE HANGING CURVETHE HANGING CURVETHE HANGING CURVEThe hanging curve is a curve ball that tends to stay up in the batter’s eyes rather than breakingsharply down.

CAUSES OF THE HANGING CURVECAUSES OF THE HANGING CURVECAUSES OF THE HANGING CURVECAUSES OF THE HANGING CURVECAUSES OF THE HANGING CURVE1.1.1.1.1. Not pulling down hard enough.Not pulling down hard enough.Not pulling down hard enough.Not pulling down hard enough.Not pulling down hard enough.

After the hand reaches the top, it must be pulled down hard. If the pitcher doesn’t pull, the pitch willhang.

2.2.2.2.2. Not getting on top of the ball.Not getting on top of the ball.Not getting on top of the ball.Not getting on top of the ball.Not getting on top of the ball.The pitcher must get on top of the ball or it will hang. It often helps to shorten the stride. It is impossibleto get on top of the ball if the stride is too long.

3.3.3.3.3. Not bending the back.Not bending the back.Not bending the back.Not bending the back.Not bending the back.4.4.4.4.4. Quick remedy for the hanging curve.Quick remedy for the hanging curve.Quick remedy for the hanging curve.Quick remedy for the hanging curve.Quick remedy for the hanging curve.

If the curve is hanging and you do not know what to do, have the pitcher take about a one-four strideand throw a soft curve. We have often found this restores the curve because it forced the pitcher toget on top and also helps the rotation.

THE BOUNCING CURVETHE BOUNCING CURVETHE BOUNCING CURVETHE BOUNCING CURVETHE BOUNCING CURVEBy bounding the curve we mean the curve that looks as if it is thrown right into the ground.

CAUSES OF THE BOUNCING CURVECAUSES OF THE BOUNCING CURVECAUSES OF THE BOUNCING CURVECAUSES OF THE BOUNCING CURVECAUSES OF THE BOUNCING CURVE1.1.1.1.1. The bouncing curve is often caused by hurrying the motion.The bouncing curve is often caused by hurrying the motion.The bouncing curve is often caused by hurrying the motion.The bouncing curve is often caused by hurrying the motion.The bouncing curve is often caused by hurrying the motion.2.2.2.2.2. Poor over-all curve ball rhythm will cause the curve to bounce.Poor over-all curve ball rhythm will cause the curve to bounce.Poor over-all curve ball rhythm will cause the curve to bounce.Poor over-all curve ball rhythm will cause the curve to bounce.Poor over-all curve ball rhythm will cause the curve to bounce.3.3.3.3.3. Releasing the ball too late or not going through a full motion.Releasing the ball too late or not going through a full motion.Releasing the ball too late or not going through a full motion.Releasing the ball too late or not going through a full motion.Releasing the ball too late or not going through a full motion.

WHAT GOES INTO THE MAKING OF AN OUTSTANDING PITCHER?WHAT GOES INTO THE MAKING OF AN OUTSTANDING PITCHER?WHAT GOES INTO THE MAKING OF AN OUTSTANDING PITCHER?WHAT GOES INTO THE MAKING OF AN OUTSTANDING PITCHER?WHAT GOES INTO THE MAKING OF AN OUTSTANDING PITCHER?

Catfish Hunter:Catfish Hunter:Catfish Hunter:Catfish Hunter:Catfish Hunter:"The main difference between a major and a minor leaguer lies in his ability to bear down. A starting pitchermust bear down; sometimes this is more important than going on and finishing the game. He is asked to giveall he has, and he should try to go at least five to seven innings."

Vida Blue:Vida Blue:Vida Blue:Vida Blue:Vida Blue:"Never underestimate any hitter. Naturally I take into consideration his favorite pitches when I challenge him,but I do it aggressively. A pitcher must be aggressive. That’s the main reason, along with getting loosenedup, that I run to and from the dugout every inning. The pitcher who isn’t aggressive, plays right into the hitter’shands. I try to make him come to me and hit my pitch."

Claude Osteen:Claude Osteen:Claude Osteen:Claude Osteen:Claude Osteen:"Control is not a natural gift. It must be taught. It often spells the difference between a good pitcher and theordinary. Control takes a lot of work and practice. But what usually happens is that the pitcher starts out tryingto make the perfect pitch, rather than using his ability and challenging the hitters."

Ferguson Jenkins:Ferguson Jenkins:Ferguson Jenkins:Ferguson Jenkins:Ferguson Jenkins:"To be a major leaguer, you must back up physical skill with mental know-how and then practice constantly.Although conditioning is the most unpleasant aspect of the job, it is essential for everyone. You can have allthe ability in the world, but you won’t last long if you get tired and your arm conks out."

Tom Seaver:Tom Seaver:Tom Seaver:Tom Seaver:Tom Seaver:"Pitchers have to move the ball around; the pitcher cannot pitch one way. They have to move it up and down,in and out and continually appraise the situation."

Juan Marichal:Juan Marichal:Juan Marichal:Juan Marichal:Juan Marichal:"Concentration is vital in pitching. Every time you throw a ball you have to think and concentrate. You haveto get ready mentally. Sometimes the first thing to go is the mind. Your mind can get tired, you can’tconcentrate anymore. You don’t consciously change anything, but mentally you start letting the catcher doall the work, maybe for a pitch or two. That’s all it takes - one pitch."

John Sain:John Sain:John Sain:John Sain:John Sain:"A pitcher must have more than just a single pitch. The one-pitch hurler can rarely do it anymore. If he canthrow a breaking ball that is just as effective as his fast ball, he can pitch in any league, so long as he hasthe proper mental equipment."

Jim Palmer:Jim Palmer:Jim Palmer:Jim Palmer:Jim Palmer:"There is only one way to work out control problems and that is just practice over and over. The solution tomost pitching problems is practice."

Steve Carlton:Steve Carlton:Steve Carlton:Steve Carlton:Steve Carlton:"You have to think positively or you can’t get mentally up for the job. It reinforces your ability. People whofeel inferior inhibit their natural abilities."

Mickey Lolich:Mickey Lolich:Mickey Lolich:Mickey Lolich:Mickey Lolich:"The most important thing is throwing strikes when and where you want to. A pitcher must make thingshappen, not wait for situations to arise before taking charge. He must be aggressive."

Bob Gibson:Bob Gibson:Bob Gibson:Bob Gibson:Bob Gibson:"Courage is the thing that makes you stay in there, giving your team all you’ve got to achieve that victory whenthe tide is turning against you, the breaks are going wrong, and you’re on the short end of the score. You musthave confidence to continue."

"PITCHING THOUGHTS" by Tom Seaver"PITCHING THOUGHTS" by Tom Seaver"PITCHING THOUGHTS" by Tom Seaver"PITCHING THOUGHTS" by Tom Seaver"PITCHING THOUGHTS" by Tom Seaver1. As a pitcher you have a job to do that requires 100% of your mental energy and 100% of your physical energy.2. A pitcher’s greatest test is to hold on to a lead that his teammates have given him.3. Every pitch possesses three physical attributes: velocity (speed), movement (liveliness) and location (control).4. Only three or four outs directly affect the outcome of any given game. A game may ride on 3 or 4 pitches that his

pitcher chose and threw with accuracy.5. Get ahead of the count!

a. 1-0 draws you nearer to the danger zones of 2-0 and 3-1 ( 0-2=.191, 3-1=.324).b. Number 8 hitters with a 1-0 count are more dangerous and hit far higher batting averages than cleanup hittersbehind 0-1 in the count.

6. 80% of the base-on-balls occur when the first pitch is a ball (so the easiest way to cut down base-on-balls is tothrow the first pitch for a strike).

7. 76% of leadoff walks eventually score.8. Get the first out of an inning! This eliminates the big inning. If you get the first out, your defense will be able to end

the inning with a double play. This removes the possibility of the surprise of well-executed bunt.9. Never let the hitter make contact with the meat of the bat. Good pitching is the essence of moving the ball around

theplate, so that the hitter rarely makes contact with the "candy" portion of the bat.10. Never let the bat claim both sides of the plate.11. There is nothing worse than throwing a pitch with less than 100% commitment. Batters see everything a pitcher

does. They recognize hesitation and know that a half-hearted pitch is coming. Half-hearted pitches usually endup as mistakes.

12. You get strength and stamina from the lower body. Always incorporate the thighs, buttocks and back into yourthrowing motion.

13. A flexible front leg is important to every pitcher. The more flexible the front leg, the less strain you will place onyour delicate shoulder and arm muscles. a. To do this, you must remain with the weight over the rear leg to allow a more flexible left foot.

14. The left arm is the guide (for a RHP) and pulls the right side over (left down, right shoulder up and over).a. Pull the left elbow (Rhp, Lhp right elbow) down and outside the left hip,

b. As if attempting to knock the wind out of someone standing behind you.

WHEN AND WHERE DO YOU THROW THAT PITCH?WHEN AND WHERE DO YOU THROW THAT PITCH?WHEN AND WHERE DO YOU THROW THAT PITCH?WHEN AND WHERE DO YOU THROW THAT PITCH?WHEN AND WHERE DO YOU THROW THAT PITCH?You can classify each pitch in one of four categories: 1. Vulnerable situation 2. Percentage situation 3. Fine situation 4. Extra fine situation

Vulnerable Situation:Vulnerable Situation:Vulnerable Situation:Vulnerable Situation:Vulnerable Situation:When the pitcher must get the ball in for a strike. 3-2, 3-1, 2-0, 3-0.

Percentage Situation:Percentage Situation:Percentage Situation:Percentage Situation:Percentage Situation:If you have good control, you do not mind getting into this situation. This is when you have got to throwyou best pitch for strikes. This is a good time to be able to throw your change up for a strike. 1-0, 2-1,2-2.

Fine Situation:Fine Situation:Fine Situation:Fine Situation:Fine Situation: This is the situation a pitcher wants to get himself into. 0-1, 0-2, 1-1, 1-2. The pitcher needs not worrybecause if he does not get the pitch over, he still would be in a percentage situation. This is the time youcan make the hitter chase "your" pitch.

Extra Fine Situation:Extra Fine Situation:Extra Fine Situation:Extra Fine Situation:Extra Fine Situation:The hitter should never hit this pitch for a hit. You must make the hitter see a bad pitch, if he chases it,fine, if he takes it for a ball you are still in a fine situation. 0-2.

First Pitch - Percentage 3-0 - Vulnerable0-1 - Fine 1-2 - Fine1-0 - Percentage 2-1 - Percentage0-2 - Extra Fine 3-1 - Vulnerable2-0 - Vulnerable 2-2 - Percentage1-1 - Fine 3-2 - Vulnerable

PITCH SEQUENCES

ON HAND HITTER (R vs R, L vs L)

COUNT PITCH STRIKE BALL0 — 0 4 ( Get-it-in-there )1 — 0 1 ( Percentage )0 — 1 1 ( Challenge )2 — 0 2 ( Jam, Percentage )0 — 2 2 ( Jam, Challenge )1 — 1 2 ( Jam, Challenge )2 — 1 31 — 2 1 ( Up Under Chin or Eyes )2 — 2 4 ( Chase )3 — 2 4 ( Center of Plate )3 — 1 Percentage, Best command

OFF HAND HITTER ( R vs L, L vs R )

COUNT PITCH STRIKE BALL0 — 0 2 ( Challenge )1 — 0 30 — 1 32 — 0 1 (Percentage )0 — 2 1 ( Challenge )1 — 1 1 ( Challenge )2 — 1 31 — 2 Set up Out Pitch2 — 2 Out Pitch ( Challenge )3 — 2 Out Pitch ( Center of Plate )3 — 1 Percentage, Best command

STANDARD HITTING STYLESSTANDARD HITTING STYLESSTANDARD HITTING STYLESSTANDARD HITTING STYLESSTANDARD HITTING STYLESPitchers and catchers must learn to recognize and pitch to the different types of hitters. If the hitter is being

seen for initial time, try to categorize him and work by the book. But, when doubt, work the hitter away.when doubt, work the hitter away.when doubt, work the hitter away.when doubt, work the hitter away.when doubt, work the hitter away.

Thick Handle - Choke Hitter:Thick Handle - Choke Hitter:Thick Handle - Choke Hitter:Thick Handle - Choke Hitter:Thick Handle - Choke Hitter:Good bat control, difficult to strike out. The best way to pitch him is moving the ball in and out and trying tojam him. Usually a high ball hitter.

Thin Handle - End Gripper:Thin Handle - End Gripper:Thin Handle - End Gripper:Thin Handle - End Gripper:Thin Handle - End Gripper:Usually a free swinger, low ball pull hitter, should be pitched away. They have poor bat control and usuallytheir rhythm can be broken by changing speeds. Can changeCan changeCan changeCan changeCan change. Can challenge upstairs when necessary.

Lazy Wrist Hitter - Drags Hands:Lazy Wrist Hitter - Drags Hands:Lazy Wrist Hitter - Drags Hands:Lazy Wrist Hitter - Drags Hands:Lazy Wrist Hitter - Drags Hands:Poor top hand, lazy bat, slow getting bat around, will hit off-speed well, get him with hard stuff. Jam is possible,don’t change.don’t change.don’t change.don’t change.don’t change.

Long Stride Hitter:Long Stride Hitter:Long Stride Hitter:Long Stride Hitter:Long Stride Hitter:He can usually be thrown off speed pitches. This type of hitter does not have good body or bat control. WorkWorkWorkWorkWorkdownstairsdownstairsdownstairsdownstairsdownstairs, can change.

High Elbow Hitter:High Elbow Hitter:High Elbow Hitter:High Elbow Hitter:High Elbow Hitter:Causes loop in swing, poor bat control. Low ball hitter, can challenge above the belt.

High Hands and Bat Hitter:High Hands and Bat Hitter:High Hands and Bat Hitter:High Hands and Bat Hitter:High Hands and Bat Hitter:Bat held straight up or hands above the shoulders. He will have trouble hitting the high fastball. Usually willmurder the low pitch. Can throw breaking pitch down.

Flat Bat Hitter:Flat Bat Hitter:Flat Bat Hitter:Flat Bat Hitter:Flat Bat Hitter:Hits pitch around the letters well, the ball should be kept down. Flat bat hitters usually want balls out overthe plate.

Crouch Hitter:Crouch Hitter:Crouch Hitter:Crouch Hitter:Crouch Hitter:Usually a low ball hitter, hits pitch away. Trouble handling the pitch upstairs. Can jam.

Stand Up Hitter:Stand Up Hitter:Stand Up Hitter:Stand Up Hitter:Stand Up Hitter:Ball should be kept low, most of the time can be worked away.

Back Shoulder Dipper - Hand Dropper:Back Shoulder Dipper - Hand Dropper:Back Shoulder Dipper - Hand Dropper:Back Shoulder Dipper - Hand Dropper:Back Shoulder Dipper - Hand Dropper:Has real trouble with the high pitch and anything away.

Wide Stance Hitter:Wide Stance Hitter:Wide Stance Hitter:Wide Stance Hitter:Wide Stance Hitter:Don’t change, usually has trouble with the ball in the fastball up. Wants ball out over the plate.

Hand DrifterHand DrifterHand DrifterHand DrifterHand Drifter:Hands commit with stride, trouble all off-speed pitches, and fastball down. Will hit ball up and on the innerhalf of the plate.

SEVEN AREAS NEEDED FOR DEFENSE OF THE STOLEN BASESEVEN AREAS NEEDED FOR DEFENSE OF THE STOLEN BASESEVEN AREAS NEEDED FOR DEFENSE OF THE STOLEN BASESEVEN AREAS NEEDED FOR DEFENSE OF THE STOLEN BASESEVEN AREAS NEEDED FOR DEFENSE OF THE STOLEN BASE1. Quickness on move to first base.

a. Taking the sign.b. Coming upward.c. Coming downward.d. Quick set - bounce and over.e. Back off, relax keeping right hand at chest - then pop to first.

2. Quickness on move to plate.a. Kept weight back - drop and drive, keep stride leg close to ground.b. Change of direction - bounce and go to plate.c. The move to the plate on a pitch out should be abbreviated.

3. Quickness in catcher’s release.a. Meet the ball.b. Driving jab step with right foot, glove to right ear.

4. The throw - get it off as soon as possible.

5. Infielder’s ability to get to the bag quickly and under control.

6. Infielder’s ability to catch the throw. Never hurrying, always looking ball in glove. On the low throw,always staying down until the ball bounces.

7. Infielder’s ability to make proper tag. Least amount of movement possible - straight line to the bag. Givethe runner the back of the glove, so the ball cannot be kicked out of the glove.

Pick-off Moves:Pick-off Moves:Pick-off Moves:Pick-off Moves:Pick-off Moves:A comfortable stance from the same spot on the rubber, a quick pivot and body turn, and throwing the

ball accurately without dropping the arm all make for a good move to first. The good move results from startingwith the proper weight balance, then pivoting very quickly on the left heel and stepping and throwing to first.The pivot and step need to be simultaneous and in a lightening-like manner. If the weight of the body is onthe back foot, a quick turn is very difficult to execute and it will also be easier for the baserunner to read theweight shift.

The Throw:The Throw:The Throw:The Throw:The Throw:The position of the throwing arm is very important. Many pitchers feel that they must throw the ball hard

to first and they drop their arms while turning to get more velocity. This is unnecessary. The pitcher shouldbring his arm up in front of his body, pivot and turn his body so his throwing arm is behind him, but startingto move in the direction of the throw toward first. This saves time and prevents the runner from seeing thearm fall out or down before the body move.

"Step Back First" Move:"Step Back First" Move:"Step Back First" Move:"Step Back First" Move:"Step Back First" Move:Many pitchers prefer the "step back first" move so that the pitcher is throwing over before his front leg

is stepping. The step back move can be just as fast as the pivot. The pitcher will step back at an angle towardthird so he can turn the body quickly. It is all so quick that he is right there and doesn’t really have to makethe step first.

"Jump and Spin" Move:"Jump and Spin" Move:"Jump and Spin" Move:"Jump and Spin" Move:"Jump and Spin" Move:The "jump and spin’ move is another of the borderline pick-off moves. The actual move is a jump pivot

toward first. The value is that the pitcher can get to a throwing position much quicker than the standard move.

Hold the Runner Close at First Base:Hold the Runner Close at First Base:Hold the Runner Close at First Base:Hold the Runner Close at First Base:Hold the Runner Close at First Base:The most successful method of curtailing the aggressive baserunner is the pitcher being able to hold the

runner close at first base. By holding the runner close, even if the pitcher has a slow delivery to the plate,it will take pressure off the catcher and cause uncertainty in the mind of the baserunner.

The aggressive pitcher often makes a mistake by not giving the first baseman a decent throw. The throw mustbe low and over the bag. Do not worry about the throw in the dirt, the first baseman is expected to dig outthe low throw.

Time Element:Time Element:Time Element:Time Element:Time Element:The easiest variable that a pitcher can establish is the time element. If the pitcher can prevent himself

from falling into a specific time pattern, it becomes very difficult for the baserunner to establish a good jump.Concerning the quick move to first, the pitcher must establish a move to first in one of three positions: (1) goingup, (2) going down, (3) and at the set position. The longer the pitcher can make the runner wait, the lesslikely he is to successfully steal the base.

Quick Move:Quick Move:Quick Move:Quick Move:Quick Move:The quick move is established by having quick feet during the spin toward first base. As the right foot

plants, the ball should be off to first.Areas of importance to remember on the quick move to the plate:1. You do not have to pause in the set position. All you must do is change directions, but the

change of direction must be made before the lead leg raises.2. When using the quick return throw from first, it will borderline on a balk. You must make sure you

momentarily stop at the set position. Don’t Hurry! The runner at first will not be ready anyway.

Lead Leg Move:Lead Leg Move:Lead Leg Move:Lead Leg Move:Lead Leg Move:In all right-handed pick-off moves to first, the lead leg must initially move toward first on all pick-offs. We

attempt to stay within the exact limits of the rule. The pick-off move first established by Andy Messersmithis a very effective move. The right-hander reaches the set position, the initial move is a slight knee raise orknee buckle before spinning and throwing to first. This move hopefully will stop the baserunner from keyingoff the lead leg. Another lead leg move is the spin move to first base. The move is done by spinning on theheel of the left foot and throwing over the left side. The pitcher should follow through off the mound.

Head and Shoulder Move:Head and Shoulder Move:Head and Shoulder Move:Head and Shoulder Move:Head and Shoulder Move:The head move is used hoping to catch the runner leaning on first movement. The technique itself is

simple, after reaching the set the pitcher jerks his head directly upward as if he were going to the plate. Atthe same time the head jerks, the pitcher spins and throws to first. The shoulder move is one similar to allpick-off moves, only the first movement is pulling the left elbow around toward first and then picking off therunner.

Left-handed Pick-off Moves:Left-handed Pick-off Moves:Left-handed Pick-off Moves:Left-handed Pick-off Moves:Left-handed Pick-off Moves:During all basic moves to first base, a balance point in the pivot is most important. If the left-hander can

establish a hanging balance point, he is more likely to fool the baserunner. The left-hander should never fallinto a pattern of a slow leg kick. It is often successful at holding the runner, yet he can gamble on the firstmovement and usually beat the throw to second. We like our left-handers to vary the height and speed ofeach delivery to the plate. This can be done successfully by maintaining all weight on the left foot. A few tipsfor the left-hander: (1) Do not get caught in a pattern of always looking-to-the-plate and throwing to first orvice versa, (2) Attempt to keep the shoulders square or headed to home plate, as long as possible, beforepivoting toward first base, (3) The best left-handers never pick-off overhand to first base. They all throw overto first sidearm, (4) If you can establish a flexible ankle, it can become a great aid in the pick-off.

Valley Move:Valley Move:Valley Move:Valley Move:Valley Move:The basic left-handed move keys off the right leg. This move is done off the left leg. The left-hander sets

with his hands off the right hip. The pick-off is established by a quick step with the right hip. The pick-off isestablished by a quick step with the right foot back off the mound. As the right foot plants, a quick throw ismade to first base. The major concern on this move is that the initial action must be made by the right foot,not with the hands. You must step off the mound first or it will be called a balk.

Hurry Up and Get Back:Hurry Up and Get Back:Hurry Up and Get Back:Hurry Up and Get Back:Hurry Up and Get Back:Quick exaggerated coil and move to the plate. It should be used once or twice a game

CONDITIONING

StretchingStretchingStretchingStretchingStretching is crucial for every sport or fitness activity, and too many neglect this part of their workout.Stretching will not only increase your flexibility and minimize your chances of pulling or tearing muscles,but it will also improve your performance. A flexible muscle reacts and contracts faster, and with moreforce, than a non-flexible muscle. Flexibility also increases your agility and balance.

Stretching excerises should be performed after a short warm-up, between weightlifting sets, and/or duringyour cool-down. As an added benefit, stretching is an excellent relaxation technique. Use your stretchingtime to focus on your sport or workout, visualizing success.

The following is a list of stretching exercises you can incorporate into your workout. Hold each stretch for10 seconds and do not bounce. Breath deeply during the stretch.

Neck RotationNeck RotationNeck RotationNeck RotationNeck RotationTurn your head to the side, stretching your chin toward your shoulder. Turn head back to center and

repeat to the other side.

Shoulder StretchShoulder StretchShoulder StretchShoulder StretchShoulder StretchStand with your feet shoulder width apart. Raise one arm overhead and strech as far as you can

without bending the torso. Repeat with opposite arm.

Forearm StrechForearm StrechForearm StrechForearm StrechForearm StrechExtend your right arm straight out in front of you, palm downward. With the left hand, grasp the

fingers of the right hand and pull back gently, stretching the wrist and forearm. Repeat with the left arm.

Tricep StretchTricep StretchTricep StretchTricep StretchTricep StretchRaise one arm straight up, so your upper arm is near your ear. Bend at the elbow and let your hand

fall to the back of your neck. With the other arm, reach behind your head and place your hand on top ofthe bent elbow. Gently pull down and back on the elbow. Repeat with other arm

Trunk StretchTrunk StretchTrunk StretchTrunk StretchTrunk StretchStand ith your feet a little more than shoulder width apart. Reah your left arm overhead and bend to

the right at the waist. Repeat on opposite side.

Torso TwistTorso TwistTorso TwistTorso TwistTorso TwistStand at arm’s lenght from the wall, with the wall at your side. Reach one arm and place your hand on

the wall. Reach the other arm around the body, stretching the hand to the wall. Repeat on opposite side

Chest StretchChest StretchChest StretchChest StretchChest StretchStand with your feet shoulder width apart. Clasp your hands behind your back and gently press your

arms upward, keeping your arms straight.

Back StretchBack StretchBack StretchBack StretchBack StretchLie on your back and bring one knee to your chest. Hold the knee with both hands and gently pull in.

Alternate knees and repeat.

Hip RollHip RollHip RollHip RollHip RollLie on your back and bend your knees, feet flat on the floor. Let your knees fall to the right while

reaching both arms across your body to the left. Hold the stretch, then roll the hips over to the left, stretcharms to the right and repeat the stretch.

Lower Back ReachLower Back ReachLower Back ReachLower Back ReachLower Back ReachSit on the floor with your legs straight out in front of you. Reach forward toward your toes, keeping

your chin up and lower back slightly arched. Try not to round the back or tuck the chin in-this decreasesthe effectiveness of the stretch.

Butterfly StretchButterfly StretchButterfly StretchButterfly StretchButterfly StretchSit on the loor, bend your knees out to the sides and bring the soles of your feet together. Place your

hands on your knees and gently press the knees toward the floor. Keep your back straight.

Lateral Hip StretchLateral Hip StretchLateral Hip StretchLateral Hip StretchLateral Hip StretchSit on the floor with both legs straight in front of you. Bend your left leg and place the left foot over the

right knee. Place your right hand on the outside of the left knee and gently pull the knee toward your rightshoulder, twisting the torso to the left, until you feel the stretch in your left hip. Repeat with opposite side.

Hamstring StretchHamstring StretchHamstring StretchHamstring StretchHamstring StretchStand with legs sholder width apart and the left leg slightly in front of the right. Shift your weight to the

back leg (the right) and bend the knee, turnig the knee and toe to the right. Extend the left leg and placethe heel on the floor, toes in the air. Keep th back straight and bend forward at the hips until you feel thestretch in the hamstring of the left leg. Repeat with the oppsite leg.

Standing Hamstring ReachStanding Hamstring ReachStanding Hamstring ReachStanding Hamstring ReachStanding Hamstring ReachStand with one foot crossed over the other. Bend at the hips, reaching toward the floor and keeping

the knees slightly bent. Repeat with the opposite foot crossed in front.

V-StretchV-StretchV-StretchV-StretchV-StretchSit on the floor with your legs extended to either side so they form a “V”. Bend forward, grasp your

toes or ankles, and strech your chest toward the floor. Try to go a little lower each time you perform thestretch.

Leaning Claf StretchLeaning Claf StretchLeaning Claf StretchLeaning Claf StretchLeaning Claf StretchStand about 2 1/2 feet from a wall. Place your hands on the wall and lean in, gently pushing your hips

forward. Keep your legs straight and heels flat on the wall.

Standing Calf StretchStanding Calf StretchStanding Calf StretchStanding Calf StretchStanding Calf StretchStand with your feet together. Extend one leg in front of you and place the heel on the floor, toes in

the air.Keeping the back straight, bend forward at the hips until you feel the stretch in the calf. Repeat with

opposite leg.

Quadricep StretchLie face down and reach back with your right arm to grasp your right ankle. Pull foot.

ShoulderFlexion

This exercise strengthens part of the deltoidmuscle as well as other muscles in the frontof the shoulder.1. Stand or sit with your arm at your side,palm toward tour thigh.2. Keeping your elbow straight, raise yourarm, leading with your thumb.3. Continue slowly until your arm is over-head.4. Return slowly to the starting position andrepeat.

ShoulderAbduction

This exercise strengthens the deltoidmuscle, one of the most powerful musclesin the shoulder. To increase efficiency anddecrease the risk of injury, work to 90˚elevation.1. Stand with arms at your side.2. Lift arms to shoulder height, keeping elbows straight.3. Lower arms slowly to starting position and repeat

Rotator Cuff Elevation (Su-praspinatus)

1. Stand with arms at your side andweights in hand. Keeping your elbowsstraight, turns in so that the thumbsare pointing downward.2. Bring your arms forward, slightlyin front of your body.3. Raise your arms to 80˚, keepingyour elbows extended and thumbspointed toward the floor.4. Slowly lower your arms to thestarting position and repeat.

HorizontalAbduction

This exercise strengthens the posterior shoul-der muscles, which contribute to properpositioning during overhead athletic activities.1. Stand next to a table or bench, leaningforward from the hips, with your arm perpen-dicular to the floor.2. Lift your arm up and to the side, keepingyour elbows straight. Continue lifting untilyour arm is parallel to the floor. Make sureyou don't lift your hand higher than yourshoulder.3. Return slowly to the starting position. Begin the next repetition right away to avoidunnecessary traction on the shoulder.

You may also do this exercise on your stomach, on the edge of a table or workout bench

Rotator Cuff Elevation(Supraspinatus)

1. Stand with arms at your side and weightsin hand. Keeping your elbows straight, turnsin so that the thumbs are pointing downward.2. Bring your arms forward, slightly in frontof your body.3. Raise your arms to 80˚, keeping yourelbows extended and thumbs pointed towardthe floor.4. Slowly lower your arms to the startingposition and repeat.

HorizontalAbduction

This exercise strengthens the posterior shoul-der muscles, which contribute to properpositioning during overhead athletic activities.1. Stand next to a table or bench, leaningforward from the hips, with your arm perpen-dicular to the floor.2. Lift your arm up and to the side, keepingyour elbows straight. Continue lifting untilyour arm is parallel to the floor. Make sureyou don't lift your hand higher than yourshoulder.3. Return slowly to the starting position. Begin the next repetition right away to avoidunnecessary traction on the shoulder.

You may also do this exercise on your stomach, on the edge of a table or workout bench

ShoulderExtension

The muscles of the posterior portion of theshoulder are sometimes neglected in athleticworkouts. These muscles are essential for propercontrol of the arm during the follow-throughphase of many overhand sports.1. Stand next to a table or bench. Lean from thehips, using the arm closest to the bench forbalance. Allow the other arm to hang perpen-dicular to the floor.2. Holding a weight, lift the arm backwards untilit is level with your truck. Keep your elbowstraight and arm close to your trunk.3. Return slowly to the starting position. Beginthe next repetition right away to avoid unneces-sary traction on your shoulder.You may also do this exercise while on your stomach, on a

table, with your arm over the edge.

InternalRotation(Subscapularis)

1. Lie on the side of your dominantarm. Make sure your elbow is pulledout from underneath your side. Slightlyin front of your trunk.2. Bring your dominant arm slightlyforward and bend the elbow 90˚.3. Place a pillow or bolster under yourchest.4. Slowly lift your arm toward yourchest, keeping the elbow bent 90˚. Do not move your trunk. The movement should beconfined to your shoulder.5. Return slowly to the starting position and repeat.

ExternalRotation(Infraspinatus and teresminor)

1. Lie on the side opposite yourdominant arm.2. Bring your arm to your side withthe elbow bent 90˚.3. Lift your hand toward the ceiling,keeping your arm and elbow close toyour trunk.4. Return slowly to the starting posi-tion and repeat.

Wrist Flexion

1. Sit with your arm supported on a table or bench.The palm should be facing up.2. Stabilize the forearm with the opposite hand andlift the weight slowly, only flexing the wrist.3. Return slowly to the starting position and repeatuntil you complete the set.

Wrist Extension

1. Sit with your arm supported on atable or bench. The palm should befacing down.2. Using your opposite hand to stabilizethe forearm, lift the weight slowly byextending your wrist.3. Return to the starting position andrepeat until you complete the set.

ForearmPronation

You can do the second forearm exercisewhile seated in the same position. Again,keep the elbow as still as possible1. Sit with your arm supported on a table.With your palm facing up, hold a weightedbar.2. Rotate the bar until the weight is pointedtoward the ceiling.3. Return to the starting position and repeatuntil you completed the set.

ForearmSupinationThe muscles of the forearm and wrist play animportant part in controlling a ball, racquet, orgolf club. Exercise them separately, as follows:

1. Sit with your arm supported on a table or onyour thigh. With palm facing down, hold a bar,weighted at one end, as shown in the illustration.2. Rotate your forearm until the bar pointed atthe ceiling, keeping your elbow as still as pos-sible.3. Return to the starting position and repeat.

Ulnar DeviationThis should strengthen the muscles controllingthe side to side motion of the wrist with thefollowing exercises.

1. Stand with your arm at your side. Hold aweighted bar, with the weighted end pointingbackward.2. Bending your wrist, lift the weighted endtoward the ceiling. Do not move any other partsof your arm or trunk.3. Return slowly to the starting position andrepeat until the set is completed.

Radial Deviation

1. Stand with your arm at your side. Hold aweighted bar with the weighted end pointingforward.2. Bending your wrist, lift the weighted endtoward the ceiling. Do not bend your elbow.3. Return slowly to the starting position andrepeat until the set is completed.

Endurance

Endurance is defined as the capability and efficiency of the heart, lungs and muscles to perform anactivity during events of long duration. Based on the existing research concerning exercises for develop-ing and maintaining endurance, the following guidelines have been recommended:

Freguency: 3-4 Days per week

Duration: 20-60 minutes of continuous aerobic activity. Duration is dependent on theintensity of the activity. Thus lower intensity activity should be conducted over alonger period of time.

Intensity: 65-90% of maximum heart reserve.

Determine at what % of maximum heart reserve you are working by doing thefollowing:

1. Check your pulse as you exercise or immediately after you finish to determine your heart rate.

2. Using the training zone chart identify where the beats per minute of yourheart rate and your age intersect to determine the % maximum heart reserveyour are working.

Mode: Any activity that uses large muscle groups, that can be maintained continuouslyand is rhythmical and aerobic in nature.

Example:

Versa climber, biking, jogging, swimming, jumping rope, aerobic dance.

* It is very important to properly hydrate yourself after aerobic exercise. Drink 1-2 glasses of water forevery pound lost during the aerobic activity.

it is not recommended to train above 90% ofyour theoretical maximum heart rate.

CARIORESPIRATORY TRAINING RANGE -between 75% and 90% of your theoreticalmaximum heart rate.

FAT LOSS TRAINING RANGE -between 65% and 75% of your theoreticalmaximum heart rate.

For most people, training benefits are difficulit toachieve below 65% of your theoretical maximumheart rate.

Figure 2: Training Heart rate range (THRR) chart

100% 200

90%

65%

75%

65%

75%

90%

100%

195190

185180

175

155160

165170

180

150

130

175

148

127 123

143

171

120

138

166

117

135

162

114

131

157

110

128

153

107

124

148

104

120

144

101

118

139

20 30 35 40 45 50 55 60 6525

TRAINING ZONE CHARTTRAINING ZONE CHARTTRAINING ZONE CHARTTRAINING ZONE CHARTTRAINING ZONE CHART

CARTDIORESPIRATORYCARTDIORESPIRATORYCARTDIORESPIRATORYCARTDIORESPIRATORYCARTDIORESPIRATORYTRAINING RANGETRAINING RANGETRAINING RANGETRAINING RANGETRAINING RANGE

FAT LOSSFAT LOSSFAT LOSSFAT LOSSFAT LOSSTRAINING RANGETRAINING RANGETRAINING RANGETRAINING RANGETRAINING RANGE

AGEAGEAGEAGEAGE

Checking Your Pulse

Your pulse can be conveniently monitored in two locations: (1) half way between the ear and wind pipe on youror (2) on the thumb side of the inside of your wrist. To monitor your pulse, hold your index and middle fingerstogether against either site. Do not use your thumb. (The neck site is easiest during exercise.)

While monitoring your pulse count the number of pulses felt over a 15 second period. Then multiply the numberof pulses over the 15 second period by 4 to calculate your heart rate per minute.

CAUTION: Do not press too hard, especially when taking a neck pulse. Excessive pressure can reduce bloodflow, and cause the heart to slow down.

Anaerobic Conditioning

Anaerobic conditioning is that type of exercise that requires short, quick high out burst of energy causingfatigue to the body. Baseball utilizes anaerobic energy as players run the bases and play in the field. Line drillsfor pitchers and 100's for positional players are forms of anaerobic conditioning.

Frequency: 3-4 days per week

Duration/Intensity: 5-10 100'sLine Drills 10-15 minutes

Training Schedules

Example 1

Monday Tuesday Wednesday Thursday Friday Saturday Sunday

Warm-up Warm-up Warm-up Warm-up Warm-up Warm-up OffFlexibility Flexibility Flexibility Flexibility Flexibility Flexibility100's Endurance 100's Endurance 100's EnduranceStrengthen Strengthen Strengthen

Example 2

Warm-up Warm-up Warm-up Warm-up Warm-up warm-up OffFlexibility Flexibility Flexibility Flexibility Flexibility Flexibility100's 100's Endurance 100's 100's EnduranceStrengthen Strengthen Strengthen StrengthenEndurance

Example 3

Warm-up Warm-up Warm-up Warm-up Warm-up Warm-up OffFlexibibility Flexibility Flexibility Flexibility Flexibility Flexibility100's Strengthen 100's Strengthen 100's EnduranceStrengthen Endurance Endurance StrengthenEndurance

References

1. Tollefson k., Set J., Brewster C., JobeF., Baseball Conditioning Manualfrom the Kerlan-Jobe Orthopaedic Clinic

2. Jobe F., Yocum L., Schwab D., Brewster C., Screnar P., Pink M. Schirmer L.Shoulder and Arm Exercises for Athletes.

3. Fitness Evaluation Brochure, Section of Sports Medicine, Cleveland Clinic.4. Anderson B., Anderson J., Stretching.

OFF SEASON WEIGHT TRAININGOFF SEASON WEIGHT TRAININGOFF SEASON WEIGHT TRAININGOFF SEASON WEIGHT TRAININGOFF SEASON WEIGHT TRAININGWEIGHTSWEIGHTSWEIGHTSWEIGHTSWEIGHTS

During the off season you will be doing exercises that work the large muscle groups of the body (e.g.,the thighs, back, chest) in conjunction with the smaller muscle groups (e.g., biceps and triceps). You will usevery heavy weights with your large muscle groups and relatively lighter weights with your smaller musclegroups.

These "Basic" exercises that require very heavy weights are:1. Leg presses2. Seated pulley rowing3. Pull-downs4. Upright rowing5. Military press6. Presses behind neck7. Incline presses (barbell and dumbbell)8. Decline presses (barbell and dumbbell)9. Bench presses (barbell and dumbbell)

All other exercises require moderately lighter weights.The use of heavy weights results in more massive muscles. It’s best to work primarily with the "Basic"exercises on which you can use very heavy weights during the off season.

SPLIT ROUTINESSPLIT ROUTINESSPLIT ROUTINESSPLIT ROUTINESSPLIT ROUTINESTotal recuperation between workouts is a requirement for the promotion of maximum muscle growth.

There fore it is essential that you train each muscle group only twice per week. This will involve a 6 day splitroutine. This means that you will train one third of your body on Mondays and Thursdays, the second thirdon Tuesdays and Fridays, and the final third on Wednesdays and Saturdays. On this six day split routineyou train your abdominals 2 to 3 times a week depending on how much time you have in the gym.

OFF SEASON WEIGHT TRAININGOFF SEASON WEIGHT TRAININGOFF SEASON WEIGHT TRAININGOFF SEASON WEIGHT TRAININGOFF SEASON WEIGHT TRAINING

SETSSETSSETSSETSSETSStart slow with limiting your sets to 3 for the first four days you do each exercise. The second four days

you can increase your sets to 4 and for the remainder of the off season increase your sets to 5.

REPSREPSREPSREPSREPSIn order to use very heavy weights and still be able to put in a good enough warm-up to prevent injuries

- pyramid the poundages and reps. Begin with 12 reps at a light weight, slap on a few more plates and do10 reps and so on. This pyramid system will allow you to add weight to every exercise very quickly.

After your body is used to the heavy workouts do as many sets pyramiding up and then down as you can.Time could be a factor.

REST BETWEEN SETSREST BETWEEN SETSREST BETWEEN SETSREST BETWEEN SETSREST BETWEEN SETS

When using heavy weights don’t rest longer than about 1 1/2 to 2 minutes between sets since doing so

allows your body to begin cooling down, and thus you become susceptible to injury. On smaller muscle groups

hold your rests down to about 60 to 90 seconds.

POUNDAGESPOUNDAGESPOUNDAGESPOUNDAGESPOUNDAGES

Try to increase poundage each time you train. Keep a detailed record of your progress. If you don’t, you’ll

forget what you should be lifting on a given exercise, and lose your progression. To avoid injury stay well

warmed up, wear a weight lifting belt and use impeccable body form (biomechanics) on all exercises.

TRAINING TECHNIQUESTRAINING TECHNIQUESTRAINING TECHNIQUESTRAINING TECHNIQUESTRAINING TECHNIQUES

TRAINING TO FAILURETRAINING TO FAILURETRAINING TO FAILURETRAINING TO FAILURETRAINING TO FAILURE

The concept of training to failure on some or all sets allows a body builder to actually push a fatigued

muscle past it’s normal failure point.

Regardless of the exercise employed, training to failure amounts to continuing a set until the muscles that

move the weight are so fatigued that you cannot complete a full repetition of the movement in strict form. After

you have put in two or three weeks breaking in your muscles to the heavy work of bodybuilding training you

should go to failure on each set after your warm-up first set. After the first month you should use the "Forced

Reps" method with your training partner and go past the point of failure for two to three reps of the last two

sets.

FORCED REPSFORCED REPSFORCED REPSFORCED REPSFORCED REPS

Using a training partner or just grabbing a spotter in the gym you can do forced reps. This is a very efficient

method of pushing your fatigued muscles well past the normal point of failure. When you use "Forced Reps"

your partner will pull up on the middle of your barbell of other apparatus just enough to remove 5-10 pounds

of weight that your fatigued muscles couldn’t handle on their own.

CONTINUOUS TENSIONCONTINUOUS TENSIONCONTINUOUS TENSIONCONTINUOUS TENSIONCONTINUOUS TENSIONFor the muscle to receive full benefit from an exercise, the weight used should continually be felt along

the fullest possible range of motion. Unfortunately, many exercises do not allow for stress to be placed ona working muscle at all times, and when it is, many bodybuilders use such loose exercise style that they wastemuch of the stress that they place on the muscle.

Using "Continuous Tension" you will first build tension into the working muscle by contracting theantagonistic muscle group, then holding that contraction for the duration of the set you are doing. As anexample, when you are working your biceps, you have your triceps tensed as you do your curls. And whileyou have your triceps in a contracted state, you automatically have your biceps working hard over the fullrange of the curling motion.

In addition to contracting antagonistic muscle groups, you must move the weight you are using slowlyand over the full range of motion in each exercise. Doing so will add to the heavy resistance over the rangeof motion of any exercise you are doing.

Adding together this slow and full type of movement and the contraction of antagonistic muscle groupsusing slow continuous tension you will be getting the most out of each movement you do in terms of buildingmuscle mass and detail

Medicine Ball Conditioning ProgramMedicine Ball Conditioning ProgramMedicine Ball Conditioning ProgramMedicine Ball Conditioning ProgramMedicine Ball Conditioning Program

Medicine ball training is perhaps the most important training that targets the core or the centerof the body. The center of the body is what generates power and balance in all athletic movements.This being an important ingredient in baseball skills, medicine ball training incorporated or cycled inyour weekly training regiment can enhance your overall athletic performance and decrease possibleinjury.

Please note that all medicine ball training incorporated in this program will directly or indirectlywork this important area of the body.

Following the pre-practice/pre-game flexiblity routine, a medicine ball warm-up willconsist of the following drills.

● Torso Circles ● Wood Choppers● Side Bends ● Russian Twists● Good Mornings

Remember, these drills are warm-up drills that must be successfully completed before attemptingto use the medicine ball drills in a conditioning program.

Medicine Ball Warm-up ProgramMedicine Ball Warm-up ProgramMedicine Ball Warm-up ProgramMedicine Ball Warm-up ProgramMedicine Ball Warm-up Program

Medicine Ball Conditioning ProgramMedicine Ball Conditioning ProgramMedicine Ball Conditioning ProgramMedicine Ball Conditioning ProgramMedicine Ball Conditioning Program