实在不能独享这样的好东西。。。

andrelding

By Carl Danner

9 ^6 A7 g1 r; jWatch Your Service Contact Point

Take a ball and stand next to the net. Drop it from different heights until it bounces just above the top of the net. Remember that level -- it's where you want to contact your serves.
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It's just physics. The farther the ball drops, the higher it bounces. Since the best serves pass barely over the net, you don't want to contact the ball any higher than you have to. Bounce height will vary somewhat for different spins, depths and speeds, but these are simply adjustments. If you contact the ball (i.e., drop it) from too great a height to begin with, there's no way to keep it low.

: c; K9 k5 Z! y& N1 n2 N! Q- YTightening up your service contact point (and toss) is a good fine-tuning exercise just before a tournament.
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注意你發球的擊球高度
" m$ E  I& M8 g2 k* i
( V# m& r- \2 G  m5 m- C( H9 b拿個球到球網旁邊 試著從不同高度將球放掉 直到球落到球桌反彈的高度剛好可過網 記住這次你將球放掉的高度 這就是你發球的適當擊球高度

9 d  T' l, x& r. y這只是物理原理 球從越高的地方落下 球也就會彈的越高 發球是越低越好 也就是說你不要你的擊球點過高 對於發球時不同的旋轉 長短 速度 球反彈的高度會有一些變化 擊球高度要做一些微調 不過如果你一開始發球的擊球點就太高  那結果一定發得是高球

找發球的適當擊球高度也是一個很好的賽前適應場地練習項目 讓你比賽能更快地進入狀況

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Practice Matches: Play Strong and Weak Alike

By Carl Danner
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$ o# x0 `9 Q( J5 |6 N  |. R/ ~Some players try to avoid practice matches with either stronger or weaker opponents -- viewing them as, respectively, either out of their league, or beneath their dignity or interest. Either attitude is a mistake.
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$ k( ?# c+ R1 B! ]# xYou need to play stronger players to experience their capabilities first hand, to have your own weaknesses revealed, and to understand what it takes to move to the next level. Since challenging stronger opponents can also provide a no-risk ego boost, this is usually the lesser of the two problems for most players.
' ?+ y# U9 B# d# w
* X$ J, ^2 `  v4 p5 ^More common is disdain for practice matches with lower-rated competitors, but this is an even bigger error. Consistently beating weaker players requires somewhat different skills than trying to hang in with the best. Usually, you will be forced to take the offense and win points, as opposed to the more passive activity of fending off a top player's well-tuned attack. Weaker players also cough up odd or erratic shots more often. Coping well with those can be an art that requires longer and fuller strokes than you may get time to hit against a top competitor.
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Most importantly, those who think they're too good for weaker practice matches are often arrogant or insecure about their own games -- believing others to be beneath their own talents, or secretly afraid of losing face from an unconvincing showing against a "bad" player. Players with this attitude are prime upset fodder when tournament time comes, since a lower-rated opponent can sometimes provoke them to panic just by staying in the match. To avoid such upsets, you are much better off suffering a few such struggles at your club, first.

% U0 |) O4 C. i! P' ~Finally, recall your early days in the sport, and all the stronger players who agreed to hit the ball with you. You owe repayment in kind to the next generation of newcomers.

找練習賽對手 對比你強和比你差的球友一視同仁

有一些人不愛和比他強或比他差的球友打練習賽 認為自己打不過比我強的或是不屑與比我差的打 這兩種都是錯誤的態度

# S" \, u1 m5 V& h! ]1 ]你要和高手打過才會知道他們高在那裡 才會知道自己的弱點 也才能體會如何才能讓球技上一個檔次 因為挑戰高手對自尊心是一個穩贏的局面 輸了應該 贏了賺到 願不願意和高手打對大部分人而言還不是個大問題
. e4 k0 }  \. |% n. Y  W1 y3 v
最常見的問題是不屑與比自己差的打 這是最大的錯誤 要能夠每次都打敗比自己差的球友需要一些和高手打時不同的技術 通常你要搶上手並用攻擊得分而和高手打時你大概只有被打和防守的分 較弱的對手也通常會被迫地打出一些奇怪或失誤的球 要是對付好這種球通常能讓你練出完整揮拍的動作而和高手打是不會有時間做出完整揮拍的動作
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5 F  N+ t( n  m, v, ]" c1 _更重要的是 那些不屑與比自己差打的人通常都是自大或是心虛 怕要是輸了丟臉 這種人最容易在比賽時失常  只要對手能把比賽撐到膠著狀態 這種人就會開始心慌 所以與其在比賽中丟臉 倒不如平時在練習賽先和比你差的球友練練

1 P9 n: M! d( p5 G最後別忘了你剛學球時 和你打的球友都是比你強且願意和你打的 這時你也該回饋給比你差的球友了

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Leftys

By Carl Danner
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Lefties get to play many rightys, but righties play relatively few lefties. If this seems unfair, that's because it is. Tough.
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: [  d1 ~; d8 U* l' K" J: L6 zFor either participant in a mirror-image match, two things are important. First, on many shots you need to aim your angles straight ahead rather than crosscourt, especially for backhand to backhand play. So many righties forget this, and instinctively set up a left-handed forehand with a backhand counter or block. Second, you need to account for different amounts of sidespin than you are used to. Notice I said different amounts, not different spins, because a lefty's forehand has the same sidespin as a well-struck righty backhand -- just more of it. Think of it in those terms, and then adjust for the bigger ball break that comes with the extra sidespin.

- M) c& u; M- x% ~During points, I recommend either player (the righty, or the lefty) consider a simple approach: Defend crosscourt to the backhand, and attack crosscourt to the forehand. For service returns, hard pushes, and blocks, going crosscourt to the backhand can cramp your opponent and force them to come back crosscourt to your forehand. That's good. Alternatively, when you get the attack, there's nothing like going at your opponent's wide forehand for a point winner off either of your sides, but especially the backhand -- where you can take the ball early over the table and angle it away.

- k# i% a$ ^; ]7 J. s% HThe tactical problem is the same for either player in a mirror-image match. Leftys just get to do it more often.

" ]  k  P/ M: R9 ~4 ?& W) g如何對付左撇子

" D7 H/ H" P  G1 c" Z0 h) a# E左撇子經常可和右手持拍者打 但右手持拍者卻很少有機會和左撇子打 你説這不公平嘛 但事實就是如此 你就認了罷
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在右手對左手的比賽中 要注意兩個要點 第一 你要經常打直線而不是打斜線 尤其是反手對反手時 許多右手持拍者忘了這點不自覺的反手打斜線剛好送到左撇子的正手 自己怎麼死的都不知道 第二 要注意左撇子回的側旋量的不同 我是説側旋量的不同 而不是説側旋方向的不同因為對手在同樣的站位下 如平常右手持拍者用反手回 但左撇子會用正手回 左撇子的正手側旋方向和右手持拍者的反手側旋方向是一樣的 但是因為用正手回左撇子會有更強的側旋 你就要預判第二跳的側拐會比較大
# Z( d7 J4 m1 Z. O9 _
與左撇子打相持時 有個簡單的打法 斜線打到你反手位的球 就用防守手法 斜線打到你正手位的球 就用進攻手法
" m9 H# l8 T3 {3 [9 \接發球 搓球或推擋時 打斜線到你左撇子對手的反手位 通常他會被迫回斜線而打到你正手位 當左撇子對手側身攻你時 不論你在正手位或反手位 別忘了這是打他正手位直接得分的好機會 尤其是你在反手位你可打他正手位的角度更大 讓他撲不到      
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/ g) ]6 ?# l* _8 J( e+ T& v, r在右手對左手的比賽中 這些戰術運用對左手和右手球員而言 都是一樣的 只是左撇子球員用到的機會更多而已

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Attack a Penholder's Forehand

By Dr. Ping Pong
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* b# A+ n8 O5 C/ z/ BNo two players, and no two penholders, play alike, but most players make the mistake of playing directly into a penholder's backhand. The problem is that the two most common strengths of penholders are their forehand attack from the backhand corner, and their quick backhand block. (Many players have stronger forehand attacks from the backhand corner because the table's not in the way, they know they can follow up with another forehand, and they won't be leaning the wrong way as they might when moving to cover the wide forehand.) Many players are afraid of a penholder's forehand, and so fall into this trap.

Instead, try attacking the wide forehand of a penholder first, then come back to the backhand. You'll not only find the penholder's backhand, but it won't be so quick or effective, as he won't be crowding the table as much as if you play into the backhand from the start. You have to make sure the attack is effective - if he can smash your attack consistently, then the attack is too weak. But the penholder will often have a weaker forehand here than if he were to do it from the backhand side. This doesn't mean you shouldn't play a penholder's backhand - many have trouble with this, especially against spinny loops, and if they don't step around, they might be susceptible to a strong backhand-to-backhand attack. But you can often make them even weaker if you go after the forehand first.
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. v+ |9 `  E9 D& o. W9 V攻擊直拍者的正手位

沒有兩個球員 也沒有兩個直拍球員 有著一模一樣的打法 但大部份球員會犯一個錯誤 就是將球打到直拍者的反手位 直拍者有兩個強項 一是側身攻二是反手快速推擋 如果只是忌憚直拍者的正手攻 而將球打到直拍者的反手位 那就是落入這圈套了 (很多球員側身攻的威力比正手位攻強因為桌子不會擋在那裡 也可確定下一板還可以用正手攻 還有撲正手比撲反手容易)

所以你應該先攻擊直拍者的正手位 再攻擊直拍者的反手位 這時因為直拍者要從正手位趕回到反手位 你會發現直拍者的反手回擊質量不是很好 但是前題是你攻正手位那一板質量要好 才會有下一板攻反手位的機會
- ~) C* V! W* V" S. g( \雖説直拍者的側身攻很強 這並不是説你就不能先攻他的反手位 如果你拉的弧圈球很轉 他又無法側身 通常他擋不住這反手對反手的強攻 但是如果你先攻直拍者的正手位 可先讓他的實力打個折扣 使你更容易獲勝

andrelding

TIP OF THE WEEK
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Split Step: Your Key Footwork Move

9 p4 u- n* x& ^. c" E3 ]5 L  PBy Carl Danner
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" i* q2 u: \4 o% VIn tennis, players are supposed to "split step" after every stroke, and especially at the net; this means coming to a balanced stop just as your opponent strikes the ball. From that position, they can readily move in whatever direction the return requires.
The same is true, in a modified way, for table tennis. After each shot, you should briefly return to a balanced position right where you are (even if somewhat out of position), before taking off in the direction the next shot dictates. Without this balanced stop and pause, your weight could be headed the wrong way; and the process of stopping and reversing direction in a hurry is not only difficult to perform quickly, but also tiring.
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9 q; f, U4 }% A/ VThe only time to rush somewhere immediately (without a TT split step) is when you are in big trouble and willing to gamble on where your opponent will crush the ball. It's a gamble because once you get your momentum going, you'll be lucky even to get your racket on the ball if it goes somewhere else. Watch the top players; all of them make a quick split step for balance almost every time. You should, too.

网球场上，选手们每次击球后都会＂碎步调节＂，尤其是在网前．意思是说在你对手击球时完成个平衡的停顿．从那个位置，他们随时可以向任何一个需要的转向移动．
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. }* m& I# g% y' i, V乒乓球也是一样（有些变通）．每次击球以后，你应该在你的当前位置短暂完成一次平稳的停顿（即使那个地方有些偏离），然后再出发去下一个球需要的方向．没有这个平稳的停止和停顿．你的重量可能向错误的方向移动，而匆忙地停下来向相反方向移动不只在短时间内很困难，而且非常累人．

唯一的需要马上跑向的时机（而不做碎步调整）是当你已经相当困难而且决定对你对手杀向的方向赌一把时．这是一种赌博，因为一旦你的动量已经开始移动，如果球飞向其他的方向的话你能碰到球就算幸运的了．观察高级选手的比赛，他们所有的人每次都用碎步调整平衡，你也应该这样做．

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Learn to Re-Loop
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5 c6 M  I2 M3 XBy Carl Danner

Here's a fun way to learn re-looping, or at least get the feel.
; m6 M$ {& R5 K2 b! l4 o) vBoth you and your practice partner stand several feet back and hit high topspin lobs at each other. Have fun with it, and try to make them spinny. As you gain some touch, gradually reduce the height and get closer to the table. When you bring the shots down to normal level, you're re-looping.
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/ p' J, J0 o5 \0 s, S3 X# DHere are some keys to making this work:

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1. Contact the ball at the top of the bounce.  This is important, because
/ \! u1 T3 E6 p; c4 T( \it's hard to lift a falling topspin to hit the table consistently on the
) x1 c  I& l+ rtrajectory you want for a re-loop.
$ c/ e* F' Q* v2. Use a very relaxed, almost rubbery arm.  Tension kills this stroke.
Remember to smile.
+ w9 j/ ?5 P( }  h+ R6 A0 m3. Emphasize footwork.  You need to be in just the right place so that your
relaxed arm swing will contact the ball at its height.  That's entirely a
' r! h* K) ^; V; g( Ljob for your feet.  Top players don't reach, lean, or contort their stroke
to assure ideal contact.  They move.
  m7 `- v0 @( q; J: Q) |8 f' Q4. Your racket needs to be closed (i.e., aiming down) more than you think.
8 w1 c% i5 o! b7 NMost re-looping errors go off the end.
5. Try for deep shots that bounce near the end line.  They're much better
than shorter efforts.

Regardless of whether you turn into a looping machine, it's worth trying this technique to get more feel against topspin shots. Even a soft, glorified lob can be a useful option to handle an opponent's loop.
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# C# D, S9 y1 n5 F( w8 K! c学会反拉／对拉
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这里有一个有趣的方法学习对拉，或者至少找到那种感觉．
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你和你的练习对手站在几英尺远的地方给对方放上旋高球．多玩一会，试图让球旋
转强一点．当你们找到一些手感后，逐渐地降低高度，并且接近球台．当你们能把
. f9 Z+ u& h$ Y球降低到一般高度时，你们就是在对拉．

, @- Z- s% x& O这里有些技巧如何可以成功：

１．在球最高点触球．这很重要，因为拉起正在掉落的上旋球还能稳定地弧线上台
1 k, [3 O( R8 h) F5 H# B9 o是很难的．
/ T/ {0 V* t2 @0 O/ Y( c2 S0 t２．用一个非常放松，就好象橡皮条一样的胳膊．紧绷打不出这种球．要记住微笑．

- `7 Y; ^+ l' A( G３．强调脚下步法．你需要正好在刚好的位置你的放松的胳膊才能挥动在球的高度
( @1 c  l+ L% _  D7 a4 H! ]& t接触到球．这完全是你脚的任务．高级选手不去够球，倾倒，或扭曲他们的挥动来
$ X; I* c: c$ ]! M: Y5 i- E8 z保证完美触球．他们通过移动．
４．你的球拍需要比你想象的还更放平（正面朝下）．大多数对拉的错误发生在球
9 `/ k8 e( L! p2 ^飞出底线。
: b; ~$ Q: j% m" R/ g6 X５．试图让球的落点更靠近底线．他们对你更有帮助．

无论你是否会变成一个拉球机器，都非常值得试试这个技术来更好地感觉上旋击球．
6 ]8 h7 }8 V. Q/ K* p即使是一个软软，漂亮的放高球用于对付对手的拉球都可以很有用．

andrelding

01-01-07 Universal Improvement Secrets

; c/ K! @5 g& H) B7 X1 pBy Carl Danner
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Most club players, and quite a few tournament players are afflicted by a lack of mobility and consistency. By contrast, few matches at most playing levels are really lost because of a lack of power. Likewise, most of these players never (as in not ever) perform any practice drills to improve their footwork or steadiness.
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, J+ O: g  N) {, @3 r. d- p" S+ JHere's a drill to work on both. Play a topspin point at three-quarters pace where you use the whole table and hit shots in any direction. See if you and your partner can keep the rally going for twenty-five, or fifty shots. Emphasize moving fully for every stroke, and slow the pace down (if necessary) until you can do so. As you get better at this, increase the speed gradually, but never at the expense of consistency.

- m( l6 ?+ q  ^3 I; z3 {6 Q5 z
Practice doesn't always make perfect, but no practice makes nothing.

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5 x. y* @0 v6 \) Q% ?放之四海而皆准的提高秘诀
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由于缺乏灵活性和连贯性，多数的俱乐部球手和相当一部分巡回赛选手都深受其苦。相反，在各种级别的比赛中的输球并不是由于力量不足。类似的是，大多数这样的选手从不练球以改进他们的步法或稳定性。
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我来说一个提高步法和稳定性的练习方法吧。在整张球台的范围内，以平时速度的3/4为节奏打上旋球，将球击向任何方向。看看你和你的同伴能否能连续打25个回合或击球50次。重点是每板击球都要完全跑到位，如有必要，可以再放慢速度直到达到这一目标。超过这一目标后，逐渐提高速度，但千万别以牺牲连贯性为代价。

9 x- B! G( g% E练习并不一定带来完美的技术，但如果不练，便一无所成。

andrelding

12-25-06 Changing Your Grip

" V1 p2 m8 |; J' S' TBy Carl Danner
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, y6 E- @. ]; m  KI always recommend a good, neutral shakehand grip that favors neither forehand or backhand. It's best for proper technique, and also allows you to block a hard loop or smash readily because your racket angle is naturally correct. You can find this grip by holding the racket only with your thumb and first finger, with the edge nestled midway between them. Add the other three fingers to the handle, and you're good to go.
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7 A8 I$ I. R2 Z; |& ZIf your shakehand grip is different, should you change it? I would say so, while recognizing that the process can be more complicated than it seems. Usually, those with unorthodox grips have developed other physical compensations to permit them to hit reasonably consistent shots. For example, if your grip favors the forehand, chances are you will stand too square to the table to allow your forehand shots to go straight despite the open racket. Just changing your grip, without changing your body position, will lead to trouble. The same can also hold true for the shape of your strokes.


Thus, if you change grips, be prepared for a learning process that can last months as you adjust (and hopefully abandon) your other compensations that permitted the ball to go straight off a crooked racket. Some slow, consistent stroke practice (with emphasis on form and footwork) can be a good learning aid to help realign all the moving parts in the right direction.

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改变你的握拍
6 A) ?' k" X* J

  S, _; c6 j  i  ^( k3 s我总是建议横板握拍要中性，既不偏向正手也不偏向反手。这最有利于技术的正常发挥，能自如地抵挡强力弧圈或杀球，因为你的拍子自然地处于正确的角度。想要这样握拍的话，先用拇指和食指握住拍柄，拍柄的边在这两个指头的中间。把其他的手指随着握到拍柄，这就行了。

如果你的握拍与此不同，是否要改过来呢？我建议这样做，当然要意识到这个转变的过程比看起来要复杂的多。通常情况下，握拍不标准的选手会利用其他的身体方法进行补偿，这样他们也能连贯击球。例如，如果你的握拍倾向于正手，那很可能你的站位和球台角度偏大，这样虽然球拍角度很开，你也能用正手打出直线球。不改变身体的姿势而只改变你的握拍方式，那就会有问题了。对于你的击球姿势，也是同样的道理。

4 F$ ~" A6 f/ W. o3 k4 y; V3 I因此，如果你改变握拍，要做好一个长达数月的学习过程的准备，因为你要调整（但愿完全摈弃）那些帮助你用扭曲的拍形打出直线球的补偿措施。你可以通过一些慢速的连贯的击球练习（重点放到动作和脚步）辅助你的练习，帮助把那些运动的部分调整到正确的方向。

andrelding

12-18-06 Two Ways to Learn

By Carl Danner
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I find there are two good ways to learn a new stroke. First, and usually best, is to start slow and consistent, focusing on form and footwork while hitting softly enough to make virtually every ball. In this approach you pick up the power and pace only gradually, while never sacrificing consistency. Second, and sometimes best for trying something difficult, is to attempt the shot repeatedly until some version of it works. Here, you experiment to determine the best technique, and then refine the stroke to make it consistent once you understand the required elements.
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4 \$ X( c8 E- eUnfortunately, some players seem to try a third approach -- they swing hard and miss often, without refining their efforts. This leads to ongoing inconsistency, or sometimes abandoning the problematic shot altogether.

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Whether you start slowly or experiment at full speed, your goal for any new stroke has to be absolute consistency. If it's been a few months -- or longer -- and your new shot is still unreliable, chances are your form is deficient. Going back to the drawing board (ideally with some coaching) is probably your best bet.

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5 ^: M/ u+ r, x两种学习的方法
我认为可以通过两种方法学习一种新的击球。第一个，通常情况下也是最好的一个方法，是从慢速连贯的击球开始，球速一定要慢，慢到基本上每个球都可以打好，重点是于动作和步法。用这种方法时，逐渐增加力量和速度，但千万别以牺牲连贯性为代价。第二种方法通常在联系难度较大的动作时最有效，那就是不断地击球直到一个动作奏效。你以此为实验找到最佳击球技术，当你一旦理解这种技术所要求的因素后，再逐步完善这种击球。
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# D5 ?* I$ A. J+ }不幸的是，一些球手看起来是采用了第三种方法――他们大力挥拍，但通常打不到球，也不完善自己的动作。这就造成了持续的不连贯性，或者有时候干脆将有问题的击球一并全都放弃了。

不管你是从慢速开始练习还是从全速开始练习任何新的击球动作，你的目标必须是绝对的连贯性。如果你已经练了几个月或更长时间但你的新的击球动作仍不可靠，那就有可能你的动作不充分。回去重新规范你的动作（最好有教练陪同）可能是你最好的选择

andrelding

12-11-06 Opposite Hands
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By Carl Danner


2 z: d' a2 d* s2 K# F& L/ L# Y- BTry playing a couple of practice matches using your opposite hand. See if you can execute genuine shots like loops or counter drives, and play the matches competitively. Being forced to think about executing everything backwards will remind you about fundamentals that are easily overlooked in your normal game.

3 M+ S; d, c, G4 {试着用另一手打几场比赛。看看你能否完成像拉弧圈或对攻这样的好球，比赛一定要有竞争性。这种比赛中你会被迫回过头来想一下如何完成每个动作，这样就会提醒你注意那些在正常比赛中容易忽视的基本技术