Basketball Skills & Drills (PDFDrive) PDF

Basketball
Skills & Drills

third edition
jerry V. krause
Don Meyer
Jerry Meyer
Human Kinetics
Library of Congress Cataloging-in-Publication Data
Krause, Jerry, 1936-
Basketball skills & drills / Jerry V. Krause, Don Meyer, Jerry Meyer. -- 3rd ed.
p. cm.
Includes bibliographical references and index.
ISBN-13: 978-0-7360-6707-2 (soft cover)
ISBN-10: 0-7360-6707-8 (soft cover)
1. Basketball--Coaching. I. Meyer, Don. II. Meyer, Jerry. III. Title. IV. Title: Basketball skills and drills.
GV885.3.K68 2008
796.323077--dc22
2007012745
ISBN-10: 0-7360-6707-8
ISBN-13: 978-0-7360-6707-2
Copyright © 2008, 1999, 1991 by Jerry V. Krause
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Basketball
Skills & Drills
third edition
Contents
Preface vii Introduction iX KEY TO DIAGRAMS XVI
Chapter 1 Basic Body Control . . . . . . . . . . . . . . . . . . . . . . . 1

Quick Stance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Quick Starts, Steps, Turns, and Stops . . . . . . . . . . . . . . . . . . . . . . . 5
Quick Jumps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Basic Body-Control Drills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Chapter 2 Advanced Body Control . . . . . . . . . . . . . . . . . . . 23

Concepts of Moving Without the Ball . . . . . . . . . . . . . . . . . . . . . . 24
Basic Moves or Steps Without the Ball . . . . . . . . . . . . . . . . . . . . . 26
Screen Moves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Drills for Moving Without the Ball . . . . . . . . . . . . . . . . . . . . . . . . 34
Chapter 3 Ballhandling . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Passing and Catching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Passing Principles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Types of Passes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Catching Principles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Communication of Passing and Catching . . . . . . . . . . . . . . . . . . . 50
Dribbling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Basic Ballhandling Drills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Chapter 4 Shooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Field-Goal Shooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Shooting Mechanics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Types of Shots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Free-Throw Shooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Shooting Drills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
iv
Chapter 5 Outside Offensive Moves: Playing the Perimeter . . 113
Fundamentals of Live-Ball Moves . . . . . . . . . . . . . . . . . . . . . . . . 114
Fundamentals of Dead-Ball Moves . . . . . . . . . . . . . . . . . . . . . . . 122
Perimeter Drills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Chapter 6 Inside Offensive Moves: Playing the Post . . . . . . . 133

Post Play Fundamentals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Post Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Post or Inside Moves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Post Drills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Chapter 7 Individual Defense . . . . . . . . . . . . . . . . . . . . . 155

Fundamentals of Defense . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Essentials of Defense . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
On-the-Ball Defense . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Off-the-Ball Defense . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Post Defense . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
On-the-Ball to Off-the-Ball Defense . . . . . . . . . . . . . . . . . . . . . . 169
Off-the-Ball to On-the-Ball Defense . . . . . . . . . . . . . . . . . . . . . . 170
Special Defensive Situations . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Pressuring the Shot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Defensive Drills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Chapter 8 Rebounding . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Rebounding Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Motivating Players to Rebound . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Rebounding Rules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Defensive Rebounding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Offensive Rebounding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Rebounding Assessment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Rebounding Drills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Chapter 9 Team Offense . . . . . . . . . . . . . . . . . . . . . . . . . 211

General Offensive Principles . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Player Positions and Responsibilities . . . . . . . . . . . . . . . . . . . . . . 212
Offensive Team Tactics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Drills for Team Offense . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Chapter 10 Team Defense . . . . . . . . . . . . . . . . . . . . . . . . 233

Defensive Court Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Defensive Categories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Drills for Team Defense . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Drill Finder 245 References 249

Index 250 About the Authors 254
v
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Preface
Better Basketball Basics (Leisure Press) was the original founda-

tion book for Basketball Skills and Drills that focused only on “I seek to leave
fundamental skills of the game. This 1983 publication, which the world a little
featured 550 sequential pictures, became extremely popular
with coaches and sold out its two printings. In 1991, the con- better place
cepts of this book were refined and developed into the first than I found it.”
edition of Basketball Skills & Drills (Human Kinetics). The 1991 James Naismith,
book quickly became a bestselling teaching and learning refer- Inventor of Basketball
ence for basketball. Almost 100,000 players and coaches agree
that this book is the simplest, most comprehensive treatment
of basketball basics, the fundamental skills of the sport. The
addition of Don Meyer and Jerry Meyer as coauthors on the second edition brought
new contributions with expertise in successful playing and coaching from two more
generations of linked experts who built their careers around successful execution of
basketball fundamentals.
This edition brings to bear over 100 years of overlapping, related basketball expe-
rience (all age and skill levels and both genders) that is concentrated on the basics.
Thus, Basketball Skills & Drills can function as the definitive source of fundamentals for
coaches, players, and parents. It is designed to be the primary basketball reference
focused on elementary, middle, or secondary school and youth basketball levels. It
also can be used as a textbook for classes in basketball coaching theory where the
focus is on fundamentals. Improvements include the following:
• updated and expanded primary concepts for each skill,
• additions to the teaching methods, alternate ways to teach and learn skills in
order to teach all players better,
• references to players and coaches who also emphasize fundamental skills,
• addition and modification of court diagrams and clear, accurate illustrations,
• a more comprehensive teaching and learning package; concepts, critical cues,
and other new teaching tips,
• expansion of the sequential, progressive drills for each chapter,
• troubleshooting sections where common problems and remedies can be found,
and
• skills assessments, both observational (in the troubleshooting sections) and
quantitative measures for status and improvement.
vii
viii Preface
The basic skills are the foundation for success at all levels of basketball. For
example, Michael Jordan, Tim Duncan, and Dwayne Wade, three of the greatest
players ever, combined the proper and quick execution of exceptional fundamental
skills with great natural abilities. These superior skills were developed through years
of dedication to continuous improvement. Hall of Fame player and coach John
Wooden stated that all players must learn to execute the fundamental skills properly
and quickly in order to be successful. Basketball Skills & Drills can help all coaches
and players reach that goal.
Introduction
Players and coaches need to develop lifetime habits of learning,

because life is about learning. They need to commit themselves “I’m a teacher and
to constant learning, to move forward and to make progress in coach. Teaching is
basketball and in life, to prevent the repetition of past mistakes,
to benefit from the experience of others, and to improve perfor- what I love most, the
mance (including basketball performance) over time. Learning heart of my coaching
is one of the most valuable ways to spend time. style. The best thing
Both players and coaches need to appreciate the value of
about my profession
learning. It can be a natural, enjoyable, productive, and satisfy
ing activity when approached with a positive attitude. When is that I can teach.”
they are open to learning and growth, they will learn. They need Mike Krzyzewski, Hall of
to make a connection between what they want to achieve and Fame Coach, 2008 USA
what they need to learn in order to achieve their goals. Olympic Coach,
The knowledge of how to learn effectively helps both players Duke University
and coaches make the most of the instruction that this book
offers. The essential concepts are the following:
• Admit mistakes or ignorance. Acknowledge that you don’t know something and
even be willing to look foolish while you learn and make mistakes. Develop a
mistake mentality by asking questions and taking risks.
• Begin learning with questions. Let what you know about basketball skills be a
starting point each day. Start with a challenge, a problem, or a question that
propels you to learn more. Have the humility to use your limited knowledge as
a starting point for further learning.
• Bring your knowledge to life. Learn why you are doing a skill and that skill will
have more meaning.
• Take responsibility for your own learning and for the learning of those around
you. This combined synergy allows individual and team learning to occur at a
much faster rate.
• Learn from experience. Turn information into knowledge by applying it and
working with it. Use drills to develop skills that can be used to play the game
better. Play the game to discover weaknesses that can be improved through
drills focused on specific skills.
• Learn from other people, especially those who are successful. Coaches can study
the lives of Hall of Fame coaches to learn “the best ideas from the best people.”
Players can also learn from each other and from more skilled, older players.
Seeing from someone else’s perspective is a great way to learn.
ix
x Introduction
• Learn by teaching. Players should be encouraged to teach and learn from each
other (buddy coaching) and to teach younger, less experienced players. One of
the best ways to teach others is by doing your best. Others are more interested
in what you do than in what you say.
• Never stop learning. When you integrate learning into all that you do, you bene
fit immensely. Every moment, every time that you make learning a priority, you
bring something positive into your life—a learning experience.
Basketball Skills and Drills

Basketball Skills & Drills is about learning the fundamental skills of basketball that
Critical Cue:
Movement skills are coaches teach and players learn. The acquisition of basic skills is highly dependent on
learned over time— optimizing the teaching and learning process for a successful end product—athletes
patience is essential. who have learned basketball skills at the highest level.
Any athlete brings to the game inherited genetic movement traits called abilities.
These fundamental movement components—such as reaction time, predominant
type of muscle fibers, and depth perception—are the building blocks for movement
potential. The focus of teaching and learning, however, needs to be on the skills
developed from those abilities. Many coaches and basketball experts assert that
players focus on “style over substance” and prefer to use inherited abilities (the quick
fix) rather than develop skills (the slow process). It is easier to dunk the ball than to
execute a challenging pass and catch for a team basket. The focus in this book is on
the controllable and gradual process required to teach and learn basic basketball
Critical Cue: skills, a process that depends on the substance of the skilled athlete rather than that
Basketball skills: of the stylistic athlete who relies on movement abilities. Coaches and players need
learned movements
built on inherited
to focus on teaching and learning the basic skills of basketball and on the process
abilities. more than the product (a single performance). They need to build on each player’s
ability base for developing basketball skills.
Coaches and players often use drills as necessary tools to enhance skill learning.
Critical Cue:
However, they are only tools, not the end result. Thus, the focus should always be on
Focus on skills, not
drills. the desired skills, not on the drills. The drills in this book have been carefully selected
to assist players and coaches in improving fundamental basketball skills.
Coaches and players can modify and develop their own drills to learn basketball
skills as game moves at game speed. Naismith Hall of Fame coach Henry “Hank” Iba
said it this way, “Practice the game in the manner in which it is to be played.” Legend-
ary football coach Joe Paterno said, “A coach must replicate what is the game.”
Levels of Learning
Movement learning experts have found that basketball skills are learned in three
stages:
1. Cognitive stage: The player forms a mental picture of the skill, usually by using
a demonstration or explanation from the teacher or coach.
2. Practice stage: This occurs when the player imitates the demonstration, the
imitations are corrected and reinforced, and the skills are repeated.
Introduction xi
3. Automatic stage: Players can perform skills without thinking. The movements
Critical Cue:
have become habits and can be performed as game moves at game speed. Drills should be aimed
at game moves at
Basic skill learning in stages can also involve the senses: game speed.
1. The look of a skill: A player knows what a proper skill looks like and uses the
dominant visual sense to learn the skill. Partner or buddy coaching allows a
player to develop this stage—watching (and seeing) teammates perform the
skill and then reinforcing what they are doing correctly as well as correcting
their mistakes. To maximize team learning of basic skills, coaches should con-
vince all players to take responsibility for the basic skill learning of all of their
teammates. A team is only as strong as its weakest link, and its strength is also
dependent on each player teaching all of the other players (e.g., the use of echo
calls, as discussed later).
2. The sound of a skill: How a movement sounds is another element of learning in
this model. After players know the look of a proper skill, their focus can shift
to sound, such as the sound of a dribble on the floor or the sound of proper
passing (ping) and catching (click).
3. The feel of a skill: The player’s feeling is the highest sensory development of
skills, for example, when shooting a free throw in practice with the eyes closed
or dribbling a basketball while keeping the eyes focused on the net or the
rim.
Visualization is a mental tool that can be applied in all three sensory areas. Learning
takes place in a relaxed state when a player mentally practices the skill by picturing
perfect performances. This is best done when players focus on mentally re-viewing
their own successful performance—how it looks, sounds, and feels. Thus, players
need to become aware of the look, sound, and feel of a skill.
Communication
One of the paramount components of teaching and learning is communication.
The ability to disseminate palatable information to players is a valuable tool, one
that players and coaches have to sharpen each day. It’s not what coaches teach,
but what players learn, that is important. Not all players learn the same way or at
the same speed; what is effective for one may not be effective for all. For coaches,
the challenge is to know how to teach players in a way that allows them to learn
best. Communication, like learning itself, requires patience, open mindedness, and a
common goal (usually knowledge gained). When those elements are present, coaches,
players, and teams have the greatest opportunity to grow and succeed.
An example of an effective communication tool is echo calls—when players repeat
a critical teaching or learning cue or a coach communication to ensure that all
players learn it. Players who teach and communicate with each other learn more
efficiently. This kind of audible communication also encourages an environment
where team interaction takes place. Players on the floor can never communicate
too much.
In his bestselling coaching book Successful Coaching, Rainer Martens identifies six
areas of development for communication skills:
xii Introduction
1. Credibility
2. Positive approach
3. Information over emotion
4. Consistency
5. Listening skills
6. Nonverbal communication
Credibility with players is based on respect. Each player should be allowed the
opportunity to build confidence and self-respect during the basketball experience.
To develop self-respect while earning the respect of others should be the rule for
both players and coaches.
Communication between players and coaches should generally be positive in
nature, emphasizing praise and rewards more than punishment and criticism. Telling
players what to do rather than what not to do is a preferred technique of the positive
approach. For example, when teaching shooting, coaches might tell players to shoot
up, rather than telling them that the shot is too low. Coaches should look for what
players are doing right instead of focusing on what they are doing wrong, which is
a problem common to most coaching styles.
Messages to players should be filled with factual information as opposed to
emotional outbursts. Players need to know what to do correctly; they do not
need to be yelled at for making mistakes. Positive emotion or praise tends to be
more helpful, especially when players can gather needed information from it in
order to learn skills or to correct mistakes. Coaches can use negative emotion and
punishment sparingly and only when the negative approach is the best alternative.
The feedback sandwich described later is an excellent way to provide necessary
information. Information is used best by players when it is specific. A statement
such as “Your head is centered” might be better than “Great balance!” in terms of
information. Reducing judgment and increasing information are good guidelines
for coaches.
Consistency of communication is also important for coaches. Players are looking
for consistent messages and feedback from more mature adults. Consistency provides
a zone of comfort for communication with players, whether the communication is
verbal or nonverbal. What coaches say should match what they do whenever pos-
sible. Athletes are quick to sense hypocrisy. They expect coaches to be honest and
real. As Martens states, “Be as good as your word.”
One of the most challenging areas of communication development is listening.
Good listeners maintain eye contact, constantly search for meaning, have respect for
the communicator, and become active listeners. Coaches should focus on two-way
communication in which players can interact and voice their concerns and questions.
Players’ acceptance of a mistake mentality is helpful for enhancing listening and
reducing fear, doubt, and worry that can accompany communication. Nonverbal
communication in the form of positive body language is also important when listen-
ing. Body gestures, appropriate touching behavior, and voice quality are all useful
skills to improve communication and listening.
The primary measure of communication is what players learn, not what coaches
know. Thus, it is imperative for coaches to improve their communication, for them-
selves and for their players, in order to enhance learning.
Introduction xiii
Feedback
The learning process happens faster when appropriate feedback on skills is given
according to these guidelines:
• Feedback can best be provided by an experienced coach, but players need to
learn how to provide their own feedback whenever possible. For example, a
player can observe the starting point and landing spot of the feet before and
after a jump shot.
• Players must be told what is correct (reinforcement) and incorrect (information
on mistakes). Mistakes should be known, acknowledged, and understood by
the players; then a specific plan is needed to correct those mistakes.
• The correction of player errors should be consistent. For players, the best
learning approach to mistakes is to recognize them (with the coach’s help), to
acknowledge and admit them (to other players), and to learn from them and
then forget them.
• Specific information is better than general feedback: “Great full follow-through”
is better than “Nice shot.”
• Provide feedback as soon after performance as possible, the sooner the better.
An exception might be postgame feedback when emotions of both coaches and
players may be too involved.
• Use feedback sandwiches. Dennis Docheff, teaching expert, recommends a
three-part feedback message: reinforcement (find something being done cor-
rectly), information (correct the skill or behavior that needs improvement), and
praise (provide encouragement at the end). An example might be something like
this: “Jim, on your last shot, great follow-through at the elbow, but you need
to get lower and have your feet wider for better balance . . . that’s the way to
keep working at game speed.” Champion college coach Mike Dunlap uses this
format for coaching feedback:
1. Praise (find a positive) Critical Cue:
Feedback increases
2. Talk and tell (prompt and correct and tell them the next step)
the learning rate.
3. Leave them (to learn)
General Tips on Teaching and Learning
1. Coaching is teaching:
• Know why you teach a skill; knowing helps the teacher as well as the learner.
• Focus on the skill first (not on the drill or strategy).
• Focus on how well you do something rather than what you do (execution over
repetition and quality over quantity).
• When teaching or coaching, preview first (tell what you are going to teach), view
(teach it), and then review (tell what you taught).
• Help players remove their learning blocks of fear, doubt, and worry.
2. Demonstrate and explain the following properly:
• Make sure that all players can see and hear you.
• Do it correctly, to show the big mental picture.
xiv Introduction
• Repeat demonstrations—two angles, two repetitions, or more.

• Use precise and concise explanations.
• Use only critical cues (don’t talk too much).
• Practice immediately—players learn by doing and may forget the demonstration
and explanation unless they are applied quickly.
• Emphasize practice to make behavior permanent (good or bad habits).
3. Use teaching progressions:
• Slow to fast—do it right and then do it quickly (the final goal is game moves at
game speed).
• Simple to complex.
• Teach in sequence and reverse it (start to finish reversed).
4. Players and coaches need to remain open to learning (green and growing, not
ripe and rotten):
• Adopt (the whole skill) as a beginner or adapt (one idea) when experienced.
• Improve every day of the year (can’t maintain, must progress).
• Look for the lesson; there is always a lesson to learn (search for it).
• Learn from others—good and bad experiences have lessons.
• Communicate and encourage teammates (generally, coaches criticize and players
praise and encourage each other).
• Control what you can (all people have total control of their attitudes, actions,
and responses) and let go of the rest.
5. Know how each player learns best:
• Visual (see the skill), read about it or see a demonstration.
• Auditory (hear the skill), get more explanation or listen for sounds.
• Kinetic (feel the skill), walk through the skill.
6. Coaches should use:
• Word pictures (e.g., footfire for moving the feet).
• Analogies and metaphors (e.g., quick start like a sprinter).
• Critical cues (e.g., full follow-through).
7. Teach fundamental skills and more:
• Conditioning.
• Toughness and effort.
• Life and character lessons.
• Communication (early, loud, and often).
• How to compete.
• Competitive greatness (see John Wooden’s Pyramid of Success in figure 1).
8. Become a full-package coach—able to teach players and assist in their learning
and development physically (condition and skill), mentally (psychologically),
and socially (as a team player).
9. Evaluate all that you do as players and coaches. One quick and effective
evaluation tool, called the one-minute assessment, can be used to gather
feedback and information about what players are doing on and off the court.
The assessment can be used by coaches to evaluate a practice session, team
strategy (offense or defense), or a team rule. It consists of three parts: one
Introduction xv
“Success is peace of mind which is a direct result

of self-satisfaction in knowing you made the effort
to become the best you are capable of becoming.”
John Wooden, Head Coach
COMPETITIVE
GREATNESS
“Perform at your best when
your best is required. Your
PA
H
TIE
best is required each day.”
IT
NC
FA
E
POISE CONFIDENCE
“Be yourself. Don’t be “The strongest steel is
thrown off by events well-founded self-belief.
whether good or bad.” It is earned, not given.”
CONDITION SKILL TEAM SPIRIT

“Ability may get you “What a leader learns “The star of the
to the top, but character after you’ve learned it team is the team.
keeps you there–mental, all counts most of all.” ‘We’ supersedes ‘me’.”
moral, and physical.”
SELF-CONTROL ALERTNESS INITIATIVE INTENTNESS
“Control of your organization “Constantly be aware “Make a decision! “Stay the course.
begins with control of and observing. Always Failure to act is often the When thwarted try
yourself. Be disciplined.” seek to improve yourself biggest failure of all.” again; harder; smarter.
and the team.” Persevere relentlessly.”
INDUSTRIOUSNESS FRIENDSHIP LOYALTY COOPERATION ENTHUSIASM
“Success travels in the “Strive to build a team “Be true to yourself. “Have utmost concern “Your energy and enjoyment,
company of very hard filled with camaraderie and Be true to those for what’s right rather drive and dedication will
work. There is no trick, respect: comrades-in-arms.” you lead.” than who’s right.” stimulate and greatly
no easy way.” inspire others.”
PYRAMID OF SUCCESS
Figure 1 John Wooden’s Pyramid of Success.
From WOODEN ON LEADERSHIP (McGraw-Hill) and www.CoachWooden.com.
E3888/Krause/fig.I.01/281203/alw/r5
quality, action, or performance that is praiseworthy (and why); one element
that could be improved (and how); and relevant insights or comments.
10. Coaches and players both need to know themselves, to develop their own
unique talents, and to serve others.
The instruction and information in this book is considerable. The potential for
learning basketball skills depends on first having the skills to teach and learn effec-
tively. Coaches and players can use these guidelines to help gain the most from the
basketball skills and drills in this book.
Key to Diagrams
Player with ball
Offensive player
X Defensive player
C Coach
Path of player
Path of ball
Screen
Dribble
E3888/Krause/Key/301261/alw/r1
xvi
chapter 1
Basic Body Control
“Footwork and balance are necessary every moment of a game

while ballhandling is needed less than 10 percent of the game.”
Pete Newell, Naismith Hall of Fame Coach
2 Basketball Skills & Drills
O ne of the foremost tasks of a coach is to teach players how to move and control
their bodies. Fundamental movements, sometimes called basketball basics, are
essential tools for all players.
Coaches need to teach players to move effectively (getting the job done) and effi-
ciently (moving the best way). They teach players to conserve time and space and
to move with a purpose, reducing wasted motion. In essence, basketball is a game
of balance and quickness—all movements should focus on these purposes. Players
should strive to “tighten” their game, to increase balance and quickness.
The overall consideration for coaches and players should be on the development
of individual balance and quickness. Balance depends almost solely on footwork,
starting in the feet but ending with the head. Because of its size (almost 10 pounds
[4.5 kilograms]) and body position, the head is a key to balance; it should be cen-
tered over the base of support. The head moves in the desired direction to become
unbalanced, thus committing the player to quick movement in that direction. Simi-
larly, quickness is related to both the head and the feet, but in the opposite order.
Quickness is first a state of mind (think quick and then be quick), starting in the head
and ending in the feet (it depends on footwork). Both balance and quickness depend
on proper footwork and are closely related to head position and state of mind.
Basketball is also a game of quickness (hand and foot) and speed (overall body
motion) that are used at the proper time. Coaching should continually emphasize
the principle of doing things right, then quickly—making the right move quickly at
Critical Cue:
Move correctly first,
the right time—while developing and maintaining individual, physical, emotional,
then move quickly. and team balance and correct offensive and defensive position.
The six fundamental positions and movements of basketball are stance, starts,
steps, turns, stops, and jumps. Because quickness is so important, these basic posi-
tions are all designated with the word quick.
Quick Stance
Players need to develop the habit of a good basic basketball position to ready them
for quick movements. Quick stance requires adequate levels of muscle strength and
endurance in the core area (abdominal muscles in front, lower-back muscles behind).
Teaching quick stance on offense and defense is a challenging task, and patience
is essential with younger players who may not have the strength and muscle endur-
ance to stay in this position very long. The most important part of a quick stance
is achieving and maintaining bent-knee and bent-elbow positions. All joints should
Critical Cue: Play
and stay low to the be flexed and ready. The game is played low to the floor. The lower players get, the
floor. Get in and stay higher they can jump; the more explosive their moves to the basket are, the quicker
in a quick stance. they are on defense, and so the better they can protect the ball. “Play low and stay
low” is a critical concept for all players.
Teach players the feeling of quick stance—being ready for anything, feeling quick.
Maintaining this basic position is hard work; players must become comfortable in
an awkward, unnatural, monkey-like position. Players should sit into the stance—get
low—and stay in the stance. Consistent and early emphasis on quick stance teaches
athletes to assume it automatically. Quickness is a combination of thinking quick,
feeling quick, and becoming quick by improving skills. A good test for quick stance is
for a player to imagine sitting in a chair with the head positioned behind the knees,
as shown in figure 1.1.
Basic Body Control 3
Foot Position
The best foot placement in most situations is the slightly
staggered stance with the toes pointing slightly outward,
not straight ahead. The feet should be about s houlder-width
apart, with the instep of the front foot along the same hori-
zontal line as the big toe of the other foot (see figure 1.2).
Players should use this position when they need to move in
any direction. To get into this foot position, players should
put the feet together, move the preferred foot forward until
the big toe of the back foot is next to the instep of the forward
foot, and then step sideways with the preferred foot until it
is about shoulder-width for balance and quickness.
The parallel stance shown in figure 1.3 is best used for
side-to-side movement as well as for catching the ball and
stopping, stopping after dribbling, and responding defensively
when a defender moves laterally. In time, players use both
stances interchangeably.
Figure 1.1 Quick-stance test—sit into the
stance (side view).
Critical Cue:
Stagger the stance
with the toes pointed
slightly outward for
the quick stance.
Figure 1.2 The staggered stance (top view). Figure 1.3 The parallel stance (top view).
E3888/Krause/fig.01.03/281207/pulled-alw/r1
An instep-and-toe relationship, with the feet Toe-to-toe relationship, with the feet shoulder-
shoulder-width apart and the back foot toed width apart and the toes pointed slightly
slightly outward. The figure shows offensive outward.
quick stance (right-handed player).
Weight Distribution
Body weight should be evenly distributed from side to side, from front to back, and
Critical Cue:
between the feet. The heels should be down, with most of the weight (60 percent) Weight distribution for
on the balls of the feet, although pressure should be felt on the toes and heels. The the quick stance—eagle
toes should be curled and the heels kept down. claw stance, weight on
the whole foot.
Players may incorrectly place all of their weight on the balls of the feet with the
heels off the floor, but this position is slower because the heel has to be brought
down before forceful movement can occur. A good way to teach the feeling of proper
position is to ask players to take an eagle claw position, with the heels down and the
toes curled.
When players are on defense, they should add footfire to their basic quick-stance
position. Footfire means keeping the feet active and in constant motion without
leaving the floor surface, a technique that helps keep the leg muscles stretched and
Critical Cue:
ready for action and makes the defender quicker. Players can imagine that they are
Defensive quick
stance—footfire. standing on a bed of hot coals, without their feet leaving the floor. For offensive or
defensive quick stance, the weight has to be on the whole foot.
Head and Trunk Position

For proper balance, players should keep the head centered over the support base—at
the apex of a triangle, with the legs as two equal sides and a line between the feet as
Critical Cue: the base when viewed from the front (figure 1.4). They should also center the head
Offensive quick stance from front to back, taking an erect trunk position, with the shoulders back and the
or triple threat—pit
and protect the ball. trunk slightly forward of vertical. The back is straight and the chest is out. The head
is behind the knees. Players should sit into this stance.
a b
Figure 1.4 Offensive quick stance (triple-threat position): (a) Front view—the head, the key to
balance, carried up and alert—the apex of the triangle. (b) Side view—sit into the stance, the
back straight, the chest out, and the head up; pit and protect the ball.
Arms and Legs

Teach players to keep their joints (ankles, knees, hips, shoulders, elbows, and wrists)
bent and ready. Coach John Wooden suggests that all joints be bent for quickness.
Players on offense can tighten their game by bending joints and keeping the ball close
to the body (pit and protect the ball in the shooting pocket). The shooting hand is
behind the ball, and the offensive player is in triple-threat position, ready to shoot,
pass, or drive quickly. Defensive players also can tighten their game (movements) by
bending joints, keeping the arms short (bent elbows) and near the body, and adding
footfire to their footwork. See figure 1.5. Players should keep the hands and arms
bent and close to the body for balance and quickness. The whole sole of each foot
should be touching the floor. Remind the players to stay low—the angle at the knee
joint in back of the legs should be 90 to 120 degrees in order to maintain the low
center of gravity needed for quickness and balance.
a b
Figure 1.5 Defensive quick stance with joints bent: (a) front view, (b) side view.
3
X3
2
X2
b
Coaching Points for Quick Stance

¤¤Be ready for action: feet ready, hands ready.
¤¤Keep all body joints bent.
¤¤Play and stay low; sit into the game.
¤¤Get and stay in a quick stance.
¤¤Keep the head up, the chest out, and the back straight.
¤¤Keep body weight on the whole foot, with the heels down (eagle claw position).
Quick Starts, Steps, Turns, and Stops

Starting, stepping, turning (pivoting), and stopping are the fundamental motions
Critical Cue: Do
used in moving effectively and efficiently in and out of quick stance for offensive it correctly and then
and defensive moves. Teach players to execute the skill correctly, quickly, and at the do it quickly.
right time every time. Players need to go slowly and get a feel for executing the skill
properly, get a rhythm, and then speed up progressively until they make a mistake.
They then learn from the mistakes and go toward game moves at game speed.
A player’s overall speed (moving the body from point A to B) is important in basket
ball, but not as critical as quickness (hand and foot speed). Coaches should strive
to improve the quickness of each player. Thinking quick and being quick should be
the player’s constant focus.
Quick Starts
Starting is the first skill players must learn that uses quick stance. To start quickly,
players shift body weight (and the head) in the desired direction of movement.
Critical Cue:
For example, to move to the left, body weight is shifted over the left foot by lean-
Think quick
and be quick. ing to the left. Because the head is key to balance, it always leads the weight shift
(figure 1.6).
To be quick at the right time, players must
remember that all motion change begins on
the floor. This means taking short, choppy
steps whenever a change of motion or quick
start is needed. Teach players to keep their
feet in contact with the floor as much as pos-
sible and to use the floor to their advantage
by staying close to it.
Front (Lead) Foot First. From basic posi-
tion, players should shift weight in the direc-
tion of movement and start by taking the first
step with the nearest foot. For example, to
move to the right, take the first step with the
right foot. To move forward, take the first
step with the front foot (push from the back
foot and step with the lead foot). This tech-
nique is most often used in basketball when
focus and attention to the ball are necessary.
Figure 1.6 Moving laterally left: body weight toward the desired Sometimes, it is quicker to step across with
direction of movement (over the left foot).
the trail (back) foot and run or sprint in the
desired direction of movement, particularly when a defensive player is beaten by the
opponent and must run to recover.
Defensive Quick Start. On defense, players should use a sliding motion. They
Critical Cue:
Quick steps—play and should keep their feet at shoulder width and use short, quick shuffle steps. This
stay low to the floor technique is called the push step, or step (lead foot) and slide (rear foot). The lead
(the floor is a friend). foot moves in the desired direction from the force of the trail foot at the same time
as a short, quick push step (lead foot first) is taken (figure 1.6). The force for the
push step comes from a power push from the trail foot, which moves the body and
Critical Cue: transfers the weight to the lead foot, quickly followed by a pulling slide step taken
Defensive quick steps— with the trail foot to regain basic position, without bringing the feet together. Players
push steps (step and should keep their feet wide at all times: Step and slide, low and wide, you can’t get too
slide, low and wide,
can’t get too low, low, you can’t get too wide. The lead step and the pull and slide steps are short (12 to
can’t get too wide). 24 inches [30 to 60 centimeters]), and the stance is kept low and wide.
Players should learn to execute defensive starts and slides in side-to-side, forward,
backward, and diagonal directions (figure 1.7), with the head level. Head bouncing
shows that a player is rising out of the stance instead of using

a push step or step sliding and not staying in a stance. Such
bouncing, known as the bunny hop, brings the feet together in
the air, loses the advantage of the floor, and is a waste of time
and space, reducing quickness of motion. The head must be
kept level. Players can imagine a steel plate above the head
during all push-step motion.
Offensive Quick Start. On offense, players with a live ball
(i.e., who still can dribble) can do a quick start from triple-
threat position using the lead foot first. On live-ball moves,
offensive players should establish a permanent pivot foot
(PPF) (left foot for right-handed players and vice versa for left-
ies) and a permanent stepping foot for dribble-driving past a Figure 1.7 Defensive directions for starts
andE3888/Krause/fig.01.08/281214/pulled-alw/r1
steps.
defender and for when the ball is held. Using the PPF, a player
can do a quick start with the stepping foot (front foot first). These live-ball moves
are called direct drives (to the strong or preferred side) and crossover drives (to the
nonpreferred side). Figures 1.8 and 1.9 illustrate both moves.
a b
Figure 1.8 Live-ball move—direct drive: (a) offensive quick stance (triple-threat position), (b) first
step—long and low.
Quick Steps
Quick steps are the basic motion changes that allow players to use speed and quick-
ness to complete plays and execute offensive and defensive strategies. They consist
of changes in speed or pace and in direction at an angle (usually 90 and 180 degrees
to the original motion direction). Quick steps are usually slow-to-quick moves that
use quickness at the right time.
a b c
Figure 1.9 Live-ball move—crossover drive: (a) triple-threat position, (b) circle tight with ball, (c) long and low crossover
step.
3
X3
2
X2
b
Coaching Points for Live-Ball Moves

¤¤Start from offensive quick stance or triple-threat position.
¤¤Direct drive: long and low on the first step past the defender, using the front foot and
straight-line movement. The driver must win the battle, getting the head and shoulders
past the defender on the first step, and then win the war on the second step (with hip
contact on the defender to prevent recovery of the defensive position).
¤¤Crossover drive: circle tight from pit to pit (armpit to armpit in front of the body)
while changing hands behind the ball, without a foot fake. Step long and low, with
the stepping foot in a straight line, and move past the opposite side of the defender to
drive past the defender, all in the first step.
Coaching Points for Quick Starts

¤¤Be ready to start by getting in and maintaining a quick stance.
¤¤Learn that using the floor works to your advantage; keep the feet on the floor when
starting.
¤¤Shift body weight in the desired direction and lead with the head moving first.
¤¤Stay down and pump the arms when starting (the arms lead the action).
¤¤Use the principle of front (lead) foot first.
¤¤On direct or crossover drives with the ball, use a long and low first step in a straight
line toward the basket. Reduce lateral motion.
¤¤For defensive slides, use the push-step technique. Slide, don’t hop, and keep the feet
wide. Step and slide, low and wide: push (from trail foot), step (with lead foot), and slide
(with trail foot to quick stance).
¤¤Start and move in straight lines.
8
Change of Pace and Change of Direction. Change-of-pace steps, including run-

Critical Cue:
ning or sliding at different speeds, are important skills of body control designed to Change-of-pace steps
apply the concept of quickness at the right time. For example, an offensive player require changes of
may be running or dribbling at a moderate speed and then use a burst of speed to speed, especially slow-
get past the defender. Likewise, a defender could be sliding along and then accelerate to-quick moves.
quickly to get a legal position in the path of an offensive player to disrupt movement
or take the charge.
Change-of-direction steps are also designed to apply quickness at the right time.
When players run down the floor on offense and need to change to defense, they
can use a stride stop, change direction 180 degrees (180-degree cut), and sprint
quickly back in the opposite direction. V-cuts, used on either offense or defense, are
change-of-direction steps at sharp 90-degree angles that are made by going into
the cut slowly, making a sharp-angled change-of-direction move, and accelerating
quickly out of the cut. V-cuts are also called L-cuts, 7-cuts, or fake-and-break moves,
depending on how they are used.
Live-Ball Moves. A player with the ball who hasn’t dribbled can execute quick steps
called live-ball moves: direct drive (to the preferred or dominant side) and crossover
drive (to the nonpreferred or nondominant side) (see chapter 5 for a full description).
From a quick stance, live-ball moves are designed to allow the offensive player with
the ball to move quickly past the defender on the dribble drive. This is a straight-
line move to the basket to penetrate the defensive perimeter with the use of a long,
low, quick first step. By rule, the offensive player with the ball needs to get the head
and shoulders past the defender’s trunk in order to gain an advantage legally on the
quick first step. Then the offensive player attempts to get near-hip contact with the
defender in order to maintain the position advantage while moving past the defender
to penetrate the defense on the dribble drive and to force another defender to help,
thus creating an advantageous 2-on-1 situation for the offense.
Quick Turns and Pivots

Turning, or pivoting, is motion that rotates the body in a circular fashion around
the ball of one foot while the player maintains the basic position or quick stance
(figure 1.10). Sixty percent of body weight should be on the pivot foot as the heel
of the turning foot is lifted slightly to pivot on the ball of the
foot. Players on offense should use a PPF and a permanent
stepping foot, especially when they have the ball. Front turn
As the basic skill for beginning all motion changes, the pivot,
or turn, is one of the most important player tools for quickness
and balance. It is also one of the least used and most poorly
Pivot
learned skills in basketball. area
Pivoting can be done with either foot as the stationary center (ball of foot)
of rotation, but a PPF is recommended with the ball. When
body rotation is toward the front—a pivoting motion that
moves the trunk forward around the pivot—the pivot is called
a front turn (see figure 1.11). Likewise, a rear turn is used to Rear turn
pivot a player’s backside to the rear (figure 1.12).
Players on offense must learn to make pivots with and with- Figure 1.10 Pivoting or turning: a rotation
out the ball. When players with the ball are closely guarded but of the body around the ball of the turning foot.
Turn Step
foot foot
a b
Figure 1.11 Right-foot pivot—front turn: (a) starting position and (b) ending position.
Turn Step
foot foot
a b
Figure 1.12 Left-foot pivot—rear turn: (a) starting position and (b) ending position.
Critical Cue: For want to face the basket, rear turns on the nondominant foot (as the PPF) are usually
quick turns, keep the used to clear space, although some coaches prefer front turns. On defense, players
head level, lead with
the elbow (rear turn), use the pivot as the first move when changing from one position to another and
and punch into the when rebounding, as shown in figure 1.13. This is sometimes called a swing step.
turn or lead with the
elbow (front turn). Quick Stops
To be quick with balance and control, players must be able to use quick stance, start
properly and quickly, move quickly (by stepping, running, turning, or sliding), and
3
X3
2
X2
b
Coaching Points for Quick Turns

¤¤Stay down in basic stance and keep the head level and low for quickness.
¤¤Lead with the elbow of the stepping foot (rear turn) or punch into the turn (front turn).
¤¤Keep the feet shoulder-width apart for balance.
¤¤Maintain balance, and keep the head up.
¤¤Pivot quickly but properly in a quick turn.
¤¤Use the pivot to turn up to half a turn (180 degrees); repeat pivots if more turning is
necessary.
¤¤Use a rear turn to face the basket when closely guarded (to clear space).
¤¤With the ball, use a front or rear turn to face the basket. Catch the ball and face the
basket with a front or rear turn while receiving the ball and before dribbling (pass first,
dribble last).
Step
foot Step
Turn foot
foot Turn
a b c
foot
Figure 1.13 Defensive rebounding: (a) front turn, (b) rear turn, and (c) block-out contact.
stop quickly in a balanced position. The two recommended basic basketball stops
are the one-count quick stop and the two-count stride stop.
Quick Stop. The preferred stop for most situations, the quick stop, is executed at
the end of a running or sliding motion. It should not be called a jump stop (jumping
results in slower stops and too much air time). When running, a player does a quick
stop by hopping slightly from one foot, skimming the floor surface, landing in a
parallel or slightly staggered stance (basic or quick stance position; figure 1.14), and
sticking the landing with soft feet. Feet hit the floor at the same time in a one-count
motion: Hop from and skim the floor with one foot and land on two feet.
The quick stop conserves time and space and can be used on defense or offense
(with or without the ball); it is a complement to the quick turn, one of the primary
Hop
a foot b
Figure 1.14 Quick stop: (a) hop from one foot (left or right) and (b) land on two feet.
tools of body control and movement. Basketball rules allow players with the ball
Critical Cue:
Quick stop—hop from to use either foot for pivoting after a quick stop. This gives them a wide variety of
one foot, stay close motion possibilities with control and balance and prevents them from traveling with
to floor, and land in a the ball if the incorrect foot is chosen as the turning foot. The quick stop is impor-
quick stance. tant for getting players into a quick stance for shooting, passing, or dribbling when
receiving a pass. The critical cue on the quick-stop landing is to stick it (similar to a
gymnastics dismount) with soft feet, which means landing on the whole foot while
stopping firmly but softly in a balanced position.
Stride Stop. The stride stop, shown in figure 1.15, is a two-count stop executed
by landing on the rear foot (first count) with the front foot hitting immediately
Critical Cue: afterward (second count). Its primary use is to reverse direction when players are
Stride stop—sit on the running forward (and in other situations for advanced players). For all other motion
back foot, hips down
on the plant foot. situations, players should use the quick stop. With the stride stop, players should
keep body weight back and sit on the rear foot.
3
X3
2
X2
b
Coaching Points for Quick Stops

and Stride Stops
¤¤Use the quick stop unless changing direction (180 degrees) when running; then use
the stride stop.
¤¤On a quick stop, stick the landing with soft feet (land on the whole foot).
¤¤On a quick stop, hop from one foot and land in quick stance on two feet at once (one
count). Stay close to the floor.
¤¤On a stride stop, stay low and sit on the back foot. The rear foot (which hits first) must
be the pivot foot when players turn with the ball after using a stride stop.
¤¤In most cases, use the quick-stop technique even though some coaches prefer the stride
stop in shooting, in which it is called the plant (back foot) and pivot (into the shot)
with the stepping foot, or the step-plant move.
Plant/step
a b
Pivot/plant
Figure 1.15 Stride stop: (a) changing direction; (b) when shooting (plant and pivot or step-
plant move).
Quick Jumps
Jumping is an especially important skill in a sport with an elevated goal. Coaches
often consider jumping a natural ability that cannot be taught and that players do
or do not have. Nothing could be further from the truth.
The basic principles for improving jumping skill include being in quick stance and
ready to jump in order to jump quickly in any situation. Players also can jump higher
if they increase the muscle strength in their legs. Coaches should help players improve
leg strength with resistance training as well as work on jumping skill.
How players land after a jump determines how quick and how high the next
immediate jump will be. The best landing position is in a quick stance with balance
and a wide base. Then players are ready to jump again with balance and quickness.
Body position and control are best taught when players have first learned to jump
using both feet and both arms.
The sections that follow explain how to execute two-foot jumps, quick jumps, and
one-foot jumps and when to use each type of jump in game situations.
Two-Foot Power Jumps

A two-foot takeoff for jumping is slower but more stable than jumping from one
Critical Cue:
foot on the move. It is best used in high-traffic situations (such as battling for a
Power jump—
rebound) or on power layups with close defenders. It is a slow but strong move from two hands, two feet,
a balanced position. The jumping position for power jumps is shown in figure 1.16a, use arm momentum
with the arms ready to be swung forcefully forward and up. or swing for
The takeoff feet should be planted firmly before the jump (players should visualize maximum height.
stamping their feet through the floor) to provide maximum contraction of the leg
muscles (i.e., quick stop and jump).
a b c
Figure 1.16 Power jump for 2-and-2 rebounding: (a) preparation; (b) two hands, two feet (tall and small); and (c) landing
big and wide.
Whenever possible, players should use the forward momentum of a running jump
with forceful contact on the takeoff and swing the arms forcefully upward to add to
the body’s momentum when time and space permit.
Successful rebounding almost always requires the use of two-foot power jumps.
The best rebounders do so from two feet with two hands—2-and-2 rebounding—for
which the critical cue is combined with another critical cue to teach proper tech-
nique—going up tall and small (i.e., two hands fully extended toward the ball) and coming
down big and wide (doing a quick stop on two feet). See figure 1.16, b and c.
Quick Jumps
Quick jumps are the best compromise between conserving time and space and
maintaining body position and control. A quick jump should be used wherever
there is congestion, contact, or a contested jump around the basketball. Repeated,
successive jumps in rebounding are usually quick jumps. Before a quick jump, the
Critical Cue:
hands are held head high, with the upper arms nearly horizontal and the forearms
Circle tight with the vertical. Two-foot jumps using two hands (2-and-2 jumps), without momentum,
arms for quick jumps. that start from a quick stance are shown in figures 1.17 and 1.18).
The critical cue for successive quick jumps is a circle tight move to add arm
momentum to the quick jump. From the ready position (figure 1.17a), the hands
are circled slightly down, inside, and up (figure 1.17b) to the tall and small jump-
ing position.
Circle
a b
Figure 1.17 Quick jumps: (a) the hands up, (b) inside circle move with the hands for momentum.
a b c
Figure 1.18 Quick-jump rebounding: (a) block out with hands up, (b) 2-and-2 rebounding, and (c) capture and protect the
ball.
15
One-Foot Jumps
Jumping from one foot is beneficial when movement and maximum height are
required. Players should know how to do one-foot takeoffs so they can attack the
basket on layups and jump high toward the basket or backboard (high jump, not
long jump). One-foot jumps involve opposition, stamping hard on the jumping foot
and raising the opposite foot or knee, and a high jump, stamping the jumping foot
and using the opposite leg drive to produce a vertical rather than a horizontal or
long jump. The shooting hand and knee are connected as though on a string; both
of them come up together.
3
X3
2
X2
b
Coaching Points for Jumps

¤¤Be ready to jump: get in quick stance, jump, and land in quick stance.
¤¤For power jumps and quick jumps, jump from two feet with two hands (2-and-2 jumps)
most of the time, especially when rebounding.
¤¤Whenever possible, use quick jumps with a circle hand move that is tight for repeated
jumping efforts.
¤¤For power, balance, and control, use a two-foot takeoff (2-and-2 rebounding), and for
speed and height, use a one-foot takeoff (layups).
¤¤Whenever there is time, use the momentum transfer from running forward and from
the arms swinging upward.
¤¤When shooting a jump shot, use quick stops and quick jumps.
¤¤For maximum height and quickness, use a one-foot opposition jump.
Troubleshooting
Most problems in learning and teaching basic body-control moves occur with
balance and quickness, unbalanced moves executed too quickly. In the beginning,
players should slowly imitate the demonstration and get the feel of the move (get
a rhythm). Finally, they can increase quickness until they make mistakes. Players
should note and acknowledge mistakes, correct them, learn from them, and then
forget them (i.e., develop a mistake mentality).
Basic Body-Control Drills

These drills can be used to develop and maintain the basic athletic stance for
basketball, the quick stance, and to teach players to move and stop quickly during
basketball play. The idea is to move with balance and quickness while maintaining
control. The goal of game moves at game speed is always preceded by proper skill
development.
Quick-Stance Check
Purpose: To develop the skills of recognizing various basic stances, getting in a basic
stance quickly, and maintaining that stance.
Equipment: Half-court floor space (minimum).
Procedure: Players spread out on the basketball court facing the coach, assume a
basic stance variation as directed (offensive or defensive quick stance and ready), and
maintain the stance while it is checked by a coach (or partner). Players need to think
quickly and respond to the ready command as they get into a quick stance, to know the
look of a quick stance, and to know how to get into and stay in a quick stance.
Coaching Points
• Sit into the stance with the head behind the knees.
• Keep body weight on the whole foot with the toes pointed slightly outward.
• Keep the butt down, the chest out, and the back straight.
• Use defensive quick stance: add footfire.
• Use offensive quick stance: pit and protect the ball (or the imaginary ball).
Quick-Stance Mirror
Purpose: To self-evaluate variations in stance by recognizing the look of a correct

stance.
Equipment: Player and a full-length mirror.
Procedure: Each player checks all stance variations in front of a mirror, holding each
basic stance at least 5 seconds (front and side view). A partner system may be used
if a mirror is not available.
Coaching Points
• Coaches and players match what they think they are doing with what they are
actually doing.
• Sit into the stance with the head behind the knees.
• Keep body weight on the whole foot with the toes pointed slightly outward.
• Keep the butt down, the chest out, and the back straight.
• Use defensive quick stance: add footfire.
• Use offensive quick stance: pit and protect the ball (or the imaginary ball).
Mass Quick Moves Drill
Purpose: To develop the skills of recognizing various basic stances, getting in a basic
stance quickly, and maintaining that stance.
Procedure: Players spread out on the basketball court facing the coach, assume a
basic stance variation as directed (offensive or defensive quick stance and ready), and
maintain the stance while it is checked by a coach (or partner). Players need to think
quickly and respond to the ready command as they get into a quick stance. The coach
should evaluate each player’s ability to get into a quick stance as well as the quick-stance
critical cues (weight on whole foot, all leg and arm joints bent, head up and centered
over base, back straight, and chest out). Check the look of the stance and test balance
by pushing on a player’s shoulder area (forward, back, right, left).
Players can be moved on command to carry out the basic quick moves:
1. Live-ball direct and crossover moves (ready, direct drive with long and low step,
move, crossover drive with long and low step, move) as shown in figures 1.8 and
1.9 on pages 7 and 8.
Coaching Points for Live-Ball Direct and Crossover Moves

• Start from triple-threat position.
• Focus on quickness and balance, with economy of motion.
• Step long and low past the imaginary defender.
• Use a straight line attack (to the basket) and make contact with the imaginary
defender.
• Use the commands: direct drive, long and low, go; crossover drive, circle tight
(ball), long and low, go.
2. Quick jumps (three consecutive jumps) and power jumps. (The commands are
quick-jump position, jump; power-jumping position, jump.) See figures 1.16 to 1.18
on pages 14 and 15.
Coaching Points for Quick Jumps
• Circle tight with the hands for quick jumps (keep the arms up and the elbows at
right angles).
• Jump quickly with a pop, and land ready to repeat.
• Coil and gather with the arms low; the arm explosion triggers the leg explosion
for power jumps.
• Command: quick-jump position, jump.
For power jumps, add an imaginary ball and 2-and-2 rebounding. Go up tall and small
and come down big and wide.
3. Quick stops: step right (with right foot) and into quick stop (command is move),
and step left (with left foot) into a quick stop (command is move). See figure 1.14
on page 12.
Coaching Points for Quick Stops

• Stick the landing with soft feet.
• Land on a one count (both feet at the same time).
• Land in a balanced quick stance.
• Commands: right-foot step, move; left-foot step, move.
Repeat half turns and increase the pace of turns until mistakes are made.
4. Quick turns (ready, front turn, move and ready, rear turn, move). See figures
1.11 and 1.12 on page 10.
Coaching Points for Quick Turns

• Front turn—lead with a punch.
• Rear turn—lead with an elbow.

• Stay low and keep the head level.
• Commands: front turn, move; rear turn, move.
Line Drill:
Quick Starts, Steps, Turns, and Stops
Purpose: To develop skill in starting, turning, and stopping.

Equipment: Full court.
Procedure: All players are divided into four groups behind the C
baseline at one end of the court with the coach in the middle (figure
1.19). Coaches call out the options that players are to perform.
Coaches teach offensive spacing and timing concepts using the
12-by-19-foot (3.7-by-5.8-meter) free-throw lanes as a reference.
Coaches start the first group together; next players start when
player ahead is 15 to 18 feet (4.6 to 5.5 meters) up the court
19' 12' 19'
(optimal spacing). The lines are already 15 to 18 feet apart.
Options
• All players use a quick-start technique from a quick stance.
When players step on the court, they should be ready and
in a quick stance.
• Stutter steps: Start from the baseline and go to the opposite
end line, keeping the hands up and making the shoes squeak.
Use the floor to your advantage; use short, choppy steps.
Figure 1.19 Line drill: starts, steps, turns,
• Change-of-pace moves: Alternate two or three slow and fast and stops.
moves after a quick start. Be quick and use a varied number
of steps (avoid the same patterns). E3888/Krause/fig.01.21/281242/pulled-alw/r2
• Quick stops: At the free-throw line, half-court line, and opposite free-throw line.
• Quick turns: Full front and rear turns (two half turns) after quick stops.
• Split-vision jog: Four players start simultaneously and jog at half speed, focusing
on the far basket while using peripheral vision to stay in a straight line from side
to side.
• Stride stops and 180-degree change of direction.
• Progressive stride stops: Progressive forward and backward moves are made
from the baseline to the free-throw line (stride stop, reverse), back to the baseline
(reverse), from the baseline to the half-court line (reverse), back to the free-throw
line, and then to the opposite free-throw line, back to the half-court line, and then
to the opposite baseline (figure 1.20).
• Spacing jog (a more advanced skill that also can be used with change-of-pace moves):
The first four players start on command and move at their own pace, staying even
with the leader (usually from the left line). The next person in line starts when the
player ahead is 15 to 18 feet (4.6 to 5.5 meters) away (proper spacing between
offensive players) and maintains that distance‑. This spacing jog is especially chal-
lenging in combination with change-of-pace moves. The four players stay in a line
from left to right and are spaced 15 to 18 feet apart from side to side and behind
the group ahead of them.
Coaches may hold players in

any quick-stop position to check
position and correct mistakes.
Players may simulate dribbling
a ball or sprinting without the
ball (on offense). If defensive
quick stops are used, the feet
should be active at all times.
The coach can advance to a
whistle-stop drill: Four players
start and, on each short whis-
tle, stride stop (or quick stop)
and then reverse and sprint
until the next whistle. The next
group of four players always
starts on the second whistle
Figure 1.20 Progressive stride stops.
E3888/Krause/fig.01.22/281243/pulled-alw/r1 after the previous group. The
drill continues until a player
reaches the opposite baseline and all players have run the floor. This is an excellent
conditioning drill.
Coaching Points
• Each variation is done in one circuit (down and back).
• The first player in each line should come to a quick-stance position on the baseline
and be ready before being required to move. Players should listen for the direction
and the go command from the coach.
• Players should keep floor spacing equal side-to-side and down the court when
initiating movement.
• Unless directed otherwise, subsequent groups of four begin moving when the
previous group reaches the near free-throw line (about 15 to 18 feet [4.6 to
5.5 meters] apart).
• All groups move to the opposite baseline and re-form, with the first group of four
in quick stance, ready to come back in the opposite direction.
• Review critical cues for starts, steps, stops, and turns.
Line Drill: Quick Jumps
Purpose: To develop basic jumping skills for rebounding and shooting.

Procedure: Players are in four lines on the baseline with the coach near the half-court
line. One down-and-back circuit of quick jumps can be added. The first wave of players
sprints forward from basic position on the go command. Whenever the coach gives a
Critical Cue: The
arms up, the hands thumbs-up signal, players execute a quick stop into a quick jump. They continue to repeat
above the waist. quick jumps in place until the coach signals to run forward again with a hitchhiking sign.
The first group sprints again as the next group starts from basic position on the end
line. This pattern is repeated until all groups reach the opposite end line. The coach must
be in front and visible so that all groups of players can see the signals. An alternate is
to require three quick jumps at the free-throw line, the half-court line, and the opposite
free-throw line. A regular power-rebound jump and chinning the ball (with both hands
under the chin) can also be done at the free-throw line, the half-court line, opposite
free-throw line, and opposite baseline, resulting in four rebounds for each floor length.
Coaching Points
• Circle tight with the hands for quick jumps.
• Jump quickly with a pop, and land ready to repeat.
Line Drill: Rebound Jumping and Turns
Purpose: To develop jumping skills for rebounding situations.

Equipment: A ball for each line.
Procedure: The first person in each line steps forward with a ball. Using basic jumping
techniques, players toss a ball in the air in front of them, pursue and capture the ball
using the 2-and-2 rebounding technique, and chin the ball. The players’ elbows should
be up and out in order to protect the ball while they land in a quick stance. They should
then execute a rear turn before stepping and passing to the next player in the line.
Coaching Points
• Coil and gather with the arms low; the arm explosion triggers the leg explosion for
power jumps; capture and chin the ball.
• Rear turn: Lead with an elbow; turn on the PPF.
• Stay low and level.
Line Drill: Quick Stance,

Starts, Steps, Jumps, Turns, and Stops
Purpose: To develop body-control movements by executing all skills properly, quickly, and
at the right time. This is an ideal practice warm-up drill.
Equipment: Full-court floor space.
Procedure: Players stand in three or four lines on the baseline. The coach is positioned
in the midcourt area and commands a half or full circuit of body-control moves. Players
get in and maintain a quick stance, play, and stay low as they execute a variety of com-
binations directed by the coach. Coaches review basic body-control moves in this drill.
Coaching Points
• Emphasize the appropriate critical cues for the specific skills.
• Start all variations with an offensive quick stance.
Line Drill: Starts, Stops, and Turns
Purpose: This drill is designed to set the foundation of quick stance, quick starts, quick
stops, quick turns, and passing and catching skills (ball added later) without the ball in
a combination warm-up drill.
Equipment: Baseline area and floor space to the top of the key area.
Procedure: Players stand in four lines on the baseline with a minimum of two players
per line. On the ready command, the first player in each line steps onto the court in an
offensive quick stance (an imaginary triple-threat position) without the ball. To start the
drill, coaches direct the drill as direct drive, go or as crossover drive, go. The first player
executes a direct drive (long and low) with an imaginary dribble drive with the preferred
hand for two dribbles and makes a quick stop (chinning the ball or staying in triple-threat
position). Then the player executes a rear turn and an imaginary one-handed push pass
(stepping and passing, exaggerating the follow-through). The next player in line is in a
quick stance, with both hands near a respective shoulder, giving two spot targets for
the imaginary pass. That player assumes the two-handed catch position with both feet
in the air (ball in the air and feet in the air) and then repeats the direct-drive move. The
coach then goes on to the crossover drive, dribble, and pass. For a right-handed player,
the moves would require a crossover drive to the left side, a left-handed dribble, a quick
stop, a rear turn on the PPF, and a crossover, imaginary one-handed push pass using
the nonpreferred hand. Coaches should use starts, stops, and turns as a progression
drill when the ball is added after teaching or reviewing passing and catching. The rule
for nonpreferred body-control movement is three times as many repetitions as on the
preferred side.
Coaching Points
• Passing: Pass with the feet on the floor; pass with a step; pass with a ping to a
specific target; exaggerate the follow-through.
• Catching: Catch with the feet in the air; catch with a click (two hands and two
eyes); catch in a quick stance.
• Emphasize the critical cues for starts, steps, stops, and turns.
chapter 2
Advanced
Body Control
“Basic basketball (the fundamental skills) is critical to success—

this includes learning to move without the ball.”
Fred “Tex” Winter, longtime Assistant Coach, Chicago Bulls and Los Angeles Lakers
O ne of the most difficult coaching tasks is to teach players to carry out actions
that don’t involve the basketball—the magnet of the game. An individual player
on offense plays without the basketball over 80 percent of the time.
This chapter illustrates the importance
Magnet of individual skills that do not involve pos-
session of the basketball. Many coaches
find that young players on offense are
1 2
often “magnetized” by the ball and almost
X1 obsessively attracted to it (figure 2.1).
Time must be spent teaching them that
movement without the ball and proper
offensive spacing and timing can be just
3
as important as moves made with the ball
in terms of setting up scoring opportuni-
5 4 ties. Coaches can help motivate players to
carry out purposeful movement without
the ball and to understand that proper
spacing and timing are keys to successful
Figure 2.1 Ball magnet and team spacing.
team offense.
Concepts of Moving Without the Ball

To move effectively without the ball, players must master and remember certain
fundamentals on the court.
• Be alert and remember that all moves begin on the floor.
• Move with authority (distinct moves), balance, and quickness.
• Move with a purpose and with proper spacing and timing. Players must be
aware of teammates’ movements and maintain focus on the offensive strate-
gies of the whole team.
• Read the defense and the ball. All individual movement, which is dictated by
the team play situation, must be carried out in relation to the position and
movement of the ball as well as the opponents’ defense. Get open by moving
to clear areas on the court for receiving passes.
• Communicate all cuts and moves by voice and with hands. Players cannot talk
too much.
• Get open or get out. The primary purpose of movement without the ball is to
get open to receive a pass from the ballhandler. Try to get open; if it is not pos-
sible, get out of the way. Keep proper spacing of at least 15 to 18 feet (4.6 to
5.5 meters) apart (12 to 15 feet [3.6 to 4.6 meters] for younger players and 18
to 21 feet [5.5 to 6.4 meters] for college or professional players).
• Get open in the perfect catching position—15 to 18 feet from the ballhandler.
Ideally, this also will be in a floor position affording a player the option to pass,
shoot, or dribble. Catch the ball facing the basket or catch the ball and then use
a turn (pivot) to face the basket. Teach catch-and-face technique for offensive
players in the frontcourt the following sequence: rim (look at the rim for the shot
Advanced Body Control 25
and to see the whole floor), post (look inside

to feed the post), and action (move the ball
or dribble-drive to the basket). This sequence
must become automatic and be executed very 1
quickly in order. RPA (rim-post-action) every
time players catch the ball.
• Be an actor. Movement without the ball is a
continuous competition between offensive
2
X1
and defensive players. Keeping opponents or
guessing requires using believable fakes (and
giving time for reaction) to bait the defenders
and play the role of decoy.
• Lose the defenders. Move out of the defenders’ Figure 2.2 Lose the defenders (move out of
fields of vision, and force them to turn their theE3888/Krause/fig.02.02/281246/pulled-alw/r1
defender’s field of vision).
heads. Most defenders have their backs to

the basket and their eyes on the ball, so
offensive players should move behind them Breakaway move
to the baseline and away from the ball (see 3
figure 2.2). Cuts can best be made from
this position where defenders cannot easily X 2
anticipate moves. This technique is especially

effective against zone defenses that focus on
the ball.
• Run through the ball. When moving to catch
Back cut
a pass, players should maintain the open
1 X
position by moving toward and meeting the 4
pass unless they are making a breakaway
move ahead of the defender or a back cut
behind a defender (figure 2.3). Beat the Figure 2.3 Run through the ball (meet the
pass—O2).
defender to the ball.
• Get close to get open. Because this rule goes
against common sense, players make the V-cut
mistake of trying to free themselves by stay- or
L-cut
ing away from a defender. It is actually more
effective to stay close and then break away
1 X2 2
quickly to get open, as shown by O2 and O3
X1
in figure 2.4. This effective move allows the X3 Back cut
offensive player to execute an action move that
precedes and is quicker than the defender’s 3 3
reaction move. An effective fake-and-break V-cut or L-cut
V-cut or L-cut to get open is often a slow-to-
quick action move.
• While applying all concepts, keep proper
spacing (more than 15 to 18 feet [4.6 to 5.5 Figure 2.4 Get close to get open. O3 moves
meters] apart unless cutting or screening) close to X3 and then makes a quick V-cut or
L-cut move to get open to receive a pass. O2
and make moves at the right time (better late moves toward X2, who overplays the pass from
than early). O1, and O2 then back cuts to the basket.
Basic Moves or Steps Without the Ball

Basic moves without the ball require that the player be deceptive in order to fool the
defense. Players need to go slowly at first and be correct and then move progressively
quicker until they can make game moves at game speed.
V-Cuts
Special purpose cuts or moves (quick steps) also include fake-and-break or V-cuts:
basic zigzag or change-of-direction cuts that form the shape of a V. To execute a
V‑cut, place body weight on the foot opposite the desired direction of movement
(sink the hips into the cut), point the lead foot, and step with that opposite foot.
For example, plant and push from the right foot and step to the left with the left foot.
Usually, one side of the V is the move to the basket, away from the basket, or to the
defender. The other side of the V is the quick change-of-direction cut to get open.
Beginners can also use short stutter steps during the fake (for balance) and then a
quick plant-and-break step at a right angle. When teaching
young players, use the term fake-and-break for the V-cut to get
open. The first part of the V-move is toward the basket or
the defender (the fake); it should be carried out slowly and
quickly followed by the last part of the V (the break) to get
1 b open. On the break, both hands are thrown up in the direction
of movement. The move is needed to catch the ball (commu-
X2 nicate with hands that you are open) when players are using
a
2 a screen or preparing for a shot. The break move is usually
c toward the ball but can also be toward the basket, as in O2’s
back-cut move on X2’s overplay (figure 2.4 on page 25). The
V-cut is a sharp change-of-direction cut from 60 to 90 degrees
(called an L-cut).
Figure 2.5 Backdoor cuts: (a) V-cut to get Back cuts are important moves—15 to 18 feet (4.6 to
open; (b) bait defender and signal fake before 5.5 meters) away from the ball—that are used when defenders
back cut (outside fist closed and pointed
down); (c) back cut to rim and signal open with
E3888/Krause/fig.02.05/281249/alw/r1 overplay the passing lane, as shown previously in figure 2.4.
the lead hand. To execute this move, the cutter should get close to get open
and make a slow-to-quick V-cut or L-cut move directly to the basket (rim cut) while
communicating with the outside hand (the arm down, closed fist) on the fake, and
the lead hand on the break (open hand, the arm horizontal). This move is shown
clearly in figure 2.5 when the cutter moves from inside-out on a V-cut and is still over-
Critical Cue: played. The cutter needs to create enough space on the perimeter for the back cut by
Always make a back
cut; never fake
baiting the defender, at least to the three-point arc, while maintaining 15 to 18 feet
a back cut. of spacing from the passer. Players should make back cuts (hard and fast) but never
fake back cuts; faking them usually confuses the passer and leads to a turnover.
Critical Cue:
Front and Rear Cuts
Communicate cuts
with the hands. These are types of V-cut moves made after a player has passed the ball to a team-
mate and wants to challenge the defense by cutting to the basket (making a rim cut)
for a possible return pass. The pass-and-cut move—sometimes called give-and-go—is
one of the most valuable offensive moves. The give-and-go Rear cut Front cut
was the first two-player offensive move that was developed in
1 Slow 2
the game. It takes two forms: the preferred front cut, which
Slow
allows the offensive player to receive the ball in front of the X1 X2
defender (an excellent scoring position), and the rear cut, Quick
Quick
which lets the offensive player cut behind the defender to gain
an advantage going to the basket (figure 2.6). A front cut uses X3
3
a V-cut to set up the defense, whereas a rear cut is a direct,
X4 4
straight-line cut used as a change-of-pace or slow-quick move.
Both front and rear cuts are to the rim and end exactly in front
of the basket. The front or lead hand on the cut is held out
in front and horizontally to indicate the cutter’s intention to
the passer (communicate the cut with the hands), as shown
Figure 2.6 Front and rear cuts—give-and-go
in figure 2.7. basketball.
Figure 2.7 Communicate the cut with the hands: (a) front cut, (b) rear cut.
Decoy Moves
Decoy moves are basic moves used to keep defenders busy, such as distracting defen-
sive players from helping defend against a ballhandler or trap the ball. Teach players
to be actors and distracters, misleading defenders with deceptive eye movements,
physical bluffs, and other visual or auditory distractions.
Shot Moves
When the ball is in the air on a shot attempt by the offensive team, each offensive
player should move to a rebounding position or go to a defensive assignment, depend-
ing on the position and role. Players need to make decisive moves when a shot is
taken rather than standing and watching the ball. Spectators are ball watchers. But
players should be movers and should always assume that the shot will be missed
and that they need to rebound or get back on defense in order to do their jobs every
time a shot is taken on offense.
Assigned Moves
Assigned moves are individually designated cuts in a system of play for special situa-
tions. Coaches make specific assignments for rebounding, jump balls, out-of-bounds
plays, free throws, and set patterns. All players must carry out individual assignments
properly, quickly, and at the right time. How well this is done is just as important as
what is being done; spacing and timing of moves are essential.
Screen Moves
Setting and using screens to get a teammate open for a pass or a drive are unselfish
team moves that are also essential skills of individual offense. Instruction in setting and
using screens should not begin until secondary-school level (elementary-school players
should concentrate on learning more basic moves and concepts without the ball).
Types of Screens
Screens can be classified according to location (on or off
Ball the ball), type of use (back screens [back to the basket]
screen
1
set behind or on the blind side of a defender and down
screens [back to the ball] set in front of or to the side
X1 X2 2
of a defender), and kind of body contact used to screen
(front or rear of the body). See figure 2.8.
5 Coaches should develop their own theories of how
3 X3 X5 Off-ball
screens should work: screening a certain spot or area
down
Off-ball screen
back on the floor (position screen) or screening the defender
screen (player screen). A player screen is usually more effective
4
X4 X4 4
in freeing the offensive player, but it may result in more
fouls for illegal screens, or blocks. The authors prefer
player screens: screen an opponent rather than a spot
Figure 2.8 Types of screens. or a teammate.
Setting Screens
Setting a screen is a basic move: Players should use a noisy, quick stop, with the
feet shoulder-width apart and the hands out of the screen (figure 2.9). The screen
should be set perpendicular to the expected path of the defender and be forceful
enough for the defender to see and hear it. Screening players should be loud, low,
and legal—set with a quick stance after a quick stop—and capable of being heard
when set and when the defender makes contact with it. Players should get low, be
ready for contact, and play and stay low, sitting into contact. A legal screen includes
correct position and legal use of hands. A down screen can be set skin-to-skin, but
a back screen should allow at least one step for the defender to change direction.
To avoid illegal hand contact, a player should use one hand to grasp the other wrist
(usually of the shooting hand, for protection) and place the hands in front of the
body over the vital parts. Against good defensive teams, the cutter is usually covered,
but the screener is often open during a defensive switch or help.
Other tips include using down screens (toward the basket) when defenders are
sagging, back screens (away from the basket) where there is pressure or defenders are
overplaying, and flare screens (away from the ball and the basket) when defenders Critical Cue: Set
loud, low, and legal
are collapsing inside. Be ready for contact and screen the defender. Players should screens.
alert teammates they are screening for by hand or voice signal.
a b
Figure 2.9 Front screen: use a noisy quick stop with a wide base, keeping the arms out of the screen. (a) Men grab the
shooting wrist over the groin area; (b) women cross the arms over the chest area.
Using Screens
Critical Cue: To The most difficult screening skill is to prepare the defender to run into the screen
use a screen: wait, use (players should use a teammate as a screen or obstacle) with a V-cut, usually started
a V-cut, listen for the toward the basket as shown in figure 2.10. An important cue is to wait for the screen:
go command by the
screener, or grab and Coaches can require the cutter to wait until the screener calls go as the user comes
brush the screener. to the screen on a V-cut. This move is advocated by Tommy Lloyd of Gonzaga Uni-
versity. Other coaches insist that the cutter grasp the jersey or trunk of the screener
before cutting. These techniques force the cutter to wait and
read the screen.
Players should cut razor close so that they brush shoulders
with the screener. On screens away from the ball, players
3 1 should be in a low position with the hands up as they pass
the screen, ready to receive a pass. Players should throw the
hands up as they move past the screener on the break. Timing
is crucial in effective screen plays: Players must wait for the
screen to be set before making moves and read the defender’s
X1 position to make the correct cut opposite.
2
When two players set and use a screen, they both are scoring
Wait & walk
forward options. The cutter reads the defender’s position while waiting
and then cuts accordingly to get open. For example, a defender
trying to get through a screen causes a pop cut (outside shot)
Figure 2.10 Using the screen. Wait (O2) as
the V-cut is made. move with a reaction inside (a low cut) by the screener. The
two scoring options are inside and low or outside and high
moves by the cutter and screener (in response to the cut). With less determined or
skilled defenders, the cutter is usually open. With great defenders, the screener is
usually open for the score.
On-the-Ball Screens
The pick-and-roll is a basic two-person play used at all levels. This play was a staple
for one of the best inside-outside combinations in basketball history, Karl Malone
and John Stockton of the Utah Jazz. Pick-and-roll occurs when a screen is set on
the ballhandler. When an effective screen is used and defenders do not switch, the
dribbler is open for a shot (dribble-drive layup or set and jump
shot), as shown in figure 2.11. The sequence occurs when O1
V-cuts to get open as O2 passes and sets the ball screen on
1 2 defender X1 (sprint to set the screen quickly). In this option,
X1 tries to fight through the screen (defenders do not switch
X1
X2 assignments) but is impeded and O1 is free for the shot (layup
Set/jump or set and jump).
shot
When a screen (pick) is made on the ballhandler and the
defenders switch assignments, the screener is open on a roll
Layup
shot move to the basket. The pick-and-roll for the screener is
shown in figure 2.12. When the ballhandler uses the screen,
the screener makes a half rear turn and shuffle slides to the
basket, keeping between the ballhandler and the original
Figure 2.11 Pick-and-roll—defenders stay defender X1. The screener should use a proper rear turn in order
(no switched assignments). to maintain vision on the ball at all times. The ballhandler
1 2 1
X1 X1 2
Rear turn X2 X2
Shuffle
slide with
both hands
up
a.a b.b
Figure 2.12 Pick-and-roll—defenders switch. (a) Screen (pick) set and rear turn on the left
foot as the dribbler clears the screen on a two-dribble draw, (b) roll-pass to the screener rolling
toE3888/Krause/fig.02.12a/281260/pulled-alw/r1
the basket. E3888/Krause/fig.02.12b/281261/pulled-alw/r1
must make at least two dribbles past the screen to draw the switching defender X2
(the dribble draw) and then make a pass (usually a bounce pass) to the screener on
the roll move to the basket. On occasion, the defenders may double-team or trap
the ballhandler. When that occurs, the
screener should “pick and pop”—step
back and outside for the return pass and
1 2 the outside shot. Critical Cue:
X1 On all screen plays, two scoring options Always look for two
X2 scoring options on
are always possible when an effective
screen is made: the nonscreener is open all screen plays—
cutter first and
if the defenders don’t switch, and the screener second.
screener is open if the defenders switch.
Advanced players should be taught to
look for both scoring options.
Another advanced option on all two-
person screen plays is for the screener to
Figure 2.13 Slip the screen.
slip the screen or fake the screen and cut
E3888/Krause/fig.02.13/281262/pulled-alw/r1 to the basket as the defenders choose
to switch defensive assignments in early anticipation of the screen. This option for
on-the-ball screens is shown in figure 2.13.
Off-the-Ball Screens
This type of screen is set away from the ball and occurs as a basic two-player pattern
plus the passer. Off-the-ball screens are classified by the cutter’s reaction to the
defender’s choice of combatting the screen:
• A pop cut is used when the defender attempts to fight through the screen
(figure 2.14). O1 passes to O2 and screens away from the ball on the defender of
O3, X3. O3 gets an open shot outside if no defensive switch is made (option a). If X1
switches defensive assignments, the screener O1 gets the open shot inside by cutting
(flashing) to the ball as the switch is made (option b). Players should communicate
the cut with both hands up coming past the screen.
1 2 2
1
X1 X2 X2
X1
3
X3
3
X3
a.a b.b
Figure 2.14 Pop cut: (a) no-switch defense, (b) switching defense.
E3888/Krause/fig.02.14b/281264/pulled-alw/r1
• A curl cut is used when the defender trails the cutter around the screen
E3888/Krause/fig.02.14a/281263/pulled-alw/r1
(figure 2.15). In the first option, defense stays, and the cutter gets the open shot
inside (curling to the basket). When the defenders switch, the screener O1 gets the
outside shot cutting to the ball (option b). Larry Bird, former Boston Celtic and Hall
of Fame player, executed this screen cut to perfection. Players should communicate
the cut with the inside (lead) hand forward when coming around the screen.
1 2 1 2
X1 X2 X1 X2
3
X3 X3
3
a.a b.b
Figure 2.15 Curl cut: (a) no-switch defense, (b) switching defense.
• A flare or fade cut is used when the defender anticipates the pop cut (figure 2.16).
When the defenders stay (no switch), the cutter is open by flaring away from the ball
and outside (option a). The screener may reset the screen to pin the defender inside
as the cutter pushes off the screener on the flare cut. When the defenders switch,
the screener is open (option b) on the inside flash cut (slip) to the ball. The cutter
communicates the U-cut (flare cut) by backing out with both hands up.
• A back cut is used when the cutter makes a pop cut and the defender fights
through the screen (figure 2.17). In option a (no-switch defense), the cutter makes
the pop cut, is overplayed, and reacts by making a cut to the basket using the back
screen of O1. The movement sequence for the cutter is to the basket (in), pop cut
(out), and back cut (in) to the basket. When no switch is made, the cutter gets
1 2 1 2
X2 X2
X1
U-cut X1 Slip cut
X3 U-cut
3 3
X3
a b
Figure 2.16 Flare cut: (a) no-switch defense, (b) switching defense.
1 2 1 2
X1 X2 X2
Out
X3
X3 In
3 3
X1
In
a.a b.b
Figure 2.17 Back cut: (a) no-switch defense, (b) switching defense.
E3888/Krause/fig.02.17a/281269/pulled-alw/r1 E3888/Krause/fig.02.17b/281270/pulled-alw/r1
the shot inside going to the basket.

In option b (switching defense), the
screener O1 gets the shot flashing to
the ball outside as the switch is made.
The cutter communicates the cut with a
X2 closed fist down on the outside hand as
the out move is made. The back cut can
2 also be done without the use of the pop
cut: As the cutter waits while moving
toward the screen, the defender antici-
pates the pop cut and cheats over the
screen (figure 2.18). When the screener Critical Cue:
Make the back cut;
says go, the cutter makes a quick back never fake the
Figure 2.18 Quick back cut.
cut directly to the basket with a front- back cut.
hand communication for the layup. On the switch, the screener may slip cut to the
E3888/Krause/fig.02.18/281271/alw/r1
free-throw lane area. An important reminder for players using a back-cut option is
to always make a back cut and never fake a back cut.
3
X3
2
X2
b
Coaching Points for Moving

Without the Ball
¤¤Use the floor when beginning a move.
¤¤Move with authority.
¤¤Move with a purpose.
¤¤Read the defense and the ball and react.
¤¤Get open or get out of the way; don’t stand still.
¤¤Know and use the perfect catching position (15 to 18 feet [4.6 to 5.5 meters] from the
ball).
¤¤Be an actor; take the initiative and use believable fakes.
¤¤Lose the defender.
¤¤Run through the ball (meet the pass).
¤¤Get close to get open.
¤¤Alert a teammate when setting a screen.
¤¤Set loud, low, and legal screens; sprint to set a screen.
¤¤Set a pick or screen at a right angle to the expected path of the defender.
¤¤When using screens, wait for the go signal, use V-cuts or go to the screener, and brush
past the screen (shoulder to shoulder or contact).
¤¤Pick-and-roll and the two scoring options for on-the-ball screens.
¤¤Off-the-ball screen cuts: pop, curl, flare, and back.
¤¤Two scoring options on every screen: cutter and screener.
¤¤Make the back cut; never fake the back cut.
Troubleshooting
Moves without the ball—where spacing and timing are critical—are considered big
picture moves, advanced and difficult team plays that require patience and attention
to detail. It is usually better to be too late than too early on most of these moves,
especially cutting moves.
Movement mistakes occur when a player without the ball commits an error.
Players need to focus their attention on recovery, call out for help from teammates
when needed, and get in position immediately for the next play, especially when
an offensive error results in a steal. Players should avoid making two mistakes in a
row and learn to play through their mistakes. Mistakes are necessary for learning;
analyze them and then forget them.
Drills for Moving Without the Ball

These drills are designed to teach players the most challenging moves, those with-
out the ball. Players tend to be eager to develop ball skills and reluctant to drill on
moves without the ball.
Line Drill: Move Without the Ball
Purpose: To teach by simulation basic moves without the ball.

Equipment: Half court (minimum).
Procedure: The players should assume a basic four-line drill position on the baseline.
The first player in each line moves down the court without the ball, imagining the ball to
be in the center of the court (figure 2.19).
V-cuts
V-cuts and
backdoor
cuts
Imaginary
ball
position
line
Front cuts
Pass Pass
Pass Pass
Rear cuts Change-of-pace Change-of-pace
Change-of-pace Change-of-pace
Figure 2.19 Line drill: V-cuts, backdoor cuts, front cuts, and rear cuts without the ball.
Options E3888/Krause/fig.02.19/281272/pulled-alw/r1
• V-cuts to get open (designated to the basket and to the ball or to the defender and
the ball): Repeated V-cuts, followed by quick stops to simulate catching the ball, are
performed for the length of the court. Communicate the cut with the hands up.
• V-cuts to get open, followed by a backdoor cut: Players should use proper footwork
and hand position. Communicate with the hands—up when getting open, the outside
hand down and fist closed for the backdoor cut.
• Front cuts: A simulated pass to the center of the court is followed by a front cut
(V-cut, move away slowly, fast cut to the ball) and a quick stop at the free-throw
lines and the half-court line. Communicate with the inside hand across and up.
• Rear cuts: A simulated pass to the center of the court is followed by a rear cut
(change-of-pace, slow to fast) and a quick stop at the free-throw lines and half-court
line. Communicate with the hands up or the lead hand forward.
Quick stops are used at each free-throw line and at the half-court line. At the completion
of each quick stop, players should challenge the imaginary defense by using a catch-
and-face move—first a quick stop and then a pivot in order to face the basket and see
the whole court.
V-Cut Drill
Purpose: To teach players the basic moves without the ball in a 2-on-0, 2-on-2 situation.
Equipment: One ball per basket per group.
Procedure: The basic two-line formation for this drill is one line of guards or point posi-
tion players out front and a line of forwards or wing position players on the side (i.e.,
two lines of outside players).
Options
• Use a forward V-cut to get open (fake and break) and, after receiving the pass
from the guard, use a catch-and-face (the basket) move.
• Guard can make a front or rear cut to the basket (cut to the rim) to catch the
forward-to-guard return pass and then go to the end of the forward V-cut line
(give-and-go), or the forward can make a live-ball, dribble-drive move to the basket
(figure 2.20a).
• Forward then rebounds the ball and passes to the next guard in line and goes to
the end of the guard line.
• Figure 2.20b shows a forward backdoor move (advanced skill) performed during
a guard dribble move. The ballhandler, dribbling toward overplaying defender, keys
the backdoor cut, or the receiver, with the outside hand down, keys the cut. The
forward backdoor cut should be made outside the three-point field-goal line; spread
the defense and back cut.
The forward V-cut may be a fake to the basket and break to get open or to the imaginary
defender (L-cut). When acceptable skill levels are reached, add two defenders and execute
the drills in a 2-on-2 situation. Communicate cuts with the hands (figure 2.21).
1 1
Pass and use
a front or rear cut
“give-and-go” move
or
2 2
Wing—back cut
or
2
Wing—use
L-cut or V-cut
a
a. b.b
Figure 2.20 (a) V-cut drill and (b) backdoor option. O2 V-cuts with the outside hand down as the key.
a b
Figure 2.21 Communicate the cuts with the hands: (a) V-cut to get open, and (b) front or rear
cut give-and-go (the lead hand).
Pick-and-Roll Drill
Purpose: To teach players the screening and cutting options for on-the-ball screens.
Equipment: One ball per basket per group (four or more).
Procedure: Two lines of outside players 15 to 18 feet (4.6 to 5.5 meters) apart use
the screening pattern of pass and screen the ballhandler’s defender. The progression
should be the following:
• 2-on-0: cutter (dribbler) scoring option alternating with the screener scoring option
(roll or step outside for shot or pick and pop).
• 2-on-2: defense stays (score on the pick) alternating with the defense switches
(score on the roll or step outside for shot or pick and pop).
–– Live offense and defense
–– Player rotation: offense to defense to the end of the opposite line
• 3-on-3:
–– Make-it-take-it (offense keeps the ball when they score); rotate when the
defense stops the offense
3-on-0 Motion
Purpose: To teach both scoring options on screens away from the ball; two-ball s
hooting.
Equipment: Two balls per basket per group, six players preferred. Two passers (coaches
or program assistants).
Procedure: The coach determines the cut at first, and then the cutters call the cut.
Then two defenders are added, and the screener or cutters must read the defenders
and cut accordingly while calling their cut (see figure 2.22).
C C
C C
a b
Figure 2.22 3-on-0 motion drill: (a) basic setup, (b) pass and screen away.
E3888/Krause/fig.02.22a/281278/alw/r1 E3888/Krause/fig.02.22b/281279/alw/r1
3-on-3 Motion Screen Drill
Purpose: To teach players the screening and cutting options for off-the-ball screens.
Equipment: One ball per basket per group (six or more). Coaches can use two balls to
pass on both scoring options.
Procedure: Three lines of outside players, 15 to 18 feet (4.6 to 5.5 meters) apart,
use the options to pass and screen away from the ball: pop up, curl cut, flare cut, back
cut. The progression should be the following:
• 3-on-0:
–– Pop cut (cutter cuts outside, screener cuts and slips inside)
–– Curl cut (cutter curls inside, screener pops outside)
–– Flare cut (cutter U-cuts outside, screener slips inside)
–– Back cut (cutter back cuts inside, screener pops outside)
• 3-on-3:
–– Defense stays (cutter options)
–– Defense switches (screener options)
–– Make-it-take-it (offense scores, they keep the ball)
Coaching Points
• Sprint to set a screen as the teammate is signaled.
• Cutter waits (verbal go) for the screen.
• Set screens that are loud, low, and legal.
• Signal cuts with the hands, and use verbal calls on all cuts.
• There are two scoring options on each screen.
chapter 3
Ballhandling
“Passing and catching are offensive team skills, while dribbling is an individual
offensive skill; therefore the pass should be the primary offensive weapon.”
Ralph Miller, Hall of Fame Coach
B allhandling encompasses all offensive moves with the basketball—passing, catch-

ing, dribbling, shooting, individual moves, and rebounding. In this chapter’s dis-
cussion, ballhandling includes only the skills of passing, catching, and dribbling.
The arm mechanics of the ballhandling skills of passing, dribbling, and shooting
are almost identical—the arm and hand motion is the same for each skill. Passing
and catching are the most important individual offensive fundamentals with the
Critical Cue:
ball. Shooting can be considered as a pass to the basket and passing as a shot to a
Practice ballhandling catching teammate. Dribbling, which can also be considered as a pass to the floor,
skills (pass, dribble) is a secondary offensive weapon that should not be misused or overused, which is
on the nondominant
side two or three times
often the case. Players should pass first and dribble last.
as much as on the Another ballhandling principle must be applied in order to achieve balanced devel-
dominant side. opment of ballhandling skills with the dominant and nondominant hands. Players
need to work on the weak hand two or three times as much as on the strong hand.
Getting into triple-threat position (offensive quick stance)—where a player with
the ball may shoot, pass, or dribble—should become automatic (see figure 3.1). In
triple-threat position, the player with the ball pits and protects the ball (pulls the ball
close to the armpit in order to protect it from the defender). Players should avoid
dangling the ball away from the body; they need to keep their game tight. This
protected area is also called the shooting pocket. Players should always use the catch-
and-face move with the ball: catching it, moving it to triple-threat position, and then
pivoting and facing the basket to see the whole floor (especially open teammates
for possible partners for passing and catching). Offensive quick stance is attained
with quickness and balance. Players must think quickly, move at top speed under
control, and be ready to pass or catch first and dribble last. When players become
ballhandlers, they should first look to pass the ball to a teammate (unless they are
a b
Figure 3.1 Triple-threat position (offensive quick stance with the ball): (a) side view, (b) front
view.
Ballhandling 41
open for a scoring opportunity within their range) before choosing to dribble, which
is the final option for moving the ball. The primary movement concepts of quickness
and balance dictate the preferred order: passing before dribbling.
Passing and Catching

Passing and catching are the most neglected fundamentals in basketball. Players have
to develop these skills in order to mount a successful team offense. Effective passing Critical Cue:
and receiving in the form of the scoring assist are measures of offensive teamwork Get in triple-threat
and important tools for controlling game tempo on offense. An important measure position, pit and
of offensive team efficiency is the number of scores from assists (team plays from protect the ball,
and face the basket
passing or catching) compared to scores from the dribble drive (individual plays). using a front or
The team scores should always exceed individual scores. rear turn whenever
Players who are good passers and catchers or receivers have an excellent chance you have the ball.
to be important team members. In coaching, good passing tends to take the pres-
sure off a team’s defensive play and break down the opponent’s defense. Because
passing is the quickest way to move the ball and challenge the defense, it should
be the primary weapon of offensive attack, thus applying the priority principle of
balance and quickness.
Earvin “Magic” Johnson led his college and NBA teams to championships by
becoming one of the greatest passers in the history of the game. John Stockton led
the great Utah Jazz teams of the 1990s by doing the same thing. Steve Nash of the
Phoenix Suns does the same thing today.
Convince players that passing and catching are primary offensive team plays;
they are the most effective way of achieving the offensive objective—moving the ball
quickly and getting it to an open player to set up a scoring opportunity.
Passing Principles
Players need to look for the pass before dribbling. When catching, follow the rim-
post-action (RPA) rule. When players catch the ball within the operating area of the
offensive basket, they should catch and face the basket to look for the shot (rim), look
to pass to an inside post player (post), and then move the ball (action). A player’s Critical Cue:
first instinct is to dribble; continual emphasis on the shot and pass are required to See the whole floor,
look to pass first,
overcome this instinct. Since dribbling is an individual skill, practiced each time a dribble last.
player touches the ball, a natural preference for it tends to develop.
Good passes can only be made when coaches also teach other fundamental ele-
ments of passing:
• Feet on the floor: Pass with the feet on the floor in most situations. Pass with
Critical Cue:
a quick step for quickness (using the stepping foot). Pass with the feet on
• Quickness: The ball must be passed quickly (before the defender has time to the floor and a quick
stepping foot.
react). The pass should be snappy and crisp, but not too hard or too easy. A
quick step is usually made in the direction of the pass to provide added force.
When a quick pass is thrown, a ping sound occurs. When the throw is too hard,
the pass slaps loudly as it is caught; when the throw is too soft, no sound is
heard as it is caught. The first passing guideline is to pass with

a ping (i.e., a crisp pass, not too hard or too soft). This concept
was made popular by Fred “Tex” Winter, longtime assistant
coach for the Chicago Bulls and Los Angeles Lakers.
• A target: Each pass must be thrown accurately to a spot target
(usually away from the defender). A raised hand away from the
defender is commonly used as the target; players should have
both hands up when catching, one target hand and the other
arm up to ward off the defender (figure 3.2).
• Timing: The ball must be delivered when the receiver is open,
not before or after. Pass with a ping at the right time. When
learning to pass, exaggerate the follow-through.
• Deception: The passer must use deception to confuse the
defender, who is reading the passer (especially the eyes) and
anticipating the pass. Use ball fakes and keep vision on the whole
floor as the passer sees the spot target.
• Shorten all passes (run through the ball) by meeting or coming
Figure 3.2 Getting open: Keep both toward the ball (unless on a breakaway).
arms up.
Passers should visually locate all teammates as well as defenders (see the rim
of the basket in frontcourt, the net in backcourt), concentrating on the potential
Critical Cue: receiver without staring. This can best be done by surveying the whole floor area
Pass to a spot target (broad focus) with the ball in triple-threat position. When they catch a pass, players
at the right time. should always be prepared to shoot when open (catch and face the basket) and
within range; if unable to shoot, they should try to pass to an open teammate before
dribbling (rim-post-action).
Players must learn to give up the ball unselfishly by passing to an open player.
Ballhandlers also can dribble drive and pass (penetrate and pitch); they can create
an opportunity for an assist by making a dribble move that allows them to pass to
an open teammate to score. When players are passing, the choice should be to make
the easy pass through or by the defender. Teach players not to gamble on passes, to
Critical Cue: be clever, not fancy. Most of the time, a player using the dribble drive should use a
Pass with a ping, not quick stop before passing the ball at the end of the penetration or drive. This applies
too fast or too slow.
the rule of passing and stepping with feet on the floor. John Stockton, Gonzaga
University and Utah Jazz All-Star player, became the all-time assist record holder in
the NBA by making the easy pass (i.e., the simple play).
The most important passing principles are the following:
• Pass with the feet on the floor (use the stepping foot).
Critical Cue:
Make the easy pass.
• Pass to a spot target at the right time.
• Pass with a ping (snappy and crisp) at the right time.
• Pass with deception.
Choosing the Correct Pass

The quickest passes are air passes. Simple geometry (the shortest distance between
two points is a straight line) proves that the air pass is quicker than either the lob
Ballhandling 43
pass or the bounce pass, as shown in figure 3.3. Therefore,

the air pass is the primary pass to use. All perimeter passes
around the defense should be air passes.
Lob passes are used only when passing to teammates on a Lob
breakaway fast break, the lob allows them to run to catch up
with the ball; when teammates are being fronted while playing Air
a low post position; or when this is the best way to get the ball A B
past a defender. The lob is always a slower pass. Bounce
Use bounce passes only when passing to players who are

• in the post position and are smaller than the defender,
• open on the baseline side,
• making a backdoor cut, or Figure 3.3 Types of passes, their path and
distance traveled.
• in an emergency situation.
Special Passing Situations Defensive basket
Situations related to passing include eliminating the pass

across under the defensive basket; an interception there usually 1 2
results in a score by the opponents. Other danger areas are
along boundary lines and in court corners (figure 3.4). When
a pass comes back out on the perimeter from the baseline,
players should reverse the ball quickly to the other side of the
court to test the defense and check for the opponents’ alert-
ness on the help side of the defense (test the second side or
reverse [swing] the ball to make defenders move).
Types of Passes
In basketball, the type of pass used must fit the situation.
For example, chest air and one-handed baseball passes are
best used in open court or perimeter situations where speed
is paramount, but the one-handed push pass is the preferred
close quarters or backdoor pass.
Chest Pass
The chest pass, the basic air pass for effective, efficient ball
movement when an offensive player is guarded loosely or in an
Figure 3.4 Danger areas for passing or
open floor area, can be used for longer distances because the E3888/Krause/fig.03.04/281289/pulled-alw/r1
catching.
starting position for the pass is reached by moving the ball from
triple-threat position to the center of the chest, close to the body, in a thumbs-up
position. To throw the pass, a player then extends the elbows and pronates (rotates
inward) the arms to a thumbs-down ending position. Players should push the thumbs
through the ball to produce backspin on the ball. Players should also take a step
forward to pass when there is time, but passing without stepping is quicker. Most
of the time, step (quickly) and pass. On longer passes, the ball is rolled in a circular
move—out, down, and toward the body—before release. The target of the pass is
Critical Cue:
Chest pass—thumbs- the throat (neck) area of the receiver who is stationary and defended from behind
up to thumbs-down (aim for the face) and toward the receiver’s outside hand (two-handed targets, see
position. figure 3.2) when the receiver is near a defender.
Chest Bounce Pass

This pass is recommended primarily for backdoor moves and emergencies, when the
passer must get out of a trap or when the defender is playing in the passing lane.
Passing tips include making the pass to a target two-thirds of the way to the receiver
and following through to that spot on the floor, as for a chest pass. The pass should
be thrown hard enough that it bounces up to the receiver at hip level (usually about
two-thirds of the way to the catcher). Starting with the ball in a thumbs-up position,
passers should push the thumbs through the ball and follow through to a thumbs-
down position (figure 3.5). The backspin is important in this movement because it
increases the angle of rebound on the bounce pass, making it easier to handle. For
power, players also may step forward (using the stepping foot) with the pass.
Figure 3.5 Bounce pass: (a) thumbs-up starting position (the target is a spot on the floor), (b) thumbs-
down ending position (follow through to the spot) and catcher with the feet in the air.
Ballhandling 45
Overhead Pass
When a player catches the ball, it is always moved quickly to triple-threat position
(catch and face the basket). The ball can then be moved quickly overhead to pass
over the defense. A valuable pass over the defense to reverse the ball to the second
side of the floor (called a skip pass) is especially effective against zone defenses. The
position of the ball allows the passer to show the ball and use pass fakes. Players
need to keep the ball up, starting with and keeping the elbows locked or extended,
and to throw the pass with the wrists and fingers; the ball should be overhead with
little or no windup behind the head.
The technique involves starting with the thumbs back and then pushing the thumbs Critical Cue:
through the ball, finishing with the thumbs forward (figure 3.6). The overhead pass Overhead pass:
tends to drop, so the ball should be thrown to a high target (usually the receiver’s thumbs back to
head); the pass is hard to handle when dropping. For more power, players should thumbs forward,
the ball up,
step forward with the pass. the elbows locked.
A distinction should be made between overhead passes for longer and shorter dis-
tances. The longer overhead pass usually occurs on a defensive rebound and outlet,
a skip pass from one side of the court to the other (corner to opposite wing, wing
to opposite wing, or other long pass or over-the-top situations). Shorter overhead
pass instances include high post to low post or top-down perimeter to post passes
and other perimeter pass situations, most often to the next receiver. Longer overhead
a b
Figure 3.6 Overhead pass: (a) thumbs-back starting position (the ball up, the elbows locked),
and (b) the thumbs forward and the palms out (use the wrists and fingers, keep the ball up).
passes necessitate a power step with the pass, full use of both arms and thumbs,
and a complete follow-through. Overhead passes should be used as air passes, not
bounce passes, because of the high starting position for the pass release.
One-Handed Baseball Pass

A baseball pass is used to throw a long pass (usually over half-court length) with
the dominant throwing arm. Players should keep two hands on the ball as long as
possible and use a stance with the body parallel to the sidelines and feet parallel
to the baseline, and then they should plant the back foot, point and step with the
front foot, and throw the ball from the ear, similar to a baseball catcher’s throw.
Proper follow-through includes carrying out a full pronation and extension of the
Critical Cue: arm, ending with the thumb down (figure 3.7). Players should throw this pass only
Baseball pass: both with the dominant arm, using the other hand to catch the fake pass and stabilize the
hands on the ball
as long as possible. ball. The turning (pivot) foot on this pass is always the back foot, with the stepping
foot as the front foot (an exception when using the PPF concept).
a b c
Figure 3.7 Baseball pass: (a) starting position: by the ear, both hands on the ball, (b) pull the string: the
fake pass can be used from this position, and (c) pronate (the thumb down) on release.
Critical Cue:
One-Handed Push Pass
Pass quickly by the
ear hole when the arms The one-handed push pass (flick pass), the most important offensive pass, is a quick
are down; work the pass used to pass through or by a closely guarding defender. This pass is used near
ball vertically on one defenders and at 15- to 18-foot (4.6- to 5.5-meter) distances. It may be an air or
side of the body.
bounce pass and should be used from the triple-threat position; the key is the bent-
elbow starting position (needed for power). The passer should work one side of the
Ballhandling 47
defender’s body, especially past the ear, where the biggest gap usually appears, and
make the pass above or below the defender’s arms after finding an opening. Vertical
fakes are used as players read the defender (figure 3.8). Players should fake low and
pass high (air pass) or fake high (maybe a shot fake) and pass low (bounce pass),
reading the defender’s arm position and making short, quick fakes. The first look is
always past the ear, using an air pass when the defender’s arm is down.
When players move from the preferred side in triple-threat position, the ball is
moved quickly (rip through) from side to side (pit to pit) to work the other side of
the defender’s body: a circle tight move, which is preferred to a high or low sweep
for quickness and balance.
Vertical
fake
a b
Figure 3.8 Push or flick pass: (a) use the triple-threat position to work on the side of the defender’s
body; when the defender’s arm is down, pass high, near the hole by the ear, and (b) use vertical fakes
(fake high, pass low) when the defender’s arm is up.
Catching Principles
Catching the basketball requires a player to be ready. Potential pass receivers, in
quick-stance position with both hands up, must be open and give a target at the
right time.
Running through the basketball is another receiving rule that refers to meeting
the pass unless the player is cutting to the basket on a backdoor cut or a breakaway
situation. When defended, the receiver must move toward the ball until contact is
made to ensure possession. Players should make a cut to finish running through
the ball, about 15 to 18 feet (4.6 to 5.5 meters) from the ball (i.e., shortening the
passing lane).
Players should catch the ball with feet slightly in the air whenever possible. The
receiver should catch the ball with both feet in the air and then come to a quick stop
with the ball in triple-threat (normal) or “chinit” position (under duress), e nsuring
body control, ball possession, and a quick return to quick stance (where either
Critical Cue:
Catch the ball with foot can be used as the pivot foot, the quick-stop advantage). Finally, all catchers
the feet in the air. should catch and face their offensive basket in order to see the whole floor and the
rim (net).
Two-handed basketball is a good habit to develop in players. They should always
catch the ball with both hands. Of the three methods of catching the ball, the first
is with two hands up (thumbs together), used when the pass is near the middle of
the body and above the waist (figure 3.9a). The second is with two hands down
Critical Cue:
Catch with a click; use
both hands and eyes.
a b
c d
Figure 3.9 Catching the ball: (a) above the waist, (b) below the waist, (c) one-handed block,
and (d) two-handed tuck.
Ballhandling 49
(the thumbs apart), used when the pass

is near the middle of the body and below
the waist (figure 3.9b). The third method
is the block and tuck, used when the pass
is to either side of the body: Players block
the ball with one hand and tuck it with the
other; both hands should immediately be
placed on the ball (figure 3.9, c and d).
As the pass is caught, the receiver should
let the wrist and elbows give, which is
sometimes called developing soft hands. Also,
the eyes should be focused on the pass until
it is in both hands. Players need to catch
the ball with their eyes. The combination
of catching with two hands and using both
eyes is called catching with a click. When pos-
sible, the catcher should catch the ball with
the wrist back and move to the shooting
pocket (figure 3.10).
Finally, the pass catcher should meet the
pass or shorten the passing lane by meeting
or coming toward the ball to catch it with Figure 3.10 Catch the ball with the wrist
the feet in the air, except on a backdoor back; be ready to shoot.
cut to the basket on defensive overplay.

The important catching principles are the
following:
• Catch passes with the feet in the air.
• Catch passes with a click (two eyes, two hands).
• Meet the pass; run through the ball.
3
X3
2
X2
b
Coaching Points for Passing and Catching

¤¤Teach triple-threat position; pit and protect the ball while turning to catch and face
up the floor.
¤¤Help passers develop quickness, the use of a spot target, and proper timing.
¤¤Teach players to pass with the feet on the floor and to pass with a ping.
¤¤Teach players to pass and catch with two hands handling the ball as long as possible.
¤¤Teach players to catch the ball with the feet in the air (ball in the air, feet in the air).
¤¤Teach players to catch with a click (two hands, two eyes).
¤¤Teach catchers to move the ball to the shooting pocket or chinning position.
¤¤Teach players to catch and scan immediately to see the whole court (catch and face the
basket or catch the ball with the feet facing the basket).
¤¤Train catchers to be ready for bad passes and to stay in stance with the hands up and
the body ready to move.
Communication of Passing and Catching

It is the responsibility of both passer and catcher to complete each pass, to strive for
perfection, but to settle for success. Successful passes depend on communication,
especially by the catcher. Every potential pass receiver should always be ready to catch
Critical Cue: a pass (quick stance with the hands up), to call the passer’s name to show openness,
Catchers: Get open, and to communicate with the hands (both hands up when open, one hand inside for
be ready, call for the a curl cut, closed fist on the outside hand for a back cut). The passer must decide
ball, catch the ball
with the feet in air,
whether to make the pass. Some coaches prefer to have the passer call the catcher’s
and face the basket. name as the pass is made. Passers need to have eye and voice contact with catchers
before and as the pass is made. Players cannot communicate too much.
Dribbling
Dribbling is a touch, not a sight, skill. Players should learn to dribble up the court
without watching the ball by focusing on the offensive basket (see the rim), look-
ing over the whole court (using peripheral vision). Seeing the net in the backcourt
allows the dribbler to see the whole court and open teammates. Seeing the rim in the
frontcourt accomplishes the passing guide and gets players in the habit of looking
for the shot every time they catch the ball (rim-post-action). The primary objective
Critical Cue: in the frontcourt is to create a move that allows a player to pass to a teammate for
Dribble only to make a score. When players are dribbling, this move might be a live-ball move, a basket
a live-ball move,
penetrate the defense, penetration move past an opponent using the dribble drive to the basket, or ball
get a teammate open, movement by passing to get a teammate open. Dribbling is also an acceptable
advance the ball, option, preferably for advancing the ball up the court when a pass is not available,
execute a play, or get maneuvering for a better position for a pass to a teammate, executing an offensive
out of trouble. Dribble
with a purpose. play or pattern, and getting out of heavy defensive traffic or a defensive trap situa-
tion (two defenders on the dribbler).
Dribbling Technique
Players should execute the dribble by first extending the elbow and flexing the wrist
and fingers, dribbling with the wrist, hand, and a little forearm motion. The dribble
is really a pass and catch to the floor. The fingers and pads of the hand control the
ball (the ball should be kept off the heel of the hand); the fingers are spread comfort-
ably and should be cupped around the ball (figure 3.11). Players should massage
the ball, dribble it firmly, and stay low and sit into the game while dribbling. They
should make the dribble a short pass for quickness.
Players should maintain maximum contact with the ball. The rules require the
hand to stay on top of the ball: The dribble is legal as long as the hand does not
leave its vertical position to get under and carry the ball or as long as the ball is not
cupped by a large hand (figure 3.12). The ball must leave the dribbler’s hand before
the pivot foot leaves the floor when starting a dribble on a live-ball move.
It is strongly recommended that the quick stop be used to terminate the dribble
(figure 3.13). This is the best method of avoiding traveling violations and protecting
the ball while conserving critical time and space for passing or shooting. In traffic,
players should pick up the dribble, use a quick stop, and chin the ball.
Ballhandling 51
a b
Figure 3.11 Dribbling: (a) use the fingers and the pads of the hands, (b) elbow extension and wrist and finger flexion to
push the ball to the floor.
Legal
Illegal Figure 3.13 Terminate the dribble

with a quick stop and chin (or triple-
Figure 3.12 Dribbling rules: hand position. threat position).
Critical Cue:
When chinning the ball, players should get into a quick stance with the ball under Dribbling is a touch
the chin, with the fingers up and the elbows out and up (players make themselves skill; see the net and
big E3888/Krause/fig.03.12a/281308/alw/r2
and protect their territory). the whole court or
the rim and half
Players should learn to use either hand to dribble, developing the weak hand but of the court.
using the preferred hand whenever possible. They should practice two or three times
more with the nonpreferred hand. They always should use the dribbling hand away
from the defender when closely guarded and

protect the ball with the body and the oppo-
site hand (arm bar) when dribbling against
a close defender. They should keep the ball
low and to the side of the body and stay
in a quick stance by sitting into their game
(figure 3.14).
Dribbling Strategies
The general dribbling rule is that, when the
ball is put on the floor, the dribbler should
always be moving purposefully. On drives
to the basket, the dribbler goes past the
defender. The objective is to use one dribble
to score in the frontcourt; bouncing the ball
once or dribbling while not changing floor
position (called dropping the ball) should be
discouraged. A dribble penetration (penetrate
and pitch) is best accomplished just after the
Figure 3.14 Closely guarded dribbler: Protect the ball with player has received a pass, thus avoiding
the body and the opposite hand, keeping tension on the legs and forcing the dribble into defenders who are
staying in quick stance (low or control dribble).
prepared for the penetration.
A key guideline is for players to
stay away from trouble while drib-
bling. Players should avoid drib-
bling into traffic (between two
defenders); dribblers should keep
alert for traps by watching for
defenders and avoiding the cor-
ners of the court (figure 3.15).
Players should keep the dribble
under control and conclude a
dribble with a pass or shot, prefer-
ably after a quick stop (step and
pass with the feet on the floor). A
dribbler should use the right move
at the right time and see the whole
Figure 3.15 To stay out of trouble, avoid the corners of the court when
court as well as teammates and
dribbling. E3888/Krause/fig.03.15/281312/pulled-alw/r1 defenders.
Types of Dribble Moves

The right type of dribble should be used at the right time. A low or control dribble
should be used around defenders when the dribbler is closely guarded, and a high
or speed dribble should be used in the open court when a player is advancing the
ball. All dribble moves should change directions at sharp angles.
Ballhandling 53
Low Dribble. A control or low dribble is the first and easiest dribble to teach
players. They should use a staggered stance—bent knees with the ball-side foot
back. The opposite hand (arm bar) is used for protection from the defender—but
not to push the defender back or hook the defender, only to protect the ball. The
basic body motion is a sliding movement similar to defensive slides or short steps,
running motion.
Players protect the ball by dribbling on the side of the body away from the defender,
keeping the ball low and dribbling hard and fast near the back foot.
Power Dribble. An advanced version of the low or control dribble, the power
dribble, is executed by using a sliding foot (step and slide or push-step) motion and
Critical Cue:
low dribble so that the ball is protected by the front leg and the hip and front arm
Use a power dribble
bar. The ball is dribbled below the knee, high near the back leg, as far away from the when using a dribble
defender as possible. The dribbler advances up the court with push-step moves. As against extreme
the player goes forward, the ball is near or in front of the back foot (figure 3.16a); defensive pressure.
as the player goes backward, the ball is near or behind the back foot (figure 3.16b).
From this position, a player can use advanced dribble moves (described later), such
as a pull-back crossover, a spin dribble, or a fake spin dribble, to create space and to
attack the basket. Players should maintain vision up the floor over the lead shoulder:
see the net (on the goal) in the backcourt or see the rim in the frontcourt, which
allows the dribbler to see the whole floor.
Speed Dribble. For a speed or high dribble, players should push the ball out in
front and run after it, keeping it ahead of them. The ball can be dribbled higher—near
waist level—to attain more speed. The faster the movement is, the farther out in front
and the higher the player should dribble the ball.
a b
Figure 3.16 Power dribble: (a) shuffle forward, (b) shuffle backward.
Change-of-Pace Dribble. A change-of-pace dribble or dribble hesitation is

accomplished by changing speeds from a low or control dribble in a stop-and-start
motion. When slowing or stopping, dribblers should straighten up slightly to relax
the defender. This move should be used to move past defenders who take the slow
pace or stop fake. This is another slow-to-fast move to get dribblers in the clear and
to keep them open.
On the change-of-pace or hesitation dribble, players can make it look like they are
Critical Cue:
Change-of-pace is going to shoot or pass as they straighten up or hesitate. If players are within shooting
a slow-to-fast move. range, they can fake pulling up for a jump shot; if out of shooting range, they should
look to the other side of the court as if they are rising up to pass to that side.
Crossover Dribble. A crossover or switch dribble is a basic move used in the
open court when there is sufficient room between the dribbler and defender and
the dribbler has momentum to move by the defender (figure 3.17). Players should
never cross over the ball in front of the legs on a stationary defender. They should
Critical Cue: attack one side of the defender and use the crossover dribble when the defender has
Cross over quick, low, stopped the initial attack. In this dribble, the ball is pushed low and quickly across
and close to the body. the body. The proper technique is to push the ball from right to left (or vice versa)
as a zigzag move or a V-cut from right to left (or vice versa) is made (figure 3.18).
This move is used when the defender overplays the path of the dribbler on the ball
side. Teach players to make the move before a defender gets too close (need room
to cross over) and to explode past the defender as the move is made.
Head-and-Shoulders Move. The head-and-shoulders or in-and-out move is ad-
vanced. It is a dribble move to get around a defender using the preferred hand
(figure 3.19).
a b c
Figure 3.17 Crossover dribble: (a) low dribble (one hand), (b) cross over low and in front of the body, and (c) low dribble
(the opposite hand).
Ballhandling 55
X1
Figure 3.18 Crossover dribble right to left; offensive zigzag pushing off the right foot, stepping
with the left foot as the ballE3888/Krause/fig.03.18/281318/pulled-alw/r1
is crossed over (low and quick) from the right to the left hand.
a b c
Figure 3.19 Head-and-shoulders and in-and-out moves: (a) weight on the right foot, dribble the ball on the right side,
(b) zigzag on the left foot, head-and-shoulders fake to the left, and (c) move past the defender with the right foot.
Players should dribble the ball with the preferred hand and continue the move by
a fake opposite with a zigzag move on the opposite foot as a head-and-shoulders
fake is made to that side, keeping the ball in rhythm with the move. The move past
the defender is made with the preferred foot. The rhythm is right-left-right to step by
(when players are dribbling on the right side of the body) and left-right-left for pre-
ferred left-handers. The advantage of this faking move is that the dribbler can face
and see the defense while executing a dribble move to get around a defender with
the preferred hand. The sequence for a right-handed person is push from the right
foot as the dribble is made; fake left with the left foot, head, and shoulders; extend
the right foot with a long step forward and past the defender as the ball is pushed
out in front; and step with the left foot and go to the basket and past the defender
using hip contact to protect the ball.
Head-and-Shoulders Crossover Move. A head-and-shoulders crossover or in-

out-in, another advanced move, is a dribble move to cross the ball over from the
preferred hand to the other hand while the dribbler moves past the defender on
that side while still facing the defense (figure 3.20). This move begins like the head-
and-shoulders move. The crossover dribble is kept low and made across the body
at the same time as the zigzag move is made from the preferred side to the other
side. The footwork is right-left-right-left, in order to cross over from right to left and
reverse when going from left to right. The dribble rhythm is timed with the footwork
movement. The move must be made before the defender is close enough to reach
the crossover dribble. This is the companion to the head-and-shoulders move. The
sequence for a right-handed person is foot, head, and shoulders left; come back
a b c
d e
Figure 3.20 Head-and-shoulders and in-and-out crossover moves: (a) weight on the right foot, dribble the ball on the right
side, (b) zigzag on the left foot, (c) weight back to the right foot, (d) cross the ball over in front of the body from right to left,
and (e) explode to the basket.
Ballhandling 57
right (short step); take a short step with the left foot as the ball is crossed over in
front of the body from right to left; and bring the right foot across and go to the
basket past the defender.
Spin Dribble. A spin or whirl dribble is used for maximum ball protection when the
ballhandler is closely guarded. During this move, the body is kept between the ball
and defender as shown in figure 3.21. The disadvantage of this move is that the ball-
handler briefly loses sight of portions of the court and of defenders and teammates
and may be susceptible to blind-side traps or double teams. Spin dribble footwork
a b
c d
Figure 3.21 Spin or whirl dribble: (a) low dribble, (b) quick stop—rear turn, (c) pull the ball (keep it
in the holster and tight to the hip), and (d) change hands and move past the defender.
uses quick-stop, rear-turn pivot, and sharp-angled zigzag moves from right to left
Critical Cue: Pull
the ball to the hip on (or vice versa). As the 270-degree rear turn is made on the left (or right) foot, the
the spin dribble, keep right (or left) hand pulls the ball with the pivot until the turn is completed, and the
it tight on the spin. first step is made with the right (or left) foot. The ball is kept close to the body—the
pull is similar to pulling a pistol from a holster. Have players pull the ball and keep
it tight near the hip and leg to avoid the defenders’ reach-around or slap-around
moves. After the rear turn is completed, the ball is switched to the opposite hand
and full court vision is regained. This move changes direction from an angle that
is forward right to forward left (or vice versa) as the ball is changed from the right
hand to the left hand (or vice versa).
Back Dribble. The rocker dribble or back dribble move is used to back away from
trouble, defensive traffic, or a trap. When dribbling with the right (left) hand, players
should be in a low control or power-dribble position with the left (right) foot forward
into trouble and then explode back (out move) in a sliding power-dribble movement
to create space and get away from the defense. After players have reestablished a gap
on the defense, any dribble move may be used to penetrate or go by the defender.
The crossover dribble is especially effective following the dribble rocker or back
dribble. The move is into the defender, back out, and then by the defender with a
Critical Cue:
sharp-angled move. When players are crossing over in traffic, it is best to go between
Move in, out, and go
by on the back dribble. the legs or behind the back to protect the ball instead of using the front crossover,
especially when facing a closely guarding defender.
Pull-Back Crossover. The combination of the power dribble (into trouble, traffic,
or a trap), followed by the back dribble (out of trouble or to create a gap), and then
the crossover dribble between the legs and advancing past one defender is an impor-
tant advanced dribble move (figure 3.22). This move has the advantage of allowing
the dribbler to meet defensive challenges successfully while seeing the whole floor.
It also allows a less athletic ballhandler to compete well against aggressive, quicker
defenders. The dribbler needs to go under control until trapped or in trouble, back
Figure 3.22 Pull-back crossover dribble: (a) when in the trap, use a low control dribble.
Ballhandling 59
Figure 3.22 Pull-back crossover dribble: (b) Power dribble with sliding steps backward to get
out of trouble, and (c) crossover and go by the defender to create space.
dribble out hard to create space, and then attack the other (usually outside) defender
by crossing over with the ball and going by quickly (an in-out-by move).
Behind-the-Back Dribble. The popular behind-the-back dribble is used to change
hands (usually from preferred to nonpreferred) and go past a defender who is
overplaying on the right (left). This is done by changing direction slightly to the left
(right) and going by on the dribbler’s left (right). Plant the inside foot and step past
the defender with the outside leg. As the left (right) foot is moved forward, the ball
is moved from right to left (or vice versa) behind the back, coming up under the left
(right) hand for a continuation of the dribble. Players can learn the coordination of
the dribble and footwork by a stationary position side yo-yo V dribble (figure 3.23);
players dribble with one hand back and forth with the opposite foot forward. When
the ball is controlled from front to back, it can be moved behind the back as a step
is taken with the left foot (figure 3.24).
a b c
Figure 3.23 Progression for behind-the-back dribble: (a, b) front to back yo-yo (on the side of the body or front to back),
(c) back yo-yo (side to side behind the back).
a b c
Figure 3.24 Behind-the-back dribble (right to left hand) move: (a) dribble with the right hand, (b) move the ball from
right to left behind the back, and (c) continue dribble with the left hand, moving past the defender.
Ballhandling 61
Between-the-Legs Dribble. The between-the-legs dribble is used to avoid overplay

Critical Cue:
and to change the ball from one side (hand) to the other. When the ball is being Use a one-foot quick
dribbled with the right hand, it can be changed to the left hand between the legs stop and then snap the
when the left or right foot is forward (best with the right foot forward). This move ball on the between-
is reversed for a left-hand dribble. The ball is kept low and crossed over between the-legs dribbles.
the legs with a quick, hard push across (the ball is snapped between the legs as the
player steps with the other foot) (figure 3.25). Players can learn the coordination of
the dribble and the footwork by walking forward slowly as the ball is crossed over
between the legs during each step.
The move is really a one-foot quick stop on the outside foot as the ball is snapped
between the legs and a sharp-angled step is made by the defender as the ball is
switched to the other hand. The planted outside foot is then pulled past the defender
to protect the ball. The between-the-legs dribble is the best dribble move to combat
pressure, see the whole court, and move by a defender.
a b
Figure 3.25 Between-the-legs dribble: (a) dribble with the left hand and (b) push between the
legs when one foot is forward.
3
X3
2
X2
b
Coaching Points for Dribbling

¤¤Keep the head up. See the net and the whole court or the rim and the half court.
¤¤Control the ball with the fingers and the pads of the hands.
¤¤Massage the ball and dribble firmly; pass and catch to the floor.
¤¤Around or close to defenders, stay low and protect the ball (sit into the game, keep
tension on the legs, use arm bar).
¤¤Use a quick stop and chin the ball when ending the dribble or pit and protect the ball,
and be ready to pass after the quick stop.
¤¤Pass first; dribble last.
Basic Ballhandling Drills

These drills involve ballhandling skills and are usually enjoyed by players. Coaches
need to be insistent on quick and proper execution and timing. Players tend to learn
to execute these skills at a slow speed and then progress to moves at game speed.
Ballhandling Drills
Purpose: To teach players to control the ball and become familiar with the ball—see it,
hear it, and feel it.
Equipment: One ball per player and a 6-foot (1.8-meter) circle of floor space.
Procedure: Players spread out in their areas and execute the following drill options—work-
ing for proper execution first and quickness second.
Figure-Eight Speed Dribble: Start the drill with either the right or left hand. Start
dribbling in and out between the legs in a figure-eight pattern. Start slowly and keep the
ball as low as possible at all times. Players should gradually pick up speed after they
begin to master the drill. There is no time limit to the drill, although 20 times around
in 1 minute is excellent or 10 times in 30 seconds.
Blur: Start the drill with the legs about shoulder-width apart. One hand should be on
the ball in front of the legs. Flip the ball in the air and reverse the position of the hands.
Catch the ball in the fingertips and try to go as fast as possible for 30 seconds. The ball
appears to sit between the legs if the move is executed properly. Assessment: Excellent:
81 to 100, Good: 61 to 80, Fair: 40 to 60.
Straddle Flip: Start with the legs shoulder-width apart, with the knees bent and the
hands in front holding the basketball. Let go of the ball or flip it very slightly up in the
air between the legs. Bring the hands to the back of the legs and catch the ball before
it hits the ground. Flip the ball again in the air and bring the hands back to the front as
quickly as possible. Drill as fast as possible without dropping the ball. Continue the drill for
30 seconds. Assessment: Excellent: 81 or higher, Good: 61 to 80, Fair: 40 to 60.
Rhythm: Take the ball around the right leg. Grab the ball with the left hand in front and
the right hand in back. Drop the ball. Quickly reverse hands and catch the ball after one
bounce. Move the ball back to start around the left leg. The opposite drill is to start
with the ball in the left hand. Continue the drill for 30 seconds. Assessment: Excellent:
33 to 40, Good: 21 to 32, Fair: 10 to 20.
Double Leg and Single Leg: Take the ball behind the legs and around the front. When
the ball reaches the right hand, spread the legs and take the ball around the right leg
only. Close the legs and take the ball once around both legs and then open the legs and
take the ball around the left leg once and then back to two legs again. The ball always
moves in the same direction. Then start with the ball in the left hand. Continue for
30 seconds. Assessment: Excellent: 51 to 70, Good: 36 to 50, Fair: 25 to 35.
Around the Waist: Take the ball in the right hand and move it behind the back and
catch it with the left hand; in one continuous motion, bring the ball around to the front
to the right hand. Do the drill continuously for 30 seconds, as fast as possible. Execute
the drill by starting with the ball in the left hand. Assessment: Excellent: 51 to 70, Good:
36 to 50, Fair: 25 to 35.
Ballhandling 63
Around the Head: Place the ball in the right hand and, with the shoulders back, take
the ball behind the head and catch it with the left hand and bring it around to the front
to the right hand in a continuous motion. The opposite drill is to start with the ball in the
left hand. Continue the drill for 30 seconds. Assessment: Excellent: 51 to 75, Good:
41 to 50, Fair: 30 to 40.
Figure Eight From the Back: Start with the ball in the right hand. Take it between
the legs to the left hand; with the ball in the left hand, take it behind the left leg and
between the legs to the right hand. The opposite drill is a figure eight from the front,
which takes the ball from the right to the left hand through the front of the legs.
Continue the drill for 30 seconds. Assessment: Excellent: 66 to 85, Good: 46 to 65,
Fair: 30 to 45.
Figure Eight With One Bounce: Start with the legs shoulder-width apart and the knees
bent. With the ball in the right hand, bounce it between the legs and catch it with the
left hand behind the legs; with the ball in the left hand, bring it around to the front and
bounce it between the legs and catch it with the right hand. The opposite drill is to take
the ball behind the legs and bounce it to the front right and left hand. Assessment:
Excellent: 41 to 50, Good: 31 to 40, Fair: 20 to 30.
Line Drill: Passing and Catching
Purpose: To teach passing and catching techniques and all basic passes.
Equipment: One ball per line and half-court floor space.
Procedure: Players are in four lines behind the baseline at one end of the court with
the coach at the top of the key, directing the drill. The first player in each line starts
at free-throw line distance facing the baseline as the first catcher (in a ready-to-catch
stance). The ball starts with the player on the baseline. Passes are made as the passer
quickly moves to replace the catcher. Critical cues are for players to pass with feet on
the floor and catch with feet (slightly) in the air; passers to exaggerate the follow-through,
pass with a ping, and pass to a spot; and catchers to give a target, catch the ball with
eyes and both hands (catch with a click), and play two-handed. Be proper first and quick
second. Suggested progressions are the following:
• Chest pass: air, bounce
• Push or flick pass:
–– Right side (air, bounce) or left side
–– Left side (air, bounce); go pit to pit quickly (circle tight) or right side
–– Read the defense; look by the ear first with air pass (fake high and pass low
or fake low and pass high)
–– Passer passes and assumes defensive position (designated hand position)
• Overhead pass: catch, pit, and protect the ball; put the ball overhead
• Baseball pass:
–– Pass with the dominant hand only
–– Face the sidelines and step with the pass (move to the top of the key or a
longer distance)
–– Fake the pass into the hand and then pass
Two-Player Passing and Catching Drill
Purpose: To teach passing and catching with players using a push pass with either
hand, after a dribble.
Equipment: One ball per pair and full-court floor space.
Procedure: Players are in four lines behind the baseline at one end of the court, with
all players in the inside lines with a ball. The player pits the ball and executes a dribble
drive with the hand opposite the partner, who moves parallel to the dribbler. The dribbler
does a quick stop and a push pass to the partner with the closest hand if using either
pivot foot. If using the PPF concept, a right-hander on the right side steps across to
use the left-hand pass with the left PPF. On the left side, that player would step with the
right foot (left PPF) and pass with the right hand. The partner catches the ball with feet
in air and repeats the dribble-drive cycle. The catcher calls the passer’s name before
the pass is made. The complete sequence is shown in figure 3.26. The next pair begins
their passing and catching sequence when the previous pair is 15 to 18 feet (4.6 to
5.5 meters) ahead (near the free-throw line).
Left-hand dribble
Left-hand Right-hand
pass pass Quick
Right-hand stop
dribble
X X X X
Left-hand dribble
X X X X
Right-hand Left-hand Quick
pass pass stop
Right-hand dribble
Figure 3.26 Two-player passing and catching.
2-on-1 Keepaway Passing Drill
Purpose: Teach passing-catching between partners who must pass by a defender.

Critical Cue:
Pass with the feet on Equipment: One ball per three players and floor space of 15 to 20 feet (4.6 to
floor, take the ball 6 meters).
to the defender, use
vertical fakes, be quick Procedure: Players are grouped in threes; two offensive players 15 to 18 feet apart,
and accurate, catch with a defender between (figure 3.27). Defensive players rotate out each 30 seconds
with the feet in air, or when an interception is made. The following progression is recommended:
and maintain spacing
of 15 to 18 feet • the defender in position, designated hand position (up, down);
(4.6 to 5.5 meters).
• the defender close to the passer, or away from the passer (teaches the passer to
take the ball to the defender to take away reaction time); and
• live defense and offense.
Ballhandling 65
1 4 5
X X
X
X
X X
2 3 6
Figure 3.27 2-on-1 passing.

Moving Pairs Passing
Purpose: To teach partner passing and catching skills while players are moving and
playing against a defender.
Equipment: One ball and floor space of 15 to 18 feet (4.6 to 5.5 meters) in diameter
per pair of players.
Procedure: Organize pairs of players with a ball and a court area: one passer and
one receiver (figure 3.28). The receiver gets open, receives the pass with the feet in
the air, quick stops, catches the ball, and faces the passer in a triple-threat position.
The passer then becomes the next receiver. The drill involves continuous passing and
catching. All passing and catching rules are practiced. For example, players pass with
the feet on the floor and catch with the feet in the air. Another phase includes catch,
dribble drive, quick stop, and pass. Catchers need to time their cuts to get open just
before the passer is ready to pass the ball.
5
3
6
7
2
1
8
Figure 3.28 Moving pairs, passing and catching.

Wall Passing
Purpose: To teach players passing and catching without a teammate.

Equipment: One ball per player and a wall space or tossback rebounding device.
Procedure: All basic passes can be practiced against a wall or a target. The tossback
or passing rebounder, a commercial rebound device, is especially helpful for practicing
this skill. It rewards a good pass by returning the ball on target and informs the athlete
when an inaccurate pass is made. The following passes should be practiced: chest,
bounce, overhead, baseball, and push. Players should pass the ball with the feet on
the floor and catch the ball with the feet in the air. The tossback device can be used
to increase speed and intensity gradually until a mistake is made (indicating learning).
Players should work toward game moves at game speed.
Line Drill:
Stance, Starts, and Skill Breakdown
Purpose: To teach players to carry out selected footwork skills from a quick stance and
a quick start (direct drive, crossover drive).
Equipment: One ball per line, four lines on the baseline.
Procedure: First sequence, without the ball
• Quick start and quick stops at the free-throw line, the half-line, the opposite free-
throw line, and the opposite baseline.
• Quick start and quick stop into a 2-and-2 rebound (at four locations).
• Quick start and quick stop after two imaginary dribbles, rear turn on PPF, step and
imaginary pass to the next person in line.
Second sequence, with the ball
• Repeat variations with emphasis on a first step that is long and low (direct drive
or crossover drive).
Line Drill: Starts, Stops, and Turns
Purpose: To teach players to combine dribbling, starting, stopping, passing, catching,

and turning skills.
Equipment: One ball per line.
Procedure: The first player in each line is in an offensive quick-stance position with the
ball (triple-threat position). On command, the player takes two dribbles forward past the
free-throw line distance, does a quick stop, uses a rear turn on the PPF (nondominant
foot), faces the catcher on the baseline (next person), steps and makes a push pass,
and goes to the back of the line. The coach can designate any pass to be used and
either direct drive or crossover drive when starting the play.
Mass Dribbling
Purpose: To teach the basic ballhandling skills of dribbling.

Equipment: One ball per player (or one ball per pair of players, one dribbler and a buddy
coach) spread on a half court.
Ballhandling 67
Procedure: Spread all players out in their own dribbling space, facing the court at the
center circle area. Each player follows the coach’s command to execute these dribble
moves:
1. Stationary control and low dribble
–– Right-hand control and low (command: right low)
–– Change (right to left and vice-versa) (command: change)
–– Left-hand control and low (command: left low)
2. Moving low and power dribble
–– Right-hand low (command: right low)
–– Right to left or vice-versa (command: change)
–– Left-hand low (command: left low)
–– Shuffle slide forward (command: forward)
–– Shuffle slide backward (command: back)
Players should start with an overhead toss and trap the ball as it comes off the floor
to begin the low dribble.
3. Rhythm push, pull (yo-yo)
–– On the sides of the body (side yo-yo)
–– In front of the body (front yo-yo)
–– Between the legs laterally (side to side)
Coach commands should be given slowly at first to ensure proper technique at a slower
speed and higher dribble; then command changes increase in favor of speed and a
lower dribble until mistakes are made. Players should use the nonpreferred hand two
or three times more often than the preferred dribbling hand. Coaching emphasis is for
players to sit into the game (stay low) with the head up (see the net) and use a hard
and low dribble (pound the ball), do it correctly and then faster until mistakes are made,
and then go toward game moves at game speed.
Full-Court Dribbling
Purpose: To teach the ballhandling skills of dribbling.

Equipment: One ball per line (minimum) on a half court (minimum).
Procedure: Using the line-drill formation, players should form four lines on the baseline.
The dribble moves of the drill are then practiced for one circuit. Players concentrate
on maintaining eye contact with the net on the opposite end of the court. Coaches can
also use two lines (the sidelines) to give players feedback on ball location, going by the
position of the defender and by player location on the court. Cones can be spaced on
the court to simulate defenders.
Options
• High or speed dribble: Players dribble down the court with one hand and then
return dribbling with the other hand.
• Change-of-pace dribble: Players alternate high speed and low control dribbles down
the court, using the opposite hand on the return.
• Between-the-legs dribble down the length of the court.
• Back dribble and crossover (pull-back crossover): Players dribble into an imaginary
trap at the free-throw line, the half-line, and opposite free-throw line and finish with
a quick stop and a ball chin at the end.
• Pull-back crossover repeated, three forward dribbles, two back dribbles, crossover,
and go. Repeat the sequence over the whole floor.
• Players use a specified dribble and quick stop under control on the coach’s
signal.
• Zigzag or crossover dribble or spin dribble: Players dribble down court from a triple-
threat position start in a zigzag, using V-cuts and a crossover or spin dribble.
• Two-ball dribbling (advanced): Players can dribble two balls while executing these
selected dribble moves: low rhythm (both hands), low nonrhythm (both hands), high
rhythm (both hands), high nonrhythm (both hands), high to low (right high and left
low and vice versa). Players should start dribbling hard and low, then high, then
alternate rhythm (one high, one low), then add changes of direction and speed,
and, finally, use different combinations.
• The two-ball dribbling progression should be the following:
–– Stationary: low rhythm, low nonrhythm, high rhythm, high nonrhythm, high to
low and reverse, windshield wipers (side yo-yo), front to back yo-yo.
–– Dribble on the move to half court (use all five combinations).
–– Dribble from half-line to baseline (use all five combinations plus change sides
or hands with balls).
• Dribble drills
–– O-D Zag
–– 1-on-1 attack to score: Dummy D at top of key; add D hoop man; line D at
top of key; add D hoop man
–– 1-on-1 full court (one player with two balls; one player with one ball): Goal is
to get through the free-throw lane line
Wall Dribbling
Purpose: To teach ballhandling skills in a challenging format.

Equipment: Flat wall surface and two balls per player.
Procedure: Using a line of players per wall location (four or fewer), perform the following
options using both preferred and nonpreferred hand dribbling against the wall.
Options
• One hand and one ball (left and right)
–– Pound
–– Around the world (circle pattern)
–– High to low
• Two hands or two balls
–– Pound
–– Around the world
–– High to low and low to high
Ballhandling 69
–– Two-ball stutter (nonrhythm)

–– Two balls (one pound, one moving)
–– Two balls (both circle)
Ballhandling Basics
Purpose: To develop basic dribbling, passing, and catching skills.

Equipment: Basketballs, tennis balls, floor space.
Procedure
1. Taking infield: This is a favorite ballhandling drill from Baseball Hall of Fame shortstop
Ozzie Smith. To adapt it to basketball, a player, with a tennis ball, should find a wall
space and get into a low and wide quick stance with toes pointed slightly outward
and about 20 feet (6 meters) from the wall. Player throws the ball against the
wall hard 6 inches (15.2 centimeters) above the floor and catches the ball with a
click (two hands, two eyes) as it caroms off the floor. The player gradually moves
toward the wall to increase difficulty. Players should always throw sidearm during
this exercise, not overhand, to protect the rotator cuff muscles.
2. Dribble and juggle: This drill is designed to work on nonpreferred hand dribbling
and requires players to avoid watching the ball while dribbling. The player dribbles
a basketball with the nonpreferred hand while tossing and catching a tennis ball.
Players can increase difficulty by tossing the tennis ball higher and catching it in
different ways and by adding various dribble moves while the tennis ball is in the
air. Teaching tips are to get low and wide and pound the dribble hard. Players
should keep control of the dribble at all costs, even when they lose control of the
tennis ball; they should never give up their dribble.
3. Partner dribble and toss: Pairs of players talk to each other while dribbling with the
nonpreferred hand and playing underhand toss and catch. Players should never
give up the dribble.
4. Partner dribble and throw: Pairs of players throw the ball overhand to each other
while dribbling with the nonpreferred hand. To increase difficulty, they should move
away from each other in a random fashion.
5. Partner three-ball passing: Players can use two basketballs and one tennis ball or
two tennis balls and one basketball. They pass to each other with a one-handed
push or a flick pass, using the preferred hand to begin and then switching together
to the nonpreferred hand to increase difficulty. Talking is critical. The ball is in the
air, the feet are in the air on the catch, and the pass should be to the nonpassing
shoulder of the catcher. The player who starts with two (of the three) balls starts
the drill with the first pass.
6. Partner bad pass reaction: Pairs of players with one ball are 15 to 20 feet (4.6
to 6 meters) apart. They make sharp, crisp, inaccurate passes to each other.
The catcher catches with a click and then captures and chins the basketball. The
coach may also throw underhand (softball style) bullet passes to test catchers.
The catcher should be in a quick-stance catching position. Players should catch the
ball with the feet in the air, move the feet and get the body in front of the pass.
7. Partner back to the passer: Pairs of players use one basketball and space them-
selves 15 to 20 feet (4.6 to 6 meters) apart. The player without the ball has his
or her back to the passer and is in quick-stance catching position. The passer
makes a crisp pass while calling the catcher’s name. The catcher must catch
the ball with both hands after making a quick jump turn to face the passer. The
players exchange roles and repeat. They should pass as fast as needed to test
their teammates. The catch should be with a click.
8. Pull-back crossover progression: With one ball, the player, starting in a stationary
position with the foot opposite the dribbled ball forward, follows this sequence:
–– Push-pull on right side, get a rhythm.
–– Crossover to left side, repeat.
–– Push-pull two or three times, crossover, repeat.
–– Same move, but with a baby step, then do a lunge step forward.
–– Two or three dribbles forward, two or three dribbles back, crossover, and
repeat. Players should point the lead foot in the direction they are going.
chapter 4
Shooting
“The main thing on offense is that we get a good shot every time down the floor.”
from Pete’s Principles, Pete Carril, former Princeton Coach, now Naismith Hall of Fame Coach
S hooting is probably the best known fundamental skill in basketball—every player

is interested in scoring. If given a basket and a ball, even a novice invariably
dribbles and shoots.
Shooting, the fundamental skill that players enjoy and practice most, can be prac-
ticed alone. It is an action that produces immediate feedback. Most coaches contend
that all players can become good shooters through long hours, days, and years of
practice. Of course, great shooters must also possess special physical talents. Any
player, however, can become a good shooter and an excellent free-throw shooter.
One of the two basic objectives of basketball is getting a good shot in order to
score a basket. The other objective is preventing an opponent from doing the same.
This chapter contains guidelines for teaching players how to get a good shot on
every attempt and how to become better scorers (making a high percentage of shots
taken) through physical practice (with proper technique) combined with mental
practice to build confidence.
Field-Goal Shooting
Players and coaches should realize that field-goal and free-throw scoring percentages
are the most important statistical factor related to winning. Therefore, it is critical for
players to build shooting confidence over time by careful preparation and by shoot-
Critical Cue: ing with proper mechanics at game speed using proper mental techniques. Players
Game shots at game cannot, literally, overpractice shooting (physically and mentally) as long as they are
spots at game speed. taking game shots at game spots at game speed in order to prepare properly for
competition. Coaches cannot provide enough shooting time during team practice,
so players need to understand the necessity of outside-of-practice individual shoot-
ing in order to reach shooting percentage goals.
General Concepts
Coaches should teach players to become scorers, not just shooters. Anyone can
shoot, but considerable skill is required to score consistently in game situations. To
maximize scoring-to-shooting ratio, players must learn when to shoot, when to pass,
what their shooting range is, and from what spots on the court they can consistently
make field goals. The recommended minimal percentage guidelines for all players
are shown in table 4.1.
Practice goals should be set at least 5 percent higher than game goals because
of expected slippage in shooting percentages that takes place during competition
(table 4.1). Elite players who want to become great scorers need to set even higher
goals.
Shooting percentages provide a bottom-line feedback measure for shooting
effectiveness. Players need to pay attention to practice and game percentages; in
particular, beginners and any players who are below the desired field-goal shooting
percentages for their age group should adopt the shooting guidelines completely.
Players should adopt one new idea to add to their game if they shoot near or above
Shooting 73
Table 4.1 Desired Baseline Field-Goal Percentages
Practice Game
% %
Grade level 2-point 3-point 2-point 3-point

Elementary 35 n/a 30 n/a
Junior high school 40 n/a 35 n/a
Senior high school 45 35 40 30
College 55 45 50 40
Professional 55 45 50 40
the shooting percentage goals and always use percentages as self-feedback on practice
and game shooting habits in order to assess status and progress. They must learn
to play against the game—by setting scoring goals and by practicing game shots at
game spots at game speed. Shooting percentages ensure that players can’t fool the
game or themselves when developing scoring skills.
Proper shooting technique can be developed only with sufficient basic skills and
strength. Coaches can use a smaller ball and lower basket when teaching shooting
skills to players in grades below 7 (ages 11 to 12 and younger). Proper mechanics
can be learned early, in grades 4 through 6 (ages 9 to 11), and then applied readily
to a regulation ball and basket. Young players should learn proper mechanics that
can be easily carried out. This adjustment of equipment ensures that they will learn
to shoot properly and build confidence more quickly.
Complete guidelines on modifying the game for younger players (including equip-
ment recommendations) are available in a companion coaching book, Basketball Skill
Progressions, NABC’s Handbook for Teaching (Coaches Choice 2003) by Jerry Krause,
Curtis Janz, and James Conn. This book also details what basketball skills to teach
and when to teach them (i.e., a sequential, progressive approach). Even though
some youngsters want to play with the big ball and the higher basket, they must be
sold on solid progressions and correct mechanics at an early age. Using the big ball
and the 10-foot (3-meter) basket too early in their learning can be harmful to their
skill development.
Passing and catching and quick stops are the most important shooting funda-
mentals. Players should learn to get a shot by first moving to get open (use proper
footwork). Then they must catch and face the basket in triple-threat position and
be prepared to shoot (also footwork).
Teach players to attack and get shots as close to the basket as possible on a dribble
drive. They should challenge the defense by probing for the basket—the ultimate
shot is the layup.
Acronyms, such as BEEF and ROBOT, can be used to assist players in learning
some of the key concepts of shooting. Younger players can learn proper shooting
mechanics using the BEEF principle:
B—Balance, the most important foundation of every shot. The shot starts on the
floor, before the player catches the ball, with proper footwork—with the knees
bent and the feet ready first. Kevin Eastman, longtime college and professional
coach, states the importance with the phrase “the feet make Js (jump shots),”
which means that proper footwork is needed to make jump shots.
E—Eyes. To be accurate, players must pick up the target early (full focus for at
least 1 second) and have a narrow focus on the spot target (the preferred spot
target is the center of the back of the rim or the upper corner of the backboard
rectangle); the “eyes make layups.”
E—Elbow. Generally, players should limit all arm motion to a vertical plane, espe-
Critical Cue: cially keeping the elbow up, in, and under the ball (except for pedestal-pocket
Shoot up, not out.
shooting).
F—Follow-through. Players should use full extension of the arm (locked elbow),
held for one count on a field goal or until the ball goes through the net on a
free throw. The wrist is fully extended, with fingers pointed down (make a goose
neck, put a hand in the cookie jar, or make a firm but floating parachute with
one hand). The follow-through must be firm, but relaxed. The proper release
angle is 60 degrees above horizontal. Finish high (release it high and let it fly).
Shoot up, not out is the critical guideline for proper arch on the shot. Shooting
high and soft is especially important on backboard shots. A 55- to 60-degree
release angle on the shot produces an optimal entry angle into the basket of
45 to 50 degrees.
John Bunn, a Naismith Hall of Fame coach and an educated engineer, advocated
an optimal release angle of 60 degrees in his 1955 book, Scientific Principles of Coaching.
He stated that the shooter should get as much arch as possible, consistent with his or
her strength. He also found that more missed shots were short rather than long.
A new technology, Noah’s Arc, has been developed to measure accurately and
provide instantaneous feedback on the arc or basket entry angle for each shot. The
shot or arc is filmed, analyzed, and logged into a computer; precise feedback on entry
angle is provided to the shooter after each shot. In addition to heeding the coach’s
reminder to shoot up, not out, shooters can also use modern technology to assess their
muscle memory. The optimal release angle of 55 to 60 degrees, translated into an
optimal basket entry angle of 45 to 50 degrees, can be measured and provided to
a player instantaneously. Studies have shown that a common problem with many
shooters is a release angle and resulting basket entry angle that are too low. In fact,
a basket entry angle of less than 35 degrees only produces a 9-inch (22.9-centimeter)
window for the ball to go in, provided that it is exactly on line. This common problem
can be addressed through coaching emphasis on a high 60-degree release angle or
through practice using computer-programmed muscle memory data.
The arc conclusion is that players generally need higher arc on their shots that is
consistent with their strength to produce accurate shots. Great shooters have consis-
tent shots—start, finish, and arc. Each shooter must find an optimal arc (balancing
accuracy and strength) in order to maximize the chance for scoring.
Shooting 75
Players should also strive to become shooting ROBOTs—scoring machines:

R—A player is in effective scoring range (minimum practice goal of over 50 percent
for two-point field goals and the equivalent 33 percent for three-point field
goals) as well as shooting in rhythm (feel the shot).
O—A good shot requires that the shooter be open (no hand in the face).
B—A good shot is always taken on balance. The shot starts from the floor, so
players should get the feet ready. According to John Wooden, Naismith Hall
of Fame player and coach, balance largely depends on footwork (and head
position). Shooting can be evaluated by the position of the feet before and
after shooting. The feet should land slightly forward—never back, right, or
left—after the set or jump shot (about 6 inches [15.2 centimeters]). The head
is a key to shooting balance; players should keep it slightly forward, especially
before the shot.
O—Good shots are one-count shots where a player’s feet are ready and the ball
is shot in a single positive motion to the basket from the shooting pocket
with hands ready (no two-count ball dip or swinging a leg unless needed for
rhythm).
T—No teammate has a better shot. Players should leave the feet and go up to
shoot, and pass only when a teammate really has a better shot.
3
X3
2
X2
b
General Coaching Points for Shooting

¤¤Shot starts on the floor—feet ready, hands ready (feet make jump shots).
¤¤Offensive quick stance—weight on whole foot for quickness and balance, point shoot-
ing foot at basket.
¤¤Full focus—early target on rim or backboard for 1 second (focus).
¤¤Shooting hand—ball in whole hand, lock and load into shooting pocket.
¤¤Bookend hand—on side, moves out and up on the shot.
¤¤Release it high and let it fly—shoot up, not out, with a 60-degree angle of release above
horizontal; thrust fingers through the ball to get backspin (feel).
¤¤Full follow-through—firm but relaxed (field goal, 1 second; free throw, until the net).
¤¤To build confidence, remember the makes, forget the mistakes.
¤¤Use confident self-talk; focus (before the shot), feel (during the shot), and get feedback
(yes or swish on made shot; shot location on missed shot) after each shot.
¤¤Use quickness without hurrying. Be quick preparing for the shot, but don’t hurry the
shot.
¤¤Maintain vertical alignment; keep the ball in the plane with the elbow in, up, and under
the ball (unless using the pedestal shooting pocket). Players need to use a two-handed
pickup to get the ball up and to the shooting pocket quickly.
¤¤Use physical and mental practice (see, hear, and feel the perfect shot).
¤¤Use the BEEF principle.
¤¤Become a shooting ROBOT and apply the ROBOT concepts.
¤¤Take game shots at game spots at game speed.
¤¤Practice shooting from shots, the pass, and the dribble.
Building Field-Goal Confidence

After mastering the physical technique, players can concentrate on the mental aspects
of shooting. Confidence is defined as the mental edge, built on careful preparation,
that produces consistent success as demonstrated in practice and game competi-
tion. This definition implies that players can build shooting confidence by proper
preparation that includes key elements of mental preparation and techniques.
The most important mental-edge techniques are shot preparation, shot execu-
tion, and after-shot skills:
1. Shot preparation: Players should pick up the spot target early and focus on it
with narrow concentration for 1 second. Players must learn to ignore distrac-
tions and see only the ball and the net in their minds. This full focus is learned
using the verbal prompt focus.
2. Shot execution: Studies have shown that skill improvement can occur when
players become more aware of the feel of a shot from start (shooting pocket)
to finish (full follow-through). During each shot, the verbal prompt feel reminds
players to increase their awareness of the shot.
3. After-shot skills: Psychocybernetics research points to the importance of control-
Critical Cue:
Remember the ling self-talk after each shot to build confidence. When players are shooting,
makes, and forget the feedback is “remember the makes and forget the mistakes.” The process
the mistakes. requires a shooter to emphasize and celebrate the shots that are made and
to play down, with little emotion—to “analyze and forget”—the missed shots.
Players should never be too hard on themselves over a missed shot. On a miss,
a player is asked only to note the shot location and then continue with play.
The verbal prompts are the following:
• Made shot—yes, net, swish, or money celebration.
• Missed shot—note shot location (short, long, right, left). Great shooters can be
Critical Cue: more specific.
Focus, feel, feedback
(yes on makes, shot 4. Summary: During practice, players need to use the verbal prompts for each
location on misses). shot—focus, feel, feedback (yes on makes, shot location on misses). Confidence
is built daily and requires many successes at high percentages over long
periods.
Proper practice can make a shooter into a scorer—the secret of good shooting.
Have players spend ample time shooting with proper form. Practice makes perma-
nent (not perfect); therefore, players must learn to practice(physically and mentally)
properly—game shots at game spots at game speed. They can use mental practice
alone—3 to 5 minutes visualizing successful shooting situations and specific shots,
imagining the look, sound, and feel of a perfect shot (see it, hear it, feel it). Players
should repeat the cues focus, feel, yes, or net a minimum of 25 times daily as they
visualize the perfect shot. The greatest progress can be made by combining physical
practice with mental practice.
Shooting Mechanics
The specific physical techniques of shooting, called shooting mechanics, include the
movements of the body, feet, and hands during shooting.
Shooting 77
The movements are the same for the one-handed set shot
and the jump shot. The essential difference is that the jump
shot is executed by shooting the set shot just before the peak
of a jump. Proper shooting mechanics should be taught and
practiced. The medium arc shot (about 60 degrees at the
angle of release) is the best compromise between the best arc
for shooting (an almost vertical trajectory) and the available
strength for accurate shooting. Most beginners shoot with
a release angle lower than the optimal 60 degrees. With the
regular side shooting pocket, the shooting foot, elbow, wrist,
and hand are all in the same vertical plane with the basket as Vertical
plane
the ball is brought up past the face (figure 4.1). Hand and
arm motions are the same on all set or jump shots—the power
comes from the legs. Backspin on the ball produced by the
finger thrust increases the angle of rebound off the rim (i.e.,
producing a more vertical bounce) and gives the shot a greater
chance of going into the basket. It also stabilizes the flight of
the ball. Players can produce backspin by thrusting the fingers
through the ball on release.
In addition to these general points of shooting mechanics,
players should be taught specific fundamentals such as main-
taining proper body position, holding the ball, and executing
the steps of the shot.
Balance With Feet Ready

A good shot starts with the feet ready (knees bent) and the
dominant foot slightly forward and pointed toward the basket
in a quick-stance or offensive triple-threat position (figure 4.2).
The player’s head is balanced and slightly forward, with the
body generally facing the basket (the shoulders are not exactly
square to basket—the dominant shoulder is slightly forward).
Players should point the shooting foot at the basket and sit
into the shot (the feet make Js). On pedestal-pocket shooting
(explained later), the feet are square to the basket.
Footwork is the foundation of the shot that produces bal-
ance. Dan Hays, Hall of Fame coach from Oklahoma Chris-
tian University, uses a unique way to teach proper footwork
for set and jump shots. Players stand with feet together and Figure 4.1 Vertical plane shooting.
touching. The shooting foot is moved slightly forward so that
the nonshooting toe aligns with the middle of the shooting
foot. Then the shooting foot is moved laterally to a balanced
feet-ready position for shooting.
Critical Cue: The
feet ready—the hands
Target ready (the ball in the
shooting pocket).
When the ring of the rim is the target, players should focus on the imaginary
center of the ring (the perfect target) or the best substitute for this imaginary
spot, the middle eyelet loop on the back of the ring as viewed through the net.
a b c
Figure 4.2 Shooting balanced: (a) triple-threat position with the feet ready (front view), (b) triple-threat position with the
feet ready (side view), and (c) pedestal pocket (square stance) with the feet ready.
Because accuracy tasks require a spot

target, most misses are short, and most
made shots are near the back half of the
45° 45° basket, the back of the rim is the preferred
spot target. Some coaches prefer the front
of the rim. For angled shots (45 degrees
with the backboard), p layers can use the
Backboard shot upper corner of the backboard rectangle
area
as the spot target. Coaches should remind
shooters to hit that backboard target on
the way down in order to have the same
arc on ring and backboard shots (which
Figure 4.3 Use the backboard target at a 45-degree angle.
tend to be too low or flat). On a rim or
backboard shot, players should pick up the
target early with a full focus of one count. The best court areas to shoot the board
shot are shown in figure 4.3. The rim shot and the backboard shot should both
have the same arc on the shot; generally, the top of the ball on a medium range
Critical Cue: Full
focus—early target (the shot is the same height as the top of the backboard. Player guidelines are release it
rim or the backboard). high and let it fly, shoot high and soft with backspin (especially on backboard shots),
and shoot up, not out.
The eyes should be kept on the target at all times (except to follow the flight of the
ball after release, as a weekly drill to check proper backspin, as described later).
Shooting 79
Shooting Hand
The next step is for the shooter to grip the ball properly. The
fingers of the shooting hand should be spread comfortably, with
the ball touching the whole hand except the heel (figure 4.4).
The angle between the thumb and first finger is about 70 degrees Form
the V
(not 90 degrees). Players should form a V, not an L, between the
thumb and index finger. Players (facing the coach) can hold up
the shooting hand and spread the fingers as much as possible
(90-degree angle) but then relax the hand slightly (thumb and
first finger in a V) and put the ball onto the whole hand by plac-
ing the ball in the shooting hand while holding the palm up in
front of the body (figure 4.5). When handling the ball, players
can move it to shooting position by grasping the ball with both
hands on the side and then rotating the ball so that the shoot-
ing hand is behind and under the ball. This technique is called
locking and loading the ball into the shooting pocket. Figure 4.4 Proper shooting hand grip:
This technique places the shooting hand in the same position use the whole hand, except for the heel (the
for each shot for consistency: The shooting pocket is always in finger and thumb at 70 degrees, forming a V).
the same starting position.
To lock and load the ball into the triple-threat shooting pocket (the same start-
Critical Cue:
ing position for each shot), players should first place the ball on the whole hand in The hands ready—
front and to the side of the body (figure 4.5a). Then the nonshooting hand grasps the ball to the
the shooting hand wrist in order to lock it into the starting position (4.5b). The shooting pocket.
nonshooting hand is then placed on top of the ball or the hand in order to load the
ball into the shooting pocket (figure 4.5c).
a b c
Figure 4.5 Lock and load: (a) the ball in the whole hand, (b) lock the wrist in, and (c) load the ball into the shooting pocket.
After moving the ball into shooting position, the shooter should
bend the wrist back and load it in, forming an L at the wrist and at
the elbow (see wrinkles on the back of the wrist). Set the ball on the
hand and hold an imaginary tray with the shooting hand. This posi-
tion for the side shooting pocket is shown in figure 4.6. The locking
and loading technique ensures that the starting position is the same
on each shot for consistency.
The elbow (the L) is kept up, in, and in front of the wrist (figure 4.6).
Beginners may have a lower starting elbow position, but the elbow
should still be in front of the wrist and above the shooting foot.
Younger players tend to drop the ball too low to gain momentum,
pull the wrist in front of the elbow, and, in the process, develop an
inefficient shooting mechanic. Shooting power comes from the legs;
the arm shooting mechanics stay the same. The most common error
that players make with the shooting hand or arm is having the elbow
out when the shooting foot is pointed at the basket and when they
are using the armpit or shoulder shooting pocket. Elite players may
modify the pocket by moving higher. This pedestal pocket, as a middle
shooting position, is described later.
Figure 4.6 Regular side pocket—the

Balance or Bookend Hand
elbow up, in, and in front of the wrist,
vertically balance the hand. The balance (or bookend) hand is only used to steady the ball, not
to shoot it. The bookend term, which more properly describes the
position and function of the nonshooting hand, was first developed by Dan Hays
of Oklahoma Christian University. The bookend hand is kept on the side of the ball
to avoid thumb drag; it does not guide the ball. As the shot is released, the bookend
hand is moved slightly up and out of the way and then finishes in a vertical position
off the ball, with the fingertips at the level of the wrist of the shooting hand. The
elbow remains slightly flexed. Common errors of the bookend hand are the thumb
push (to shoot the ball), the heel pull (to hold under and drag the ball), and rotation
of the off hand with the shot (it should be a stationary guide). These errors can be
caused by extending the nonshooting elbow during the shot. Figure 4.5c shows the
Critical Cue: correct shooting-pocket position and the position of the bookend hand. The posi-
The bookend hand tion of the bookend hand can also be described as pointing that thumb at a right
on the side—move it
off the ball and up
angle to the shooting thumb.
slightly before release, Coaches can illustrate the concepts of the whole hand and locking and loading
keep the balance without the ball by asking players to place the shooting hand in front of the body
elbow bent. Point (palm up) and spread it to the whole-hand position. Players should imagine that
the thumb back with
the fingers up in a a ball is sitting on the hand, as shown in figure 4.7a. Then they should grasp the
vertical position. shooting hand wrist with the nonshooting hand and rotate it in until it won’t rotate
any further (locked in position, as in figure 4.7b, but without the ball). Finally, they
should place the balance hand on the shooting hand (palm to palm) and load the
imaginary ball into the final shooting pocket (as in figure 4.7c). All this can be done
without a basketball in order to ensure that players understand the feel of the same
starting position on each shot (the shooting pocket). The shot can be simulated
by pushing the elbow button, shooting the imaginary ball, and holding the follow-
through.
Shooting 81
a b c d
Figure 4.7 Locking and loading (without the ball): (a) grip with whole hand, (b) lock the shooting wrist or rotate in, (c) load
the shooting hand with the nonshooting hand, (d) push the elbow button to shoot up, release the imaginary ball, and hold the
follow-through.
Release
Shooting up and over by pushing the elbow button, as shown in figure 4.7d, requires
thrusting the fingers up and forward through the ball or snapping the wrist. Players
should visualize shooting out of the top of a glass telephone booth or over a 7-foot
(2.1-meter) defender. Backspin is produced when the fingers thrust the ball up and
over (push through the ball and snap the wrist) (figure 4.8). The ball comes off the
index and middle fingers last.
Backspin produces a soft shot that can hit the rim, slow down, and bounce in. The
backspin keeps the ball around the shooting target. Players can check the backspin
weekly by shooting a vertical shot without a target or following the flight of the ball
after the release of a regular shot. Players should not develop the habit of watching
the ball; they should focus on the target instead.
The proper release angle is about 60 degrees above horizontal. For most players,
the release angle is too low, which decreases the size of the available target from
above and lowers shooting percentage. Coaches should guide players to release it
high and let it fly (shoot up, not out).
A common shooting problem centers around the arc of the shot after its release.
Lower arcs tend to reduce the available entry area of the ball as it passes through the
rim. Thus, many players struggle with attaining an optimal shooting arc. The higher
the arc is, the greater are the muscle forces needed to propel the ball, resulting in
more forces and less accuracy. Players and coaches should be aware of attaining
optimal release angle and shot arc with a smooth, rhythmic release that uses m inimal
forces. The shot with a 55- to 60-degree angle of release produces an optimal basket
entry angle of 45 to 50 degrees.
The Importance of Arc in Shooting
Here is how the ball sees the hoop as it enters the basket (the basket entry
angle):
1. Coming from an angle of 90 degrees from the horizontal, the target area is
100 percent.
55.6 percent.
33.3 percent. (For a clean shot, the minimum entry angle is about 35 degrees.)
22.2 percent.
12.2 percent.
Studies at the University of Calgary have shown that the recommended range for
the ideal release angle is between 52 and 55 degrees. To shoot at an angle higher
Critical Cue: than 55 degrees requires extra velocity or ball speed, which has a detrimental effect
Release it high and on accuracy. Because of learning slippage, the best compromise between force on
let it fly (release the
ball high, up, and
the ball and accuracy is an optimal release angle of 55 to 60 degrees.
over, at 60 degrees This principle applies more easily to pedestal-pocket shooting from an overhead or
with backspin). a middle starting spot. As the ball is pushed up (not out) from the pedestal pocket,
the ball is thrust up and over with the fingers touching the ball last to produce ball
backspin (figure 4.9).
Follow-Through
The final step in shooting is full follow-through with complete elbow extension (lock
Critical Cue:
Full follow-through the elbow), arm pronation or turnout, and wrist flexion (controlled relaxation).
and hold it (field goal, Players should visualize making a goose neck, putting their fingers in a cookie jar,
one count; free throw, putting a hand in the basket, or making a parachute with a firm floating hand and
until net or swish).
holding that position (figure 4.8). The hand and fingers are firm but relaxed. A full
follow-through ensures that the ending position is the same for each shot.
Shooting skill is first built on proper mechanics and technique as described
earlier. Players must develop correct technique as a physical foundation for the
shot:
• Feet ready for balance.

• Ball into shooting pocket (same starting point); use whole hand grip (form the
V), lock and load the ball (two-handed pickup), bookend balance hand.
• Release and full follow-through (same ending point); shoot up at 60 degrees
(not out), hold follow-through.
• Balance at the end of a shot—head forward.
Shooting 83
Figure 4.8 High release and follow-through Figure 4.9 Pedestal-pocket shooting—shoot
(55- to 60-degree release angle). up.
Types of Shots
Although the basic mechanics of shooting are found in the set and jump shot, they
are also applied in close shots (including layups) and long shots (like the three-point
shot). The same mechanics are used in post player shots as well.
Layups
All players should learn to shoot both left- and right-handed layups while jumping
from one foot. The technique is to jump from the left leg when shooting right-handed
and from the right leg when shooting left-handed. A high jump is made by stamping
on the last step to minimize the forward long jump and to maximize the high jump.
Coaches should have players use the backboard whenever possible; exceptions may
be the baseline dribble drive and the dunk shot. The dunk shot should be used only
when a player can dunk the ball without strain and defensive traffic is minimal.
Approach. Attacking or accelerating to the basket is a positive approach that
players can use readily. When a player is shooting a layup, the attack move is made
by taking the ball up in a two-handed pickup motion (bring the free hand to the
ball when dribbling, chin the ball near the shooting shoulder—usually opposite the
jumping foot—and keep the ball chest high on the side away from the defender).
Use a two-handed pickup (see figure 4.10a) to pit and protect the ball away from
the defender. Players should keep the ball away from the hip and avoid dangling the
ball away from the power position (near the upper chest or shoulders). The two-
handed pickup and chin move is used to prevent players from rocking the cradle
(figure 4.10, b and c) and exposing the ball to the defender as it is brought across
the body. The last dribble is timed with the last jumping step on the inside foot when
the player is using a dribble-drive move; this is often called an opposition move when
a player shoots a right-handed layup with a jump from the left foot (opposite foot)
as shown in figure 4.11. On a left-foot jump, the right (or opposite) knee drives up
toward the basket (like a knee on a string with the same side elbow). Coaches should
teach beginners to use a gallop move with a layup. For a right-handed dribbler and
shooter, the last one-two gallop move is with the right foot and the left foot as the
jumping foot, in that order. The final layup shooting reminder is for players to pick
up the target early (usually the backboard) and focus for at least one full second;
eyes make layups.
Critical Cue:
One-foot layups: Jump. The opposite knee (to the jumping foot) is then raised high when the player
Opposition, two- is jumping (figure 4.12) and straightened just before the peak of the jump. Other
handed pickup, high tips include using the backboard to your advantage, shooting softly with a feather
and soft shot on the
backboard. touch (shoot high and soft), and focusing on the ball and the target. For one-
foot jump layups, coaches can teach the primary overhand, or push, (palm facing
a b c
Figure 4.10 Shooting the layup: (a) two-handed pickup, (b, c) avoid rocking the cradle.
Shooting 85
Figure 4.11 Layups—opposition Figure 4.12 Overhand, or Figure 4.13 Underhand, or

move. push, layup. scoop, layup.
target—figure 4.12) and the underhand, or scoop, layup, which produces a softer
shot and is executed with the shooting hand palm up (figure 4.13).
Power Layup. This layup is really a quick stop with the player facing the baseline
into a two-foot layup. The quick stop is made for power and balance and is used in
traffic or under defensive pressure when control and power are needed. The power
layup is a slower but stronger move than the one-foot jump layup. On approaching
the basket, the shooter lands facing the baseline or backboard with feet pointed to
the baseline in a quick stop (one-count landing on both feet). See figure 4.14. The
player chins the ball on the outside shoulder away from the defense and explodes
vertically from both feet to the basket to shoot (hand facing or hand under) a one-
handed layup off the backboard.
Three-Point Shots Critical Cue:

To shoot the trey, get
Shooting the three-point shot requires some adjustment. Three-point shooters must power and momentum
develop a sense of where the line is without looking down (respect and know the from the legs, and
line). Long shots produce long rebounds, and rebounding teammates must adjust emphasize full follow-
through with elbow in
accordingly. Knowing the time and score in a game is important for all shots, but line (regular pocket).
especially for the three-point shot (the trey). This shot should only be attempted
as the player is moving toward the line with a quick stop or after a plant and pivot
(figures 4.15). These movements provide the greater force needed for this shot and
allow beginning players to take it without straining. Emphasis should be placed on
a b
Figure 4.14 Power layup: (a) quick stop, (b) power shot.
getting momentum from bending the knees more for extra

power from the legs, using the elbow L, and on releasing the
shot on the way up with a full follow-through. For most play-
ers, the three-point shot is more of a set shot.
Homer Drew of Valparaiso University teaches his players to
get the three-point field-goal shot from the pass in six ways,
including the following:
Plant
Quick and Swing
stop a leg
• inside-out passes,
pivot
“trey” foot to face • offensive rebound—pass out,
basket
• penetrate and pass (pitch),
• fast break to the trey,
Figure 4.15 Footwork for the three-point
field goal.
• skip pass (with or without a screen), and
• screen and fade-and-flare.
Pedestal-Pocket Shots
Modifications can be made for players with higher strength levels (especially core
and upper body) and inside players who shoot most of their set and jump shots
closer to the basket. For an in-depth treatment of these techniques, see The Perfect
Shooting 87
Jump Shot by Scott Jaimet (Elemental Press, 2006). These recommendations are a
departure from shooting techniques described previously and may not be suitable
for most players, but they have the advantages of high arc, added balance, sym-
metry, and increased relaxation during shooting. This technique is for elite p
layers
with high levels of upper-body strength.
Jaimet advocates a focus on four important factors: balance, rhythm, exten-
sion, and symmetry. The one-handed set or jump shot described in the previous
Critical Cue:
section depends heavily on shooting rhythm, full extension, and balance. Balance
Lock and load into the
depends primarily on footwork but is more challenging with the ball’s shooting pedestal pocket with
pocket on one side of the player’s body. The shift of the ball to a position directly a two-handed pickup.
overhead and near the middle of the body facilitates balance. This overhead or
forehead shooting pocket is the p edestal-pocket position. Players should grip the
ball, form a V with the shooting hand, and then lock and load the ball to the pede
stal pocket with a two-handed pickup, as shown in figure 4.16. The whole hand
is always placed under the ball on the shooting pocket on the traditional side or
the more centered pedestal pocket. Players should always lock and load the ball Critical Cue:
into the shooting pocket with a two-handed pickup. The pedestal pocket is a bal- The ball overhead
anced trigger point where the shot should be initiated. From there, the player takes vertically between the
eye and the ear in the
the shot up toward the basket (not out) by pulling the trigger or folding the tent pedestal pocket.
(figure 4.16c). The middle or pedestal-pocket position has the distinct advantage
that the player shoots up, not out, thus preventing the most common error in
a b c
Figure 4.16 Pedestal-pocket shooting: (a) grip ball and form the V, (b) lock and load to form
the tent, full focus—see under the tent, and (c) fold the tent and hold the follow-through.
shooting—closing the available entry area into the basket because of a lower arc
Critical Cue:
Right angles at the on the shot.
elbows and the When players are using the pedestal pocket, the position of the arms and feet
thumbs at right angles must also be modified. The shooting hand (under the ball) and bookend hand (on
on the ball (pedestal- the side) are placed similarly on the ball. The feet are in a more parallel stance,
pocket shot).
and both elbows are pointed outward in a balanced, relaxed position to form a
tent (the elbows at the base and the ball at the peak and in the pedestal pocket,
see figure 4.16b). The forearm and upper arm form a right angle (90 degrees) at
the elbow. Another advantage of the pedestal pocket is that the shooter can more
readily pick up the shooting target early and get a full focus on the target without
visual obstructions from the arms or the ball. Players should form the shooting tent
and put the ball in the pedestal pocket, above the head and between the eye and
ear. Coaches should emphasize that the elbows should be at eye level and the arms
at right angles at the elbows. Having the ball in the pedestal pocket and the elbows
high makes it easier for players to shoot the ball up (not out). When players shoot
from this trigger spot, the arms are fully extended (the shooting arm at the elbow
and the wrist) with a full follow-through that is firm but relaxed for pulling the trigger
and folding the tent as the ball is thrust upward and released at the peak of the jump
(or on the toes for the set shot).
Note the symmetry of the feet and arms when players are using the pedestal-pocket
shooting technique (figure 4.16). The body faces the basket directly in a balanced,
symmetrical position before, during, and after the shot. The complete sequence of
the pedestal-pocket shot is shown as follows:
1. Use a quick stop (or plant and turn) into a balanced quick and square stance,
facing the basket. Sit into the shot and square to (face) the basket; grip the
ball with wrist wrinkles (figure 4.16a).
2. Grip the ball with wrist wrinkles and use a two-handed pickup in a tight arc
to move the ball quickly to the pedestal pocket—form the tent (figure 4.16b).
Lock and load the ball into the pedestal pocket; put the ball in the trigger spot
with thumbs forming a right triangle.
3. Use full focus on the target for one full count (see the target through the V
under the tent) while jumping with full extension.
3
X3
2
X2
b
Coaching Points
for Pedestal-Pocket Shooting
¤¤Face the basket with the shoulders square to the basket and the feet parallel in quick
stance. Sit into the shot; use the legs for power.
¤¤Lock and load the ball in a tight arc into the pedestal pocket. Use a quick two-handed
pickup with wrinkled wrist.
¤¤Form the tent with the elbows out and the ball at the trigger point. Arms, elbows, and
thumbs should be at right angles. Use full focus on the target early (the back of the
rim or the upper corner of the backboard rectangle).
¤¤Jump with full extension; straight up or slightly forward.
¤¤Pull the trigger to shoot up (not out) with full follow-through; fold the tent to shoot.
¤¤Land in a balanced quick stance.
Shooting 89
4. Release the ball at the peak of the

jump, with full follow-through (fig-
ure 4.16c). Pull the trigger and fold
the tent (make a parachute and hold
it for one count).
5. Land with balance slightly in front
of the takeoff spot.
Post Power Shot

The power shot, an adaptation of the
power layup for post players, is the most
basic scoring move for players with their
backs to the basket. It is used when the
defender plays on the side (side fronting)
position (figure 4.17). The offensive post
player gets in a position on the post line,
as shown, and the pass is made to the
baseline hand in this case (pass leads to
a score). After catching the ball (capture
and chin, as shown in figure 4.18a), the
offensive player maintains contact with
the lower body and seals the defender with Figure 4.17 Low post—side front defense.
Step
foot
a b
Figure 4.18 Post power shot: (a) catch and chin the ball, (b) half rear turn to seal the defender.
a b
Figure 4.19 Power shot: (a) bounce and hop, (b) quick stop and chin.
a half rear turn or leg whip (figure 4.18b), immediately followed by a two-handed,
two-foot bounce and hop move with the ball and to the basket. Figure 4.19 shows
this move with the one dribble taken from a two-handed chinit position near the
lead foot as a two-foot jump is made with a quick-stop landing. The post player
lands facing the baseline and shoots a power shot by exploding up to the basket or
backboard from the chinit ball position (figure 4.20).
The post power shot can be used in two ways: without the dribble (only leg whip),
when the player is catching the ball in the lane, and with the dribble, bounce, and
hop (two feet to two feet move) when the player is catching the ball outside the lane.
Both shots, called angle baskets, allow the offensive player to use a body position
advantage to make a post-player angle move to the basket.
Post Hook Shot

The preeminent player who used the post hook shot was Lew Alcindor (now Kareem
Abdul-Jabbar), who played at Power Memorial High School (New York City), UCLA,
and in the NBA, where he developed and mastered the skyhook. His Los Angeles Lakers
coach, Pat Riley, described his post hook shot as “the most awesome weapon in the
history of any sport.”
Players in the United States used to dominate the world by learning to play with
the back to the basket and using size and position. The skyhook fits Kareem perfectly
Shooting 91
because it is an act of faith by an extremely

driven, willful person. As Jabbar states,
“Everybody wants to see the ball as they let
it go, to have it on-line from the start.” But
the post hook shot won’t allow players to see
the ball as they release it from behind and
then over the head. As Kareem describes it,
“It requires triangulation and rhythm, touch
and repetition.” The lesson is that the post
hook shot requires faith, willpower (a strong
mistake mentality), and considerable prac-
tice (Wolff, 2002).
Sometimes called the baby hook or
modern hook shot, the post shot is used
by players who receive the ball in a low
post position with the back to the basket.
The best location for a post shot is just
outside the free-throw lane near the block
(figure 4.21). This low to medium post posi-
tion is just outside the lane, near the first
or second free-throw lane spaces. The post
player generally locates on or near the post
line, a straight line between the passer and
the basket.
On receiving a pass with the back to the
basket in the post, the player should capture
and chin the ball with two hands. The offen-
sive player in the low post area should have
the ball in the two-handed power position
under the chin (chinit). Any player receiving
a pass should be in quick-stance position
and chinning the ball. The footwork for the Figure 4.20 Power shot: explode to the
post shot involves making a partial rear-turn basket.
pivot into the lane, using the baseline foot as
the pivot foot. The other foot is used to step
into the lane as far as possible in a balanced
position facing away from the basket. Ideally,
this foot is parallel to the baseline. When the
nonpivot foot hits the floor, the pivot foot is
Post Post
raised as the knee is lifted high and rotated line line
to face the basket, as in a normal layup. The
ball is then moved from the chinning posi-
tion past the side of the head, pushed over-
head, and released with full arm extension
(elbow locked) and pronation. This move is
Block Block
led by the inside elbow. The complete post
shot sequence is shown in figure 4.22 and
includes these essential steps: Figure 4.21 Posting up on the block.
a b c
d e f
Figure 4.22 The post shot: (a) posting up—two-handed targets ready to receive the pass (in this case, the pass is to the
left hand because the pass leads the post player to a scoring move toward the middle), (b) meet and chin the ball—use the
quick stop when possible, (c) step into the lane, with the stepping foot parallel to the baseline, (d) protect the ball on the
outside shoulder, (e) take the ball up and over the head, (f) follow through, face the basket, and assume that the shot will be
missed, with the hands up.
92
Shooting 93
• Post up with two-handed targets—sit into the stance (figure 4.22a).

• Catch and chin the ball; capture and chin the ball to the power position—
possession is more important than position (figure 4.22b).
• Make a partial rear turn using the baseline foot as the pivot foot, and step into
the lane with the stepping foot parallel to the baseline (figure 4.22c).
• Move the ball up and over the head with full extension and pronation of the
arm, and keep the ball close to the body until the release (figure 4.22d).
• Rotate and shoot the post shot (figure 4.22e).
• Land in quick-stance position and assume that the shot will be missed; put
both hands up and assume a quick stance for a possible offensive rebound
(figure 4.22f).
Post Jump Hook Shot

A variation of the post player hook shot, the jump hook is a simpler shot than the
Critical Cue:
post hook shot, requires less skill, is easier to teach, and has a quicker release. All Jump hook: Point
players can be taught this shot, which can be used close to the basket and can be inside shoulder at
shot over taller defenders. basket, release ball
overhead, complete
The teaching progression for the shot is as follows: full follow-through.
1.
Shot mechanics (preferred and nonpreferred hand) in front of basket facing the
sideline (home base). This is shown in figure 4.23 as the player shoots from a
a b
Figure 4.23 Jump hook: (a) starting position and (b) ending position (without jump).
deep crouch or wide-stance position, with the ball on the

outside shoulder chin location, to a shot directly overhead.
1
5
2
Emphasis is on the overhead release, with full arm extension
4
3
and wrist snap, and the inside elbow or shoulder is pointed
at the basket. Nonpreferred hand repetitions are taken two
or three times more than preferred hand shots.
2. Jump hook from home base (with the jump)—release the
ball on way up near the peak of the jump and come down
in a ready position with the arms up (assume a miss).
3. Jump hook—right and left hand from five spots (baseline,
45 degrees, home base, 45 degrees, baseline), as shown in
figure 4.24.
Figure 4.24 Jump hook—five spots. 4. Jump hook at five spots over dummy defenders or shooting
pad (both hands up).
5. Power move to the middle—one dribble power move to home base (in front
E3888/Krause/fig.04.31/281425/alw/r1
of the basket or in the lane) and jump hook (figure 4.25) or home base, shot
fake, and jump hook (figure 4.26).
6. The final version of jump hook shot is to catch the ball in the air and turn,
landing in the lane, (i.e., the pass to the post player is made into the free-throw
lane). As the pass is made, the post player catches the ball with both feet in
the air and turns to see the basket as the nonshooting shoulder is pointed at
the basket. The ball is chinned near the shooting shoulder. The jump hook is
shot from a two-foot power jump and released directly up from the shooting
shoulder with a locked elbow and flexed wrist follow-through. The sequence
is catch and turn, jump hook up and over, land in quick stance, and assume
that the shot will be missed.
a b
Figure 4.25 Power move to the middle: (a) post player catches the ball with the defender on
the baseline side, (b) power move to the middle—rear-turn seal.
Shooting 95
c d
Figure 4.25 Power move to the middle: (c) power move to the middle—bounce and hop to
home base, (d) jump hook from home base in front of the basket.
Shot Fakes
Being prepared to shoot by having
the feet and hands ready (triple-
threat position and shooting pocket)
allows the player with the ball to be
quicker and more aggressive offen-
sively. It also prepares players to use
the complement of the shot—the
shot fake.
Proper technique for the shot fake
is for players to take the ball (from
the pit or triple-threat position or
pedestal pocket) quickly and verti-
cally (vision is kept on the shooting
target in a quick 1-inch shot fake).
The body stays in quick-stance posi-
tion as the player makes a short,
quick vertical fake upward with the
ball with the eyes on the basket.
Players should give the fake time to
work rather than rushing into the
Figure 4.26 Shot fake—lock the legs, 1-inch
move. The shot fake can be used
(2.5-centimeter) shot fake, keep the heels down. when players are facing the basket,
when they have their backs to the basket, or when they are executing a jump hook.
A test of the shot fake is whether the player’s heels stay down on the floor and the
legs stay locked in a crouched or explosive position. Players need to stay in the stance
as they use a shot fake (figure 4.26 on page 95).
Free-Throw Shooting
Field-goal and free-throw percentages are the number one statistical factors related
to winning. Players and coaches need to realize the importance of scoring, to know
correct shooting techniques, and to practice these skills properly. Free-throw shoot-
ing is especially critical for the following reasons: it is a mental as well as a physi-
cal technique (confidence is important), the game stops during the skill, and little
improvement has been seen in free-throw percentages for over 35 years (NCAA
Basketball Trend Statistics, 2006). Free-throw shooting is truly a team skill that
each player should be able to master, at least to national averages, regardless of
age level or gender.
Teams should practice free throws in proportion to their importance in games; 20
to 25 percent of scoring, shots taken, and games decided happens at the free-throw
line. For practices evenly divided between defense and offense, 10 to 12 percent of
Critical Cue: total practice time should be spent on free throws. Ten percent of 60 minutes is
Spend 5 minutes per
hour on free-throw
6 minutes, so a minimum of 5 minutes per hour—the 5-minute free-throw rule—should
practice. be spent on free-throw practice for every hour of practice or game time during the
season as well as in the off-season.
Game percentage goals, as shown in table 4.2, should be set relative to age. These
measures indicate whether players should adopt the book guidelines completely or
Critical Cue:
adapt them to improve free-throw shooting. Practice standards should be 5 percent
Groove the shot first; higher than game goals because of slippage in normal game performance.
then compete (against
goals, defenders, and
situations).
Free-Throw Technique
In free-throw technique, the key differences from field-goal shooting are making
an alignment on the dot or spot (foot position), having a set ritual, pausing at the
bottom of the shot, and exaggerating the follow-through. Players should keep the
free throw simple and the same each time. The complete free-throw technique is
shown in figure 4.27.
Table 4.2 Players should know how a good shot looks,
Desired Free-Throw Percentages sounds, and feels and eventually be able to shoot
free throws with their eyes closed. A shot should be
Practice Game executed with controlled tension—not too relaxed
or too tight. The important physical mechanics are
Grade level % %
the following:
Elementary 55 50
• Find the spot: Align on the center of the free-
Junior high school 65 60
throw line each time—the shooting foot, elbow,
Senior high school 75 70 hand, ball, and eye are aligned in a vertical plane
College 80 75 with the basket. The shooting foot should be in
the same spot every time and pointed toward the
Professional 85 80
basket or slightly to the left of a line perpendicular
Shooting 97
a b c
Figure 4.27 The free throw: (a) align and get down on the spot with body weight forward,
(b) focus for one full second, and (c) use a full follow-through (hold until the net).
to the free-throw line. Place the toe of the dominant or lead foot (the right foot for
Critical Cue:
right-handers and the left foot for left-handers) in the exact center of the free-throw Get on the spot or dot.
line. Hardwood courts have a nail hole at the center for measuring purposes. On
other courts, mark that spot. Put the lead foot near the center and point the lead
foot at the corner of the backboard on the same side (right foot, left backboard edge
and vice versa). Place the other foot in a comfortable position, with feet shoulder-
width apart in a balanced, staggered stance. The open stance at the free-throw line
is preferred to the parallel or square stance. Being slightly open relaxes the shoulder
muscles and puts the shooting arm directly in the vertical plane to the basket. For a
pedestal-pocket shooter, the eyes and the ball should
be centered on the dot or spot, with the feet in a closed,
square stance (figure 4.28).
• Full focus: The focus should be on the center of
the ring or the center eyelet at the back of the rim. A
player should focus on the target and think nothing but
net or make the defense pay for fouling. The focus on the
target should begin early and be held for one full second
(focus, feel, feedback mental approach). Pedestal pocket
• Bounce at the bottom: At the bottom of the shot,

the player should pause for an instant of physical and
Square stance
mental calm and focus and then bounce at the bottom
for rhythm. After the pause, all motion should be up and
over toward the basket. This is called a one-piece shot, Figure 4.28 Pedestal-pocket free-throw position.
E3888/Krause/fig.04.35/281434/alw/r1
with all positive motion toward the basket. Players should keep the shot simple and
Critical Cue: Full
focus—pick up the eliminate down and up motions, replacing them with simpler positive motion.
spot target early and • Ritual: A ritual should be developed for the complete shot. Coaches should help
hold it for 1 second each player do the same thing the same way every time—it is much easier to groove
(the back of the rim
is preferred). a pattern that is always the same. A deep breath just before the shot should always
be part of the ritual (breathing in through the nose and out through the mouth).
Players should include the same grip on the ball. Most players put their fingertips
across the seams of the ball. They should be slow and deliberate with the ritual while
keeping it simple; it is sometimes best to eliminate dribbling from the ritual. Finally,
a verbal prompt of nothing but net is used to clear the mind.
• Full follow-through: Full extension and pronation are keys to the follow-through.
The shooter should come up on the toes—get power from the legs. The upper arm
should be 55 to 60 degrees above horizontal on the follow-through. Release high
and hold the follow-through until the ball hits the net. Put a hand in the basket.
3
X3
2
X2
b
Coaching Points for Free-Throw Shooting

¤¤Keep the shot simple and the same—simplify the motion and do it the same way each
time.
¤¤Groove the shot daily (e.g., take 20 shots and record the number of makes).
¤¤Compete (e.g., 1 shot, bonus, 2 shots, 3 shots)—make every shot a game shot in the
player’s mind and set competitive shooting goals.
¤¤Record—keep written records and practice at 5 percent higher than game goal.
¤¤Take the time—spend 5 minutes per hour on free throws for every hour of practice or
play.
Coaching Points for Physical Technique

¤¤Find the spot—get on the dot in the same way each time, with the same alignment with
the lead foot on the nail hole.
¤¤Perform a ritual—make it simple and the same each time; include a deep breath (in
through the nose and out through the mouth), the same grip on the ball, and a verbal
prompt to clear the mind and get a mental picture of the expected outcome.
¤¤Bounce at the bottom—a positive motion to the basket (one-piece shot) with rhythm
(bounce two or three times).
¤¤Use a full follow-through—firm but relaxed hold until the ball hits the net (keep body
weight forward; stay in the shot).
Coaching Points for Mental Edge

¤¤Ritual—for comfort and confidence (use verbal prompt nothing but net to clear the mind,
deep breath, and same ball grip). See and say net to form the proper mental picture.
¤¤Full focus—early target pickup, preferred middle spot on the back of the rim for 1
second.
¤¤Feel—say feel during the shot and become more aware of the shot from start to finish.
¤¤Feedback—after every shot, remember the makes (celebrate with yes) and forget the
mistakes (analyze and forget them using verbal prompt for shot location: short, long,
right, left).
Shooting 99
Come up and finish on the toes or jump slightly forward. Stay in the shot and keep
Critical Cue:
body weight forward with the hand in the basket. Mental techniques—
before the shot, see
Free-Throw Confidence Building and say net or
nothing but net
Players can develop confidence in free-throw shooting with a gradual, long-term during  the ritual.
approach using specific mental techniques, including the previously described ritual.
Players need to groove their techniques early in practice and during the season by
shooting consecutive free throws properly, picking up the spot target early, and using
full focus (verbal prompt focus) for 1 second. Coaches can teach players to concen-
trate on every shot using positive thoughts, such as making the opponents pay for
every foul, thinking net or swish (shots that hit only net), and seeing the net ripple as
the ball goes through. Shooters develop shot awareness by using the verbal prompt
feel during each shot. A positive shooting attitude also is developed by celebrating
successful shots and evaluating missed shots using proper feedback (verbal prompts:
yes on makes and short, long, right, or left on misses). The shooter blocks all negative
thoughts and uses only the positive. Confidence is developed from careful prepara-
tion and demonstrated skill in competition. Players need to shoot free throws in
competitive situations, to make every shot a game shot.
Elementary school age players should use a smaller ball, lower baskets (8 feet
[2.4 meters]), and a shorter free-throw line (9 feet [2.7 meters]). Junior high school
players should shoot from 12 feet (3.7 meters) at a basket set at a height of 9 feet
(see Basketball Skill Progressions).
Shooting Drills
Coaches should be creative in developing shooting drills that are sequential, progres-
sive, and include all of the basics of shooting: footwork and balance drills without the
ball, spot shots, shots from a pass, and shots from the dribble. Emphasize correct
execution first and then game shots at game spots at game speed.
Line Drill: Shooting Addition
Purpose: To teach shooting in a simulated game situation.

Equipment: Half court (minimum), four balls (minimum).
Procedure: Form groups of players in four lines in the baseline formation. This is a form
shooting exercise without the ball or a defender (the ball is added later). Players should
execute a quick stop in shooting position after jumping from the foot closest to the basket.
Later, the drill may be done using a ball and an underhand spin pass or a dribble.
Options
• Straight line—shots are taken without a target at the free-throw lines and the half-
court line and the opposite baseline, with players focusing on the basket at the
opposite end of the floor.
• Offensive zigzag—a shot is taken at the location of each change-of-direction spot.
Most movement should be lateral to make it easier for players to select the foot
closest to the basket.
Troubleshooting
Following are some common shooting errors:
Problem: Off balance shots, with side drift or Problem: Slow release on the shot.
moving backward on the shot. Correction: This is often caused by players using a
Correction: Proper footwork (feet about shoulder slow ball pickup to the shooting pocket (side
width, sit into the shot) with balance is the anti- pocket), dangling the ball low, locking and
dote. Balanced quick stops or stride stops (plant loading to the pocket too slowly, or making
and turn or pivot) correct this problem. the down and up motion in shooting (a two-
count shot). Quicken this move, tighten the
Problem: Low arc shots. arc to the shooting pocket, and make the shot
Correction: The shooting pocket is too low or too a completely positive motion toward the basket.
far in front of the body (dangling the ball). Raise Eliminate the dip, bend the knees more, and sit
the side shooting pocket or use the centered into the shot.
pedestal pocket. Shoot up, not out, to shoot up
and over the basket, not at the basket. Problem: Rushing the shot.
Correction: This is usually caused by players not
Problem: Late target pickups. focusing on the rhythm of the shot. They
Correction: Use full focus and early target sighting. should take game shots at game spots at game
Sight the target while dribbling or right after speed—but be quick and not hurry, as advo-
catching the ball (focus). cated by Hall of Fame player and coach John
Problem: Poor alignment or direction problems. Wooden.
Correction: Shooters need to face the basket with Problem: Inconsistency.
either a slightly staggered stance (side shooting Correction: This is often the result of shot to shot
pocket) or parallel stance (pedestal pocket). changes in technique. Every shot should have
With the regular side pocket, check the vertical the same starting or trigger point and ending
stance alignment of the ball and the shooting point (full follow-through). Players should
hand, shooting elbow and shoulder, and shoot groove the shot so that it becomes automatic.
ing foot and knee. With the pedestal pocket, be
sure the trigger spot is centered overhead and Problem: Slow to build confidence.
that the arms and the body are symmetrical. Correction: Coaches should reteach the self-talk
(focus, feel, feedback) shooting technique. Insist
on game shots at game spots at game speed.
Apply the BEEF and ROBOT shooting prin-
ciples.
• Straight line with shots called by the coach—players in groups of four begin on
the go command; the next four players begin when there is 15 to 18 feet (4.6
to 5.5 meters) of space between them and the preceding group. The coach
designates a basket to the side of the court (use the intersection of the sideline
and the half-court line). Players move forward under control in the basic position
until the coach gives the shot command. Then each player on the court simulates
catching a pass with a quick stop or shooting off the dribble and makes a shot to
an imaginary basket. On the go command, all players continue up the court until
the coach throws another imaginary pass. Players must be ready to shoot with
balance and control at any time, shooting to the right going down and shooting to
the left coming back.
Shooting 101
• Line shots with the ball—the first four players start together and use proper tech-
nique to shoot four imaginary shots (the free-throw line, the half-court line, the
opposite free-throw line, and the opposite baseline with the ball). Players shoot
at the opposite basket and then shoot as though the basket were to the side.
With the basket to the side, they hop from the basket-side foot and land facing
the basket. With the ball, they catch and turn in the air to face the side and then
shoot. Players can shoot from a pass to themselves (two-handed underhand spin
pass with backspin thrown at the location of the intended shot). Then players can
shoot from a dribble. The shot is taken with a high 60-degree arc slightly in front
of the shot location—the follow-through is exaggerated and held until the ball hits
the floor. No target is used; coaches should emphasize shooting up and holding
the follow-through until the ball returns to the floor.
Layup Progression Shooting
Purpose: To teach players progressively to shoot game-type layups properly and

quickly.
Equipment: One ball per player (when possible), one basket per 12 players.
Procedure: The coach should use as many stages of the progression as appropriate
to the age or skill level of the players.
Layup Progression
• Line drill—no ball, carry the ball, dribble the ball. Layup at the free-throw line, half-line,
opposite free-throw line, and opposite baseline. Exaggerate the follow-through.
• Carry the ball in pickup position, using the outside chin spot for the ball; shoot a
one-handed layup.
• One line dribble in layups—each player with a ball (six per basket). Start in live-ball
quick stance and use appropriate direct or crossover drive and dribble from the
wing position. Emphasis—early target, opposition, two-handed pickup, high jump
(rebound the player’s own shot before the ball hits the floor)—can add dummy
defender or cone halfway to the basket.
• Two-line layups (12 players with three balls per basket).
–– Dribble in and the opposite line rebounds
–– Pass from the opposite line
Note: a progression on layups from a pass is to carry the ball in a shoulder and chin
position as each player gallops into the basket.
Dribble chase layups: Players form pairs, each with a ball. The player with the ball
stands behind the baseline and outside the free-throw line. The partner (the catcher) is
the outlet between the free-throw line and the half-line. The passer uses a baseball pass
to the outlet catcher, who receives the ball, faces up floor, and speed dribbles to the other
end for the layup as the original passer chases the dribbler down from behind (cannot
foul but can go for the ball. This occurs in pairs at opposite ends simultaneously; half of
the groups are at each end. Rotate clockwise and then change to counterclockwise to
ensure ample practice with the nonpreferred-hand dribble and layup.
Two-minute team layups: Use four coaches or program assistants as passers located
at the top of the key level just outside of the free-throw lanes. Divide the team or group
into two lines located behind each baseline under each basket on the full court. Start with
two balls and add two more later. The sequence is the following: the first player in line
gets a make or misses a layup and outlets to the coach on same side while fast‑break
sprinting to the other basket in the sideline lane. Then the player receives the ball
back, near the half-line, from the first coach, passes on the move to the second coach,
receives the return pass for the layup, and goes to the back of the line at the opposite
end of the court. The player at the opposite end does the same actions simultaneously
(two balls going). The coach may add two balls for higher skill levels.
Coaching Points
• One-foot layups—opposition (jumping foot and shooting hand).
• Two-foot layups—power up from a one count or a two-foot quick stop.
• Two-handed pickup and chin on shoulder away from the defender—the balance hand
drives or picks the ball up to the shoulder (prevents rocking the cradle).
• High jump, not long jump (stamp hard on last step).
• Early target—hit it high and soft, use the board almost all of the time.
Field-Goal Progression
Purpose: To self-teach progressively the skill of shooting with a warm-up drill that pro-
vides a player with feedback needed for improving shooting in all basketball situations.
Some form of field-goal progression needs to be used daily by all players to reteach or
review physical and mental techniques.
Equipment: One ball per player (when possible), basket, or two players per ball (a part-
ner can act as a coach).
Procedure: Each player takes a ball and reviews shooting according to this progression.
Five repetitions of each of the options are carried out each time.
Options
• Two-handed ball slaps develop the feel of having the ball in the whole hand. Place the
hands on the side of the ball, toss the ball up slightly, and slam the hands against
the ball while catching it five times. Players should do this each time they pick up
a basketball and enter the court.
• One-handed arm swing to the shooting pocket, shoot, and retrace (without ball).
Players may also use the bookend hand. Repeat five times.
• TV shooting without ball—player on the back with the shooting elbow on the floor
and an imaginary ball on the horizontal hand (like a TV tray). Shoot vertically and
hold the follow-through. Repeat five times.
• TV shooting with ball—same as the previous option but with the ball. The ball must
be shot at least 6 feet (1.8 meters) up (ensure full follow-through). Hold the follow-
through for 1 second and then catch the ball coming down. Repeat five times.
• Wall or backboard shooting without a basket target—start with the ball in the shoot
ing hand and the open hand facing up (form the V), lock and load into the shooting
pocket, place the bookend hand up but not touching the ball, and then shoot up
and high on the wall or the backboard.
• Form shots, or shoot it straight shots, are one-handed vertical shots without a
target that start with the ball in the player’s hand in a palm-up position. The player
shooting the ball aligns the shooting foot on any line on the floor, rotates the ball
into the shooting pocket with the balance hand off the ball and slightly to the side
Shooting 103
in a vertical position, shoots with good thrust (for backspin), snaps the wrist, holds
the follow-through until the ball hits the floor, and checks where the ball bounces
(on or near the line to see if the player is shooting the ball straight and 6 to 8 feet
[1.8 to 2.4 meters] in front of the player to ensure he is shooting up, not out).
Five repetitions are taken.
• Close to the basket shots or soft touch, or killer, shots are taken with a target (the
rim and the backboard). Remind players to practice from the inside out, starting
close to the basket and gradually moving out. All shots are inside the free-throw
lane. A minimum of five shots are taken per spot (higher goals for intermediate
and advanced).
• The circle shots drill emphasizes footwork: each player moves
in a circle, carrying the ball with two hands held chest high 5 1
(pit and protect the ball), using proper quick-stop footwork 4 3 2
(hop from basket-side foot, the player lands with the feet
aimed at the basket and ready to shoot, and shoots a short
shot) while shooting at five spots inside the free-throw lane,
as shown in figure 4.29. After five shots are taken moving
clockwise, each player shoots five shots moving counterclock-
wise. Shots taken at 45 degrees are board shots (spots 2
and 4); rim shots are taken at spots 1, 3, and 5. No dribbling
is allowed—circle shots focus on having the feet in position
and the hands ready to handle the ball. Rotate the circle
after every shot. When players are moving clockwise, the
proper footwork is to hop from the basket-side foot in order
to land with the feet ready to shoot from a quick stop, facing Figure 4.29 Soft touch or circle shot spots.
the basket with the dominant foot forward and the hands
ready (ball in shooting pocket). Counterclockwise motion is done by hopping from
the left foot; clockwise movement uses hopping from the right foot.
Another version of a footwork drill that can be used as a warm-up is simple and quick
and encompasses pass pickups and footwork for shots from a pass as well as footwork
from a dribble. The Hays footwork drill, developed by Dan Hays at Oklahoma Christian,
is carried out from elbow to elbow at the free-throw lane (could be from side to side
anywhere near the free-throw lane, 15 to 18 feet [4.6 to 5.5 meters] apart). The shoot-
ing footwork from a pass version begins at the left elbow; the player faces the opposite
sideline and, using a two-handed underhand pass to herself with backspin, tosses
the ball near the opposite elbow and moves toward the pass while performing proper
footwork (hop from basket-side foot and land with a quick stop facing the basket). The
player snaps the ball to the shooting pocket with a two-handed pickup move. The player
picks up the spot target early, uses the verbal prompt focus, and tests body balance
by using a short, quick shot fake (legs bent and locked, heels down) but does not shoot Critical Cue: Use
the ball. Then the player faces the opposite sideline, uses the bounce pass to herself field-goal progression
at the height of the chest or the shooting pocket, and repeats the pass footwork, going daily—five repetitions
of slaps or slams,
from right to left. Now the hop foot is the right foot. This process is repeated 10 times; form shots, and soft
5 to the right and 5 to the left. This action simulates, in a warm-up, catching the ball touch or close shots.
and being ready to shoot from a pass with balance and quickness, moving to the right Shots from the pass
or to the left. and the dribble should
also be used during
Follow with 10 repetitions of shooting from a dribble using the outside-hand dribble; the each practice.
right hand goes from left to right and the left hand goes from right to left. The focus
is on making a good self-pass (the last dribble) as the players hop from the basket-side
foot. The last dribble is a hard dribble that gets the ball to the shooting pocket accurately
and quickly (dribble pickup) at the same time as the basket-side foot is used to hop into
a quick stop. No shot is taken, but a shot fake is made as a balance check.
• Shooting from a pass involves players tossing a high, two-

handed underhand pass to themselves in a desired spot
and using proper footwork to land in triple-threat position,
facing the basket and ready to shoot. Shots from a pass
are preceded by the pass pickups footwork drill around the
three-point field-goal line (clockwise and counterclockwise).
No shots are taken—the focus is on footwork and using
a shot fake to check balance (figure 4.30). On pickups,
the ball is snapped quickly into the shooting pocket from
a two-handed pick or grab. When receiving a pass or on
completion of the dribble, players must get the ball quickly
into shooting position. Players should make a pass to
themselves, hop from the basket-side foot, land facing the
basket with the feet ready, use a shot fake to test balance,
and then repeat the sequence.
Figure 4.30 Pass or dribble pickups.
• Shooting from the dribble—from a triple-threat position,
15 to 20 feet (4.6 to 6 meters) from the basket, a player
makes a dribble-drive move to the left or right, makes a quick stop, and shoots from
a desired spot. Preliminary work should be done on pickup technique. The footwork
for shots from the pass and the dribble is identical. With a dribble, the last hard
dribble occurs as the basket-side foot is used to hop into a quick stop facing the
basket (with the lead foot forward). Coaches can have players take the last dribble
with either hand, jumping from the opposite foot with a quick stop at the same
time and landing in the triple-threat position. Players go from baseline corner to
baseline corner, tracing the three-point arc using proper footwork and practicing
the dribble pickup technique (snap the ball into shooting position) prior to actually
taking shots from the dribble. Players should practice the technique with clockwise
and counterclockwise motion. Players should dribble with the outside hand, hop
from the basket-side foot as the last hard dribble drives the ball into the s
hooting
pocket (two-handed pickups), land facing the basket with a quick stop (with the feet
ready), use a shot fake to test balance, and then repeat the sequence.
Soft Touch or Killer Shooting
Purpose: To review shooting mechanics and build confidence in players by shooting on

a regular basis (recommended as a warm-up for each practice).
Equipment: One ball and one basket per player. Not more than four players per basket.
Procedure: Soft touch or killer shots are taken at five spots (five shots at five spots) with
specific goals appropriate to skill level. For example, beginners might shoot or make one
shot at each spot (two backboard shots at 45 degrees and three rim shots—corner,
middle, corner); see figure 4.31. The mental goal is to develop the habit of full focus
(pick up target early and see or hold for one count). Intermediate players might be able
to make two or three shots at each spot; advanced players could set a goal of only
swish shots at the five spots (make three or make up to five in a row). Of the two soft
touch options—one-handed and two-handed—either or both are used, but especially the
one-handed version, in which the player goes to the spot, places the ball in the whole
shooting hand (the palm up), locks and loads the ball into the shooting pocket, places
the balance or bookend hand to the side of the ball (not touching), and shoots the shot.
Coaches can emphasize these points: have the feet ready, sit into the shot, put the ball
in the shooting pocket, use full focus (verbal prompt focus), and execute a full follow-
through. Each player goes through the checklist to review the basics on each shot.
Shooting 105
The same drill of five shots in five spots can be done with the use of the balance hand
added. The essential four steps of field-goal progression should be performed each time
that a player steps on the floor to practice. Every time a player picks up a basketball,
it’s an opportunity to relearn shooting (the essential slams, form shots, Hays footwork
drill, and soft touch).
Players should always use soft touch shooting to apply mental practice and use verbal
prompts (focus, feel [during shot], feedback [after shot, yes or net on makes; shot
location on misses]).
Groove It Shooting Drill
Purpose: To evaluate shooting effectiveness and range.

Equipment: Ball, basket, and court area.
Procedure: At any spot or shot, shoot and make a minimum of
5 out of 10 shots (preferably, 7 out of 10 shots) with that move
and from that location. The preferred spots or shots are shown
in figure 4.31.
Options: To groove the shot at each spot, start at five locations
outside the arc with a live ball.
• Pass right and left—repeat a set of 10 shots until reaching
the goal for made shots.
• Use a shot fake and dribble right and left with proper foot-
work; shoot sets of 10 shots until the goal is met.
Figure 4.31 Groove shooting spots.
• Face away from the basket in front of the five spots at 10 feet
(3 meters) from the basket. Toss a two-handed underhand self-pass at 12 feet
(3.7 meters), use a two-handed pickup and a PPF rear turn to face the basket,
and shoot using mental edge technique (focus, feel, feedback). Players should keep
track of their personal records for consecutive makes at each spot.
Pairs or In-and-Out Shooting
Purpose: To teach shooting in a 2-on-0 game simulation drill that

covers all shooting situations.
Equipment: Basket and one ball per pair of players (players can
also work in groups of three or four).
Procedure: This continuous competitive shooting drill, shown R Follow
in figure 4.32, incorporates all of the principles of movement: shot
passing and catching, shooting, and offensive rebounding. Players
are grouped in pairs (there may be one or two pairs per basket).
The basic rules are as follows:
Shot
• All pairs begin on the coach’s command, starting with the
passer under the basket with a ball; a teammate gets open
for the shot, calls the passer’s name, and receives a pass
for the shot.
• Shooters rebound their own shots until a basket is made
(always assuming that the shot will be missed) and then gain
possession to pass to a teammate for a shot. Figure 4.32 Pairs shooting: one pass.
• The receiver must always get open and call the passer’s name.
• Passers make a quick, on-target pass at the right time to a teammate for a good
shot and go quickly to another location near the edge of their shooting range,
ready to move only when a teammate has scored and has possession of the ball.
Options
• Groove: each player gets open and shoots for 30 seconds while a teammate
rebounds; players take turns shooting and rebounding, changing roles every
30 seconds.
• The shooter makes five baskets and switches positions with a teammate.
• The 10-scores game to 10 made baskets (or 5) involves players moving with shots
from a pass and from a dribble.
• The coach designates the type of pass (push, overhead, air, bounce) and type of
shot (regular or shot fake and shot). This drill is excellent for practicing passes
with the nonpreferred hand (passers can use only this pass to increase repetitions
with the nonpreferred hand).
• Pressuring the shooter involves the rebounder passing and
making a poor defensive closeout while applying some type of
false pressure (go by, shout, hand in face, contact) after the
pass to the shooter. The defender cannot block or alter the
shot or foul the shooter. At least once a week, use the varia-
R tion of having defenders pressure shooters with hands up to
help shooters develop the greater arc needed for shooting
3
over defenders.
2 • Three-pass shooting involves shooting from an outlet pass

(passer posts up), a pass to post (passer cuts), and a return
pass for shot (figure 4.33).
1
• The beat the star variation places shooters in competition
with a designated star shooter with a rebounder partner. The
game begins with one free throw and continues with players
shooting set or jump shots. Scoring rules for free throws give
challengers 1 point for successful shots and 3 points for the
Figure 4.33 Pairs shooting: three passes. star on misses; challengers score 1 point for successful field
goals and the star gets 2 points for misses. The game can
be played to 11 or 21 points.
Make-It-Take-It Row Shooting
Procedure: To teach the skill of shooting in a self-testing format adjusted to standards

set by the coach.
Equipment: Basket and one ball per player.
Procedure: All tasks in this drill are self-testing and require the player to meet effective
scoring standards. All moves are to be carried out consecutively without rest to practice
shooting in game situations.
Players make dribble-drive layup moves from left and right corners (with a foot on the
sideline), each hash mark, and the top of the key. They are allowed only one dribble and
must make three baskets in a row from each spot. Frontcourt players with the ability
to dunk the ball must do so by dribbling only once. The objective is to cover the greatest
Shooting 107
distance possible with a layup scoring move. After each row of three shots is made, the
player earns the right to shoot free throws. The percentage goal must be met on free
throws (four out of five for college players; three out of four for high school; two out of
three for junior high) or the player repeats the move and free throws.
Advanced Options
• Shoot from a spot with a selected move until two shots in a row are missed.
• Consecutive swish—shoot from a spot with a selected move until a swish shot (the
ball hits the net only) is made two shots in a row.
• Forty-point scoring—start three different scoring moves from five different spots
along the three-point line: on the baseline on both sides, the wing on both sides,
and the top of the key. The first shot is a three-pointer from a spin pass. If the
player makes it—3 points. The second shot is a quick one-dribble pull-up jump shot
worth 2 points. The third shot is a drive after a shot fake and a power layup at
the basket—2 points. Players finish with five free throws—1 point each. A perfect
score is 40 points; 7 points per five spots and 5 points per five free throws.
• Three-point contest—shoot five three-point shots from the same five spots as the
40-point scoring drill. Players get 1 point for every shot made, except for the fifth
shot (2 points). A perfect score is 30 points.
Individual Drill for Grooving the Shot
Purpose: To teach players to self-assess the mechanics of the shooting hand and the
balance hand while increasing shot range.
Equipment: Ball, basket, and teammate or coach to rebound and provide feedback.
Procedure: Player shoots along a straight line directly in front of the basket moving toward
the free-throw line and the half-court line. Start in close at about 6 feet (1.8 meters) in
front of the basket and in the free-throw lane. Place the ball on the whole shooting hand
(held horizontally facing up). Using only the shooting hand, rotate and move the ball to
the shooting pocket (lock the wrist in and bend the wrist back—place the ball on the
shooting tray or form an L). With the bookend hand directly to the side of the ball (but
not touching), shoot a high arching shot and hold the follow-through for one full count.
Continue moving away from the basket while using correct form. Players can find their
effective range (over 50 percent) quickly.
This drill is also a good check of vertical plane alignment of the shooting hand, elbow,
and shoulder (keep the ball straight) as well as using the legs for power. Keep the shot
the same with the arms; get lower for power. The partner can help the shooter check
position and mechanics. The balance hand should finish high. As the shooting elbow is
locked and the wrist is flexed for follow-through, the fingers of the balance hand should
be vertical at the lead of the shooting wrist. The pedestal-pocket shot with both hands
can also be used, often at much closer distances.
Field-Goal Correction Drill
Purpose: To focus on specific problem areas with shooters.

Equipment: Ball, basket, and coach.
Procedure: Focus on one problem at a time: footwork, balance, shooting hand, balance
hand, or follow-through. Practice from inside-out: 3 feet, 6 feet, 9 feet, and 15 feet
(.9, 1.8, 2.7, and 4.6 meters) from the basket. View the shooter from the side and
from behind.
Options
• Footwork and handwork—players move right and left carrying the ball in the shoot-
ing pocket, use a quick stop to shoot, and then dribble right and left to shoot.
• Balance—check head and foot position before and after the shot; head straight or
toward the basket (not left, right, or away).
• Shooting hand and balance hand—check shooting hand at start (elbow in and L,
wrist L) and finish (60-degree release, hold follow-through firm but relaxed). Check
balance hand at start (side of the ball, vertical or right angle to the backboard and
the floor) and finish (pull slightly off the ball, the elbow stays flexed, the shooting
hand above the balance hand, fully extended, or the fingertips of the balance hand
at the level of the shooting wrist).
• Swish game (plus three, minus two)—count a swish shot as 1 point, a make that
hits the rim is 0, and a miss is –1. A score of +3 wins the game and a score of –2
loses; the winning and losing scores can be modified according to skill level.
• Do a consecutive swish—players shoot until they fail to swish two shots in a row,
keeping track of row swishes.
• Shoot until two or three are missed in a row—record the number of field goals
made.
Free-Throw Progression
Purpose: To provide players with a daily drill designed to reteach and review free-throw
shooting fundamentals during each practice period.
Equipment: Ball, court area, and basket.
Procedure: The free-throw progression drill is always the same and consists of the
following parts, each with a learning reminder:
1. Five slams—as players pick up a ball, they grab the ball and slap or slam the ball
hard with both hands simultaneously on the sides of the ball.
Learning Reminder
–– Shoot the ball with the whole hand—spread the fingers and form a V with the
thumb and first finger. Feel it.
2. Five form shots on any spot without a shooting target. Put the shooting foot per-
pendicular to any line on the court (e.g., the sideline) and at any spot, and shoot
five free throws using perfect technique. Hold the follow-through until the ball hits
the floor.
Learning Reminders
–– Find the shot.
–– Get a ritual.
–– Bounce at the bottom.
Shooting 109
–– Use a full follow-through (exaggerated).

–– Shoot up, not out.
–– Use the legs for power, up on the toes.
–– Keep body weight forward.
3. Shoot at least 10 soft touch, or killer, free throws. From a position 6 feet
(1.8 meters) in front of the basket, shoot free throws with complete physical
technique. When the coach or the player is satisfied with proper technique, add
the mental edge technique for confidence building. Set appropriate goals for free
throws made from 5 makes to 8 or 9 makes, to 10 swishes, depending on the
skill level.
Learning Reminders
–– Apply the four physical technique essentials.
–– Add mental edge technique (focus, feel, feedback).
4. Go to the regular free-throw line and shoot free throws with perfect technique.
Use all of the correct physical and mental techniques to groove the free throw;
use these techniques in competitive situations.
Learning Reminders
–– Use all physical techniques.
–– Use all mental techniques.
Foul-Shot Golf
Purpose: To teach players to shoot free throws with competition against self or
others.
Equipment: Ball and basket.
Procedure: Start at the foul line and play 18 holes. A birdie (1 point) is earned for
each swish. On a made shot (0 points), par is made. If the foul shot is missed, a bogie
(–1 point) is earned.
Players get three shots at a time, or a round of three holes, until all players have taken
a round. The game is over after six rounds. The player with the highest score wins.
Knockout Shooting
Purpose: Practice shooting in a competitive situation.

Equipment: Two balls and three to eight players per basket.
Procedure: Form one line at a selected distance and spot. The first player shoots and
rebounds his own shot and, if the shot is made, passes back to the next teammate in
front of the line without a ball. If the shot is missed, the player follows and rebounds the
shot. If the next shooter makes the shot first, the player is knocked out—to run a lap,
sprint to the opposite wall and back, or some other penalty before returning to game.
Play for 1- to 3-minute periods. The coach can also set up the game with permanent
knockout until a final winner is determined.
Row Plus Free-Throw Shooting
Purpose: To provide competitive shooting practice.

Procedure: Any player may compete against the game by selecting a move, shot, or
situation and practicing it until a number of field goals are made in a row and a free throw
is made, coupled to the goal. This approach to shooting practice is modified from that
taken by many great offensive players, one of the most notable being Bill Bradley, who
used this approach in high school (Crystal City, MO), college (Princeton University), and
professional (New York Knicks) basketball to become one of the best offensive scorers
in the game.
For example, a player might select a left move, consisting of a shot fake or a dribble
drive, with a pull-up jump shot at 15 to 18 feet (4.6 to 5.5 meters), starting at the top
of the key. The goal might be two in a row plus a throw. That player replicates the move
and shot at game speed until two field goals are made in a row. The player must then
follow with a made free throw before going on to another move or shot situation. If the
free throw is missed, the player must start over and repeat until that goal is met (two
in a row plus a free throw). Elite players might use goals as challenging as five in a row
or more plus a free throw to compete against the game.
Footwork and Field Goals (or Free Throws)
Purpose: To provide competitive shooting practice.

Equipment: Ball, basket, and half-court playing area.
Procedure: Goals can be set for this game as consecutively made shots (field goal or
free throw) or to avoid two consecutive misses over a period of time (e.g., 3 minutes)
or for a given number of attempts (10, 15, or 20). The player with the ball may select
any field-goal situation (shots from a pass or shots from a dribble) and any move (pull-up
jump shot, layup, or runner). A free-throw situation could also be selected.
The competing player begins the drill facing away from the baseline, positioned directly
under the basket in the triple-threat position. Using a shot fake, the player executes
either a direct drive or crossover drive move (any live-ball move) for two dribbles, to
get as far past the three-point line as possible, and then terminates with a controlled
quick stop. On landing in a triple-threat quick stance, the player executes a PPF rear
turn to face the basket in triple-threat position. At that time, the player either tosses
a two-handed underhand pass to a shooting spot (shoots from a pass) or uses a shot
fake and a dribble-drive or live-ball move (shoots from a dribble) into a competitive move
(a layup or a pull-up jumper). The player assumes that every shot is missed and either
retrieves the made shot out of the net or follows the missed shot until it is made. On
two-handed capturing and chinning the ball from the net, the player, who is now facing
the baseline, executes a PPF rear turn to face away from the basket in a new direction
and repeats the cycle. The sequence is as follows: capture and chin the ball, use a live-
ball move away from the basket for two dribbles, use a quick stop, execute a PPF rear
turn to face the basket, shoot from a pass or a dribble, do a completion move, be ready
for a possible rebound, and repeat.
During the drill, the player needs to use all live-ball moves and the whole half court—drive
to the corner, the wings; guard the out-front position. A goal number of repetitions (10
to 20) or row field goals may be set. If the player is doing footwork and free throws,
Shooting 111
the drill terminates each time the player quick stops and executes PPF rear turns to
face the basket. At that time, the player goes to the free-throw line. The drill continues
again after a free throw is either made or missed. A lot of footwork with the ball can be
practiced in a short time. Up to four players can do the drill at once on each basket.
Mental Practice Drill for Field-Goal

and Free-Throw Shooting
Purpose: To teach players to use automatic verbal prompts, shooting rituals, and self-
evaluation to build shooting confidence.
Procedure
1. Mental practice shooting—carry out at least 25 perfect shots daily in a quiet,
focused place.
–– Field goals.
–– Verbal prompts—focus (the back of the rim target), feel (the shot from suc-
cessful start to finish, from shooting pocket to held follow-through), and
feedback (yes, net, swish, and money on made shots). There are no misses
in the mind to analyze and forget.
–– On backboard shots—focus (high), feel (soft), feedback on make.
–– Visualization—every shot is perfect in the mind; see it, hear it, and feel it.
Players should paint the perfect picture in their minds.
–– Free throws.
–– Verbal prompts—see and say net or swish (or nothing but net) during the
preshot ritual (e.g., bouncing ball, focus, feel, feedback [yes or net] ).
2. Soft touch with mental practice—on each soft touch or close shot, use verbal
mental practice prompts.
–– Rim shots—focus, feel, feedback (yes or net).
–– Backboard shots—focus high, soft, feedback.
3. Mental practice personal record test—chart status and progress weekly. From a
12- to 15-foot (3.7- to 4.6-meter) distance, shoot as many shots as possible in
5 minutes to attain the greatest number of consecutive makes in that time.
–– Rim shots—move from the baseline around the court to the opposite side
of the free-throw lane on the baseline. Keep track of consecutive makes in
5-minute periods in two situations.
–– Use a two-handed underhand toss to the 12-foot (3.7-meter) spot; catch
facing away from basket. Using the PPF, face and focus, shoot (feel), and use
feedback while repeating. Time and record for 5 minutes (personal record
for doing catch-and-face).
–– Use a two-handed underhand toss to the shooting spot while catching and
landing facing the basket, and then use verbal prompts (focus, feel, feedback)
while shooting. Record the number of consecutive makes in 5 minutes (per-
sonal record for facing the basket).
–– Backboard shots.
–– From the 12- to 15-foot (3.7- to 4.6-meter) distance on the 45-degree angle
with the backboard, players should go from side to side (two spots) while
shooting backboard shots from two situations: catch and face, followed by
face and shoot. Use verbal prompts on each backboard shot; focus high, soft
(feel), yes or net (feedback). Record the number of consecutive makes in a
5-minute period.
–– Catch and face (personal record for the backboard)—land facing away from the
basket, turn and face, and shoot (personal record for facing the backboard).
Record the 5-minute personal record.
–– Land facing the basket and shoot (personal record for 5-minute periods).
chapter 5
Outside
Offensive Moves
Playing the Perimeter
“Drive and dish (penetrate and pitch), pass and catch, and create scoring chances
for teammates should be the definition of a point guard.”
Jerry V. Krause
A ny discussion of individual offensive moves should begin with the reminder that
basketball is first and foremost a team sport. Although every game situation
provides opportunities for individuals to use offensive moves, the player with the
ball must coordinate offensive moves closely with four other players. Coaches need
to place limitations on individual offensive moves to ensure that players use their
strengths.
Outside moves are offensive moves around the perimeter of the court while players
are facing the basket. The four types of individual outside moves are the following:
• live-ball moves (when the offensive player with the ball still has a dribble
available),
• dribbling moves (when the offensive player is in the process of dribbling),
• dead-ball moves (made at the completion of the dribble, when a player has
used the dribble and stopped, in possession of the ball), and
• completion shots (shots taken after a dribble).
Proficiency in live-ball moves should be coupled with the development of quick,
controlled dribble moves that are used with a purpose. All live-ball moves and dribble
moves should result in a pass, a dead-ball move, or a completion shot. This chapter
describes live-ball and dead-ball moves. Dribble moves and completion shots are
described in chapter 3, Ballhandling, and chapter 4, Shooting.
Fundamentals of Live-Ball Moves

All live-ball moves begin from a basic position, with the player in offensive quick-
Critical Cue: stance or triple-threat position (can shoot, pass, or dribble) facing the basket. Players
Start live-ball moves should be in their effective shooting range. They should get into position by catching
from the triple-threat the ball with the feet in the air and landing with a quick stop facing the basket (i.e.,
position facing
the basket. catch and turn in the air). The alternative is to catch and face—the player catches
the ball with both hands, uses a quick stop facing away from the basket, and makes
a pivot (turn) in triple-threat position to
face the basket (using the nondominant
foot as the PPF whenever possible).
Players should especially explore live-
ball moves as they catch the ball (on the
catch).
Players should always protect the
ball and keep it close to the body in a
power position (pit and protect the ball),
using the body as a shield. They provide
this protection in triple-threat position
(figure 5.1) by keeping the ball near and
under the shoulder with the dominant
hand behind the ball (wrinkle wrist posi-
a b tion and bent elbow), during a live-ball
move by dribbling the ball on the side
Figure 5.1 Triple-threat position: (a) side view and (b) front view. opposite the defender, by using a catch-
Outside Offensive Moves: Playing the Perimeter 115
and-face technique (chinit and pivot to triple-threat position) in defensive traffic

(figure 5.2), and by avoiding dangling the ball with the elbows locked or extended.
Dangling the ball means danger—players lose arm quickness with the ball, power to
protect the ball, and may lose the ball to a defender (figure 5.2c).
Conserving time and space with balance and quickness is a basic guideline for
outside moves with the ball. All moves should be quick and made in a straight line
toward the basket whenever possible. The offensive player should make slight shoulder
contact with the defender while moving past on the dribble drive (figure 5.3) and
then use quick shot and pass fakes while maintaining a quick stance. The live‑ball
a b Turn Step
foot foot
Figure 5.2 Catch and face—protect the ball: (a) catch facing away from the basket; (b) pivot
(turn) to face the basket using the PPF; (c) don’t dangle the ball.
move (using the dribble drive past a defender) should be made with a quick first
step, long and low, past the defender in a straight line toward the basket. A catchy
phrase for players to remember during dribble drives by the defender on a live-ball
move is shoulder to knees, feel the breeze. It is important to get the head and shoulders
by the defender’s trunk. Then, on contact, it is a foul on the defender. This technique
is called winning the battle of the first step.
The attack-the-front-foot or hand rule is applied when the defender is in a staggered
stance (see figure 5.3). The most vulnerable part of the defender is the front-foot
a b
Figure 5.3 Direct drive: (a) attack front foot, (b) side view, defender in staggered stance (left foot forward), (c) defender
must pivot to cut off move, then player has hip contact with defender (win the war) on second step.
or the front-hand side because the defender must pivot before angling back to cut
off the dribble penetration of the offensive player. So the offensive player should be
aware of the defender’s front foot and hand and use a live-ball move to that side of
the body whenever possible. The dribble drive war is won when inside hip contact is
made with the defender to prevent recovery on the drive.
The player should attack the basket on the dribble drive by accelerating to the
basket under control. Now or never means that the live-ball move is best made imme-
diately after the player receives a pass, before the defense can adjust, and while
the defense is moving (drive against momentum or in the opposite direction of the
defender). If in doubt whether the dribble drive is open, the driver should pass the
ball (pass first, dribble last).
The primary objective of any live-ball move in the power zone is to score a layup
with one dribble (more than two dribbles are seldom needed). Players should read
the defense to anticipate chances to use a controlled dribble drive as a reaction to a
defensive adjustment. Learning to get by the defender and control the dribble drive
well enough to permit a last-second pass to an open teammate or a pull-up for a shot,
helps players challenge the defense even more. Penetrate and pitch is an excellent
perimeter move needed by all perimeter players. Players using the dribble drive are
looking for the options of the layup, the pass when a help defender appears (using
a quick stop first), or a pull-up jump shot or completion move if another defender
is waiting at the basket.
Permanent Pivot Foot Moves

These moves should be used when a permanent pivot foot (PPF) is used for all live-
ball moves. The left foot should be used for right-handed players and vice versa. The
following moves to get by the first defender should be taught as basics: the direct
drive, the hesitation move, the rocker step, and the crossover drive.
The PPF approach to footwork is preferred for perimeter moves because it is simpler
and easier to learn than using either pivot foot. Players can attain greater skill levels
because of fewer choices and moves to be learned. In addition, on the two primary
live-ball moves (the direct drive and crossover drive), driving success occurs on the
second step with the more comfortable and quicker preferred side, and on the first
step to the slower, less comfortable and nonpreferred side. With the direct drive,
the battle is won on the first step (head and shoulders by the defender) and the war
is won on the second step when hip contact is made on the defender (lock in the
defender with inside hip contact). For the crossover drive (to the nonpreferred side,
which is normally slower), the battle and the war are both won on the first step as
the driver gets the head and shoulders by the defender at the same time as inside
hip contact is made on the defender. The key to live-ball moves is the long and low
first step (shoulder to knees, feel the breeze).
Direct Drive. This is a drive past the defender with the dominant foot. The right-
handed player should drive past the defender’s left side, taking the first step with
the right foot (and vice versa for the left-handed player) by establishing triple-threat
position in a staggered stance and pushing off the pivot foot without a negative step.
The quick long and low move is taken with the stepping foot straight to the basket,
as the ball is pushed to the floor, and in front of the lead foot before the pivot foot
is lifted. Finally, a step is taken past the defender with the PPF to attack the basket.
The breakdown count consists of the explosion step with the dominant stepping
foot (down) and the player pushing the ball ahead to the floor on the dribble drive
(figure 5.3). Playing rules require the ball to be out of the hand before the pivot
foot is lifted (American rules). For international play (FIBA rules), the ball must hit
the floor on the first dribble before the foot is lifted, which requires a longer and
lower first step.
Hesitation or Step-Step Move. This is a secondary dominant-side move that is
executed by establishing the triple-threat position and making a short jab step at
the defender and basket with the dominant foot. If the defender doesn’t react to
the jab step, a second long and low explosion step, as a direct-drive step, can be
made past the defender. The breakdown count consists of a jab step with a short
pause (slightly forward and down), a long and low explosion step (go move), and a
dribble drive initiated by pushing the ball ahead to the floor as hip contact is made
(figure 5.4).
a b
Figure 5.4 Hesitation or step-step move: (a) short first step, (b) long and low second step past the defender, and
(c) near hip contact with the defender.
Rocker Step. Another dominant- or preferred-side move is the rocker step: a direct-
drive jab fake and return to triple-threat position, followed by a direct-drive move.
The sequence is to establish triple-threat position, make a direct-drive short jab step,
and then return to triple-threat position where a shot fake may be used to lure the
defender forward. When the defender moves toward the offensive player in reaction
to the return to the triple-threat position, the offensive player should then make a
direct-drive move. The rule is to drive against a defender’s momentum. The breakdown
count consists of a jab step (down), a move rocking back to triple-threat position
(up), a long and low explosion step against the defender’s momentum (down), and
a dribble drive (go) started by pushing the ball ahead to the floor (figure 5.5).
b Rocker c
Figure 5.5 Rocker step: (a) jab fake (down), (b) return to triple-threat position with shot fake (up), and (c) take a long
and low first step past the defender reacting to the shot fake (down).
Crossover Drive. The basic countermove to the opposite side, when the defender
overplays the dominant side, consists of establishing the triple-threat position and
then crossing the dominant foot over to the other side of and past the defender
while keeping the ball close to the body and swinging it across (circle tight) at the
same time. The ball then is taken from the nonpreferred triple-threat position and is
pushed ahead to the floor with the player’s nonpreferred hand to begin the crossover
dribble drive. The dominant foot is pointed toward the basket. Players should keep
the pivot foot stationary while the crossover step is made with the same stepping
foot. The breakdown count consists of triple-threat position, swinging the dominant
foot over to the other side (long step) as the ball is snapped over from pit to pit
while placing the nonpreferred hand behind the ball (circle tight), and pushing the
ball ahead to the floor on the dribble drive (figure 5.6). The ball should be moved
across the body (pit to pit) high in the chest area. Some coaches prefer the high
sweep and low sweep, but this is too slow and takes the ball too far from shooting
or driving position. Some coaches also teach a jab step to the preferred side to set
up the crossover, but this move is slower and tends to make the reaction crossover
move lateral rather than toward the basket.
The direct-drive and crossover moves are the basic live-ball moves that are suf-
ficient for most players to combat most defenders. Beginners can usually depend
on one basic go-to move (direct drive) and one countermove (crossover), with the
secondary moves being the rocker and hesitation to the preferred side (the side most
players are more comfortable using).
a b c
Figure 5.6 Crossover drive for the left-hander: (a) triple-threat position (jab), (b) bring the ball to the nonpreferred side
(circle tight), and (c) move with a long and low stepping foot past the defender (the left foot).
Moves With Either Pivot Foot (Advanced)

These moves can be taught when either foot is used as the pivot foot in live-ball
moves. Both right- and left-handed players should be able to establish a pivot with
either foot using this method.
Direct Drive With the Direction Foot. This move, used to dribble drive past a
defender, consists of making the explosion step with the foot on the side the player
is driving. The sequence is for players to make a quick stop facing the basket and,
when driving right, to use the left foot for a pivot foot and take an explosion step
past the defender with the right foot. Also, when driving left, players should step
with the left foot, using the right foot as the pivot foot. The ball is pushed ahead on
the floor on the dribble drive. The breakdown count consists of taking a long and
low explosion step, with the foot on the same side as the dribble drive (right foot to
the right side, left foot to the left side), and pushing the ball ahead to the floor to
start the dribble drive. The ball must be out of the hand before the pivot foot leaves
the floor. The disadvantage of this move is that hip contact on the defender occurs
on the second step.
Direct Drive With the Opposite Foot. This move is used to drive past a defender
on either side by using the opposite foot to step across and shield the ball as a long
and low direct drive is made. The opposite-foot drive is executed by making a quick
stop facing the basket and, when driving right, stepping past the defender with a left-
foot explosion step and pushing the ball ahead on the dribble drive. The breakdown
count consists of taking an explosion step past the defender, with the foot opposite
the side of the dribble drive, and pushing the ball ahead on the floor for the dribble
drive (figure 5.7). This move has the advantage of getting the head and shoulders
by and making hip contact on the defender during the first step.
a b
Figure 5.7 Live-ball move for either pivot foot—direct-drive move with the opposite foot: (a) to
the right with the left foot, (b) to the left with the right foot.
Crossover Drive. Players can also learn a countermove using either foot as the
pivot foot (fake right, cross over left with the left pivot foot; or fake left, cross over
right with the right pivot foot). This is carried out by making a quick stop facing the
basket, making a jab step and crossover with the same foot to the opposite side
(swinging the ball across and close to the body), and finally pushing the ball ahead
to the floor and starting a dribble drive. The breakdown count consists of a jab step,
a crossover step with the same foot while bringing the ball across the body, and a
dribble drive started by pushing the ball ahead to the floor (figure 5.8).
a b
Jab
Figure 5.8 Either pivot foot for a live-ball move—crossover drive: (a) crossing over from right to left (jab right),
(b) crossover drive left past the defender.
Fundamentals of Dead-Ball Moves

These maneuvers are used at the completion of a dribble move when the quick stop
is made within 10 to 12 feet (3 to 3.7 meters) of the basket. Dead-ball moves can
be used when players are moving either left or right, but they must be within close
shooting range for the moves to be effective. Players in possession of the ball should
avoid dead-ball situations whenever possible unless a pass or shot is anticipated. In
other words, the live dribble should be maintained.
Dead-ball moves using either pivot foot should be made after a quick stop, either
from a pass or, more commonly, at the termination of the dribble. Remind players
to see the whole court as the quick stop is made in order to read the defense and
make a proper decision quickly.
Jump Shot. Players should execute a quick stop and take the jump shot with balance
and control (see chapter 4).The quick stop allows the shooter to slow momentum,
go straight up, and land slightly forward of the takeoff position.
Shot Fake and Jump Shot. Players should make a quick stop and follow with a
believable shot fake (eyes on the basket; a short, quick 1-inch [2.5-centimeter] verti-
cal fake). With vision on the basket, the player moves the ball up slightly (1 inch),
while maintaining a quick stance with the legs locked and the heels down, and then
quickly follows with a jump shot.
Step-Through Move Into One-Foot Layup (Advanced). The advanced move past
either side of the defender to shoot a layup after a quick stop (with or without a
shot fake) is another attacking option. Players should make a quick stop facing
the basket, followed by a shot fake to get the defender out of quick stance unless
the defender is already overcommitted. When going to the right, take a step past
the defender with the left foot (or with the right foot when going left) and shoot a
right- or left-handed running layup or a post shot. The breakdown count consists
of a shot fake, a step past the defender with the opposite foot, and a layup shot
(one-foot or power).
Crossover Step-Through Move (Advanced). This advanced countermove, used
to step past a defender by faking one way and going the opposite way for a layup
or a post shot, is done by making a quick stop facing the basket, taking a jab step
with either foot, a crossover step, and a move past the defender with the opposite
foot to attempt a layup or a post shot. The breakdown count consists of jab step,
crossover move, and layup or post shot (figure 5.9).
Step-Through Move Into Power Shot or Layup (Advanced). Even though the
step-through and jab-step moves can be legally used to get layups, they are some-
times called traveling by officials. To prevent this call, players can use a step-through
completion move and finish the move with a two-foot power shot so that the pivot
(turning) foot leaves the floor at the same time as the stepping foot, as shown for a
right-handed player in figure 5.10. Coaches should take every opportunity to educate
and inform officials about this move before their players use it.
Spinner (Advanced). A pivoting rear turn and layup or post shot is most effec-
tive from a dead-ball quick stop at right angles to the baseline when the player is
stopped by a defender in the direct path. Coaches can teach this advanced move
by having a player make a quick stop facing the opposite sideline at the free-throw
lane while chinning the ball, make a rear turn on the pivot or turning foot closest
to the basket, and shoot a layup (one-handed or power layup) or a post shot. The
breakdown count consists of a using a quick stop, making a rear turn, stepping past
the defender to the basket with the opposite foot, and shooting the layup or post
shot (figure 5.11 on page 126).
3
X3
2
X2
b
Coaching Points for Outside Moves

¤¤Visualize the defender and learn to read and react to the defender.
¤¤Develop a go-to move and a countermove.
¤¤Use game moves at game speed.
¤¤Develop balance and quickness during all moves.
¤¤Go at top speed under control.
¤¤Make legal moves.
¤¤Execute moves correctly and then correctly and quickly. Do them right first and then
speed up until mistakes are made; then strive for game moves at game speed.
a b
c d
Figure 5.9 Crossover step-through move: (a) quick stop, (b) jab step toward the defender with
the left foot, (c) crossover move (right pivot foot), and (d) layup or post shot.
124
Jab
a b
c d
Figure 5.10 Crossover step-through move to a power shot: (a) quick stop, (b) jab step,
(c) crossover move with the right pivot foot, and (d) power shot or jump hook from two feet.
125
Turning
Pivot
foot foot
X
Stepping
Stepping foot
foot
Rear turn
and post
shot or
pass
Figure 5.11 Spinner steps—from wing-middle dribble or guard-side dribble.

Troubleshooting
Problem: Poor execution when learning. Problem: Challenges with perimeter moves when
Correction: Demonstrate again and slow down to defenders are present.
get proper execution first. Correction: Develop sequential progressive prac-
tices—players should use slow but correct
Problem: Trouble executing moves with the non moves first, get a rhythm, gradually increase
preferred side. speed until mistakes are made (acknowledge,
Correction: Practice two or three times more often understand, learn from), and execute game
with these moves. moves at game speed. Coaches can add dummy
Problem: Traveling violations on perimeter moves. defender for all situations and, finally, add live
Correction: Reteach the rules of movement and defender(s) with all variations.
footwork as boundaries of performance.
Problem: Ballhandling skill difficulties with pe

rimeter moves.
Correction: Prescribe added practice on passing and
catching, dribbling, and basic ballhandling.
Perimeter Drills
These drills should be adapted to a coach’s style of play and to situations encoun-
tered by perimeter players in that style of play. As always, they should be sequential
and progressive.
Guidelines for Perimeter Drills
1. When working alone, use an underhand spin self-pass before moves, always
face the basket in triple-threat position with a live ball.
2. Respect the three-point arc. Keep the feet behind the arc or penetrate for a
pull-up shot or finish at the basket.
3. On all layups, go for net or swish shots; mix up power and one-foot layup
completions.
4. Precede all drives by a shot fake.
5. Tighten your game; increase balance and quickness for game moves at game
speed.
Warm-Up for Perimeter Players
Purpose: To provide perimeter players with a warm-up for fundamental skills.

Equipment: Two balls per player, tennis balls, half court with basket.
Procedure: Spend 1 minute on each of these exercises.
1. Dribbling sequence: one ball, two balls, dribble and juggle, pullback crossover
sequence.
2. Imaginary defense with talk: on-the-ball, off-the-ball, off-the-ball to on-the-ball, post
defense and blockout, and transition.
3. Moving without the ball: offensive pass and cut, screen and slip, screen cuts,
offensive rebounds, and transition.
4. Fast-break package sprints: without the ball.
5. Shooting progression: field goal and free throw (see chapter 4).
6. Fingertip push-ups and stretching, especially a long and low drive stretch for the
groin and hyperextension of the wrist for shooting.
7. Ballhandling sequence: around the body, the arms, and the legs.
Coaching Points
• Use imagination to simulate game moves.
• Do things right, and then do them quickly at game speed.
• Become a detail player.
Line Drill: Live-Ball, Dead-Ball,

and Completion Moves Addition
Purpose: To teach players live-ball and dead-ball moves and to review dribble moves.
Equipment: One ball per line of players, full court.
Procedure: Form four lines of players on the baseline. No defenders are placed on
the court. Each circuit should eventually include a beginning live-ball move, a dribble
move in the middle of the court, and a dead-ball or completion move at the far basket
(figure 5.12).
There are two other line drill options. Put the first player in each line at the free-throw
line extended, with the next player in triple-threat position with a ball. The ballhandler
passes to the opposite player at the free-throw line and closes out to play defense. The
catcher makes a 1-on-1 move past the defender; use dummy closeout first (overplay
left, then overplay right). Live closeout is the next progression. The penetrator passes
by the defender to the opposite player and then becomes the closeout defender.
Live-ball Dribble Dead-ball

moves moves or completion
moves
Figure 5.12 Line drill: individual outside moves.
The second option is for the first player in line to use a live-ball move, quick stop at
the free-throw line, and catch and face (using a rear turn). Then that player makes a
crisp, one-handed push pass to the next player in the line. Finally, the passer becomes
a closeout defender to the catcher, who makes a live-ball move around the defender.
Repeat the action.
Outside Moves Using a Spin Pass
Purpose: To develop skill in using outside moves.

Equipment: Basket and one ball per player, half-court area.
Procedure: Players practice live-ball moves and completion or dead-ball moves from a
simulated passing and catching situation. Players use the two-handed underhand spin
self-pass to begin the drill in all primary offensive locations and situations. The sequence
is first to spin self-pass in spot locations near the edge of the three-point field-goal line,
catch the ball on the first bounce with the feet in the air, and land facing the basket.
Apply RPA technique. Players should catch and face the basket every time they handle
the ball by using the quick stop and the pivot, and then attack the basket. Set goals—two
or three in a row with a move, make three to five baskets with a specified move, etc.
Coaches should evaluate moves—only perfect practice makes perfect. Use PPF (basic)
or either pivot foot (advanced) technique for developing footwork. This self-monitored drill
makes it possible to practice appropriate live-ball, dribble, and dead-ball or completion
moves using the basic principles. A tossback training device, partner, or coach passer
may be used in conjunction with the spin pass technique to simulate passing and catch-
ing situations used with the outside moves.
Options
• Catch and shoot—spin pass to self and take a quick but unhurried, balanced
shot.
• Catch and quick drive—spin pass to self, V-cut away, catch and face from pass to
self, dribble drive, and finish.
• Catch and one dribble pull-up jump shot.
• Catch, shot fake, and one dribble pull-up jump shot—quick, short shot fake (1 inch
[2.5 centimeters]) with quick stance (the legs locked and the heels down).
• Catch, pass fake, and shoot—only move the arms and the head on the pass fake.
Keep the pass fake short and quick—stay balanced.
• Catch, pass fake, drive, and shoot (may designate a completion move).
• Catch, jab step, and shoot—create space for the shot—stay balanced and use a
short jab step.
• Catch, jab step (hesitation or rocker), drive, and shoot.
• Catch, one dribble, change direction, and shoot—attack the basket on initial dribble,
change direction (crossover, spin, behind the back) to continue penetration and
finish.
• Spend extra repetitions with moves to the nonpreferred side.
Closeout: 1-on-1, 2-on-2, 3-on-3, 4-on-4
Purpose: To practice all outside moves by perimeter players.

Equipment: One ball and one basket per group.
Procedure: Form a line of players under each basket off the
court. The first player steps under the basket with the ball and is
the defender. A line of offensive players is placed 15 to 18 feet
(4.6 to 5.5 meters) away, facing the basket. The defender makes
a crisp air pass (with the feet on the floor) to the first player in
the offensive line and then closes out to defend that player. The
2
drill begins as soon as the pass is made for both offense and
defense. The perimeter offensive player should catch the ball
with the feet in the air and facing the basket, read and react to
the defender’s actions, and apply fundamentals to shoot or make
an outside move. 1
Players may rotate to the back of the opposite line each time. Play X2
make-it-take-it or any arrangement of their choice. The drill may X1 X2
also be run as a 2-on-2 option (figure 5.13) that then becomes
a teamwork competition with on-the-ball and off-the-ball play. The
passer guards the ballhandler on the first pass. Figure 5.13 2-on-2 closeout.
1-on-1 Drill
Purpose: To provide a variety of 1-on-1 competition for perimeter players.

Procedure: 1-on-1 competition allows each offensive player the chance to evaluate
the effectiveness of perimeter play in all situations: live-ball, dribble, and completion
moves.
1-on-1 Starting 15 to 20 Feet (4.6 to 6 Meters) From the Basket

• Have a limit of two dribbles.
• Begin with a move to get open—V-cut or L-cut—and then use catch and face.
• Make-it-take-it.
• Play games to five baskets.
• Use a 5-second limit to make a move or limit to two dribbles.
1-on-1 Starting Near the Half Court

• Use a cut to get open and then catch and face with the ball.
• Use dribble moves to go by the defender.
• Use a completion move to score, usually a layup or a jump shot.
• Use a teammate or coach for a passer.
• Add a second hoop defender in the lane (first defender operates back to the free-
throw line).
1-on-1 Completion Moves That Are In the Lane

(The defender allows a pass. Or use the manager or program assistant with the Air
Dummy Defender.)
• Make a move from the perimeter and catch the ball facing the basket in the free-
throw lane.
• Score with a completion move (jump shot, step-through layup, crossover layup,
spinner move). This move is made without a dribble.
• Alternate games to five or make-it-take-it.
1-on-1 From Offensive Positions

Have the players receive the ball at the locations of the fast-break or set offense.
Partner Penetrate and Pitch Drill
Purpose: To practice live-ball moves and passing to a teammate for a score at the
completion of a dribble drive.
Equipment: Two players, ball, and basket (can have three pairs per basket).
Procedure: Partners start 20 to 25 feet (6 to 7.6 meters) from the basket, spaced 15
to 18 feet (4.6 to 5.5 meters) apart; point-wing or guard-forward and forward-forward
combinations (figure 5.14).
The ballhandler starts with a live-ball move into a dribble drive.
The potential catcher partner times a cut to be open when the
1 2 passer is ready to pass and with proper spacing. The guard-
forward partners use the cutting options of sliding away (drift) or
filling behind (crack back) into the driving path. The cutter looks for
or or completion shots to the basket or outside shots—medium range
or three-pointers. The penetrator or passer passes (pitches) to
6 4 the partner or fakes the pass and shoots the shot. The forward-
forward partners are on opposite sides of the floor. The penetra-
5 3 tor drives the baseline and passes along the baseline and, using
the baseline hand, executes a push pass to the partner catcher,
who slides (drift or baseline release) to an open position toward
the baseline on the opposite side of the floor (baseline release).
Except for the baseline release pass, which is a bounce pass, all
Figure 5.14 Penetrate and pitch drill. other perimeter passes are air passes.
E3888/Krause/fig.05.15/281475/alw/r4
Partner Passing and Shooting
See chapter 4 for the descriptions of a variety of shooting drills after individual outside
moves. An example is using one, two, or three passes. Make six field goals on one pass,
six field goals on two passes, and six field goals on three passes.
Timed Layups
Purpose: To practice ballhandling and layup shooting in a competitive situation.

Equipment: Ball, free-throw lane, basket, and timing device.
Procedure
V layups: Start drill on the right elbow at the free-throw line in triple-threat position,
dribble drive to the basket, and shoot a layup; use two hands to grab the ball out of the
net and do a right-handed dribble past the free-throw line to the left elbow and a left-
handed dribble continuous for the left-handed layup, two-handed grab and left-handed
dribble past the free-throw line to the right elbow. Repeat as many times as possible for
30 or 60 seconds. Count the number of made layups for the personal record.
Reverse-V layups: Same drill, but cross the rim to shoot a layup on the other side of
the basket with the appropriate dribbling hand. For example, start at the right elbow;
use a left-handed dribble to cross in front of the basket, and shoot a left-handed layup.
Then use a right-handed dribble past the free-throw line to the left elbow and reverse
back to the other side. Time for 30 or 60 seconds; record the layups made as a per-
sonal record. This drill is a good way to finish a perimeter workout.
Perimeter Game
Purpose: For players to practice all of the perimeter moves with the ball in a competi-
tion against themselves and their own personal record.
Equipment: Ball and half court, two or three players per basket.
Procedure: This drill can be done from three spots (wing, top of key, wing) or five spots
(add both baseline corners). Rules: All layups must be clean (swish) to be worth 2 points.
Mix power layups and one-foot layups. On swish set or jump shots, the player gets a
bonus point. Call out the score on every shot attempt, made or missed. Put back all
misses, even though they don’t count. Use free-throw swish rules (swish or net = +1,
make but hit rim = 0, miss = –1). The moves are the following:
1. Three field goals

2. Middle drive to cross rim
3. Baseline drive to rim (toes to baseline on power layup)
4. Middle drive to pull-up jump shot
5. Baseline drive to pull-up jump shot
6. Middle drive to quick stop, step across, power shot (or runner)
7. Baseline drive to quick stop, spinner or power shot
8. Middle drive and hop back shot
9. Baseline drive and hop back shot
10. Middle drive, hesitation or rocker off hop back, to rim

11. Baseline drive, hesitation or rocker off hop back, to rim
12. Jab step to three field goals
13. Free throws (four)
Top score = 64
Repeat at all three or five spots.
Coaching Points
• On power layups, point all toes to the baseline.
• Properly and quickly execute the fundamentals of the game for the welfare of the
team.
• Be a practice player first.
• Game moves at game speed—practice and play with the intensity and poise of a
championship team player.
chapter 6
Inside
Offensive Moves
Playing the Post
“Get the ball inside first—take the ball inside or to the baseline.
Place pressure on the defense to foul. Post play is a key to success.”
Dean Smith, North Carolina, Naismith Hall of Fame Coach
M ost coaches and players recognize the importance of establishing an inside

game with a post player receiving a pass near or inside the free-throw lane
area. This inside game can serve several useful purposes. It can produce the high-
percentage shot—the scoring opportunity close to the basket. The inside game also
can increase opportunities for the original three-point play (inside score plus a foul
shot)—post players in a congested inside area are difficult to defend and are often
fouled when attempting a shot. When the ball is passed to inside post players (pass
penetration), the defense is forced to collapse in order to contain them. Passing the
ball back outside to teammates can create outside shot opportunities (the trey).
The underlying concept in this chapter is an emphasis on another key element of
the scoring objective—getting the ball inside for a higher-percentage shot and forcing
the defensive team to respect the inside game in order to open up outside shooting
opportunities, especially the three-point field goal.
Post Play Fundamentals

Post play is the key to building the offense
from the inside out. Playing the post is a skill
Inside
move that requires a minimum of ballhandling and
area can be learned readily by p layers of all sizes
with sufficient practice time and patience.
All players should learn postup skills because
advantage matchups occur. Good post
players get open for high-percentage shots
by developing a variety of inside moves, con-
sidered back-to-the-basket scoring moves,
usually from a low or medium post position
(figure 6.1). Post players need to learn how
to get open, stay open, catch the ball safely,
Figure 6.1 Inside move area—the low to
medium post. and score simply.
Penetrate. To be successful, the offensive team must penetrate the perimeter of the
defense on a regular basis by taking the ball inside using the dribble drive (penetrate
and pitch, drive and dish) or the penetration pass to a post player. The objective
of offensive penetration is to create the opportunity for a shot taken as close to
the basket as possible, usually inside the free-throw lane, or to force the defense to
collapse and open up the outside shot. Penetrate the defense with the pass or the
dribble. This principle can dramatically increase efficiency in team offense, partly
by drawing more opponent fouls.
Backboard Shots. Offensive players should use the backboard when shooting
after most inside moves, especially when shooting from a 45-degree angle, using a
power move, or in an offensive rebounding situation. Backboard shots are higher-
percentage shots than rim shots for inside play where control and congestion are
common. The rule is “when going to the glass, use the glass,” unless the player is
dunking the ball. The margin of error is greater when the backboard is used as a
shooting target. Chapter 4 discusses the use of the backboard as a shooting target
(shoot it high and soft).
Inside Offensive Moves: Playing the Post 135
Assume the Miss. Since inside players are stationed close to the basket, they can
Critical Cue:
be primary rebounders. Because the shooter can best gauge the exact location and Assume a miss on
timing of the shot, a post player using an inside move always assumes that the shot every shot.
will be missed and prepares to rebound from a quick stance with the elbows out
and the arms and hands extended above the shoulders (i.e., 2-and-2 rebounding
with the hands up). An inside player can also block out a defensive opponent, when
possible, or at least make a rebounding move to the middle of the lane for a primary
rebounding spot.
Everyone Is a Post. All players are post players. Although some of the best inside
players have been medium and large people, technique is more important than size.
A more critical factor is relative size—each player should be able to post up a defender
of similar size or smaller and to develop basic post moves. Cliff Hagan was a 6-foot,
4-inch (193 centimeters) center at Kentucky who was inducted into the Naismith
Basketball Hall of Fame as a player. In addition, many undersized post players like
the physical play in the post area.
Create Contact. The inside area, which is frequently congested, offers considerable
physical contact. Inside offensive players should create contact (post up on defend- Critical Cue:
ers to make open space for passes) and use their bodies to control defenders. Play- Get low and wide,
ers must learn to initiate contact with the hips and upper thighs while maintaining create contact when
balance and stance. Stay low with a wide base, and keep the feet active in a quick on offense in the
post area.
stance. Generally, defensive players are allowed to take one defensive position and
then post players create contact to keep them there.
Hands Up. Passing to inside players is difficult and challenging, and the margin
for error is small because of congestion and time constraints. Thus, inside players
always should be prepared to receive a quick pass from a teammate by using the
post stance: having both hands up as contact is created (figure 6.2 on page 136). Sit
into the stance, create contact with the defender, use the legs and the lower trunk,
and then give two-handed targets for the passer with both hands up (the upper arms
horizontal with the shoulder, the forearms nearly vertical, and the hands slightly
forward of the elbows so you can see the backs of the hands).
Patience. Many large post players are late developers and may have poor self-image
as a result of their size and relative lack of coordination. The prescription is coach-
ing time, patience, and regular practice (repetition, repetition, repetition). George
Mikan, NBA player of the first 50 years, spent hundreds of hours with his coach,
Ray Meyer, during his college years at DePaul University. His workouts focused on
footwork, ballhandling (passing and catching), shooting, and coordination drills.
Post Skills
Coaches should get players into a post-player stance. The inside or post player must
develop the ability to assume an exaggerated basic position, with a wider than normal
base, a low center of gravity, the elbows out, the forearms vertical, the upper arms
parallel to the floor as extensions of the shoulders, and the hands up and slightly
forward with the fingers spread and pointing to the ceiling (figure 6.2). Post players
should provide a two-handed target for passers. The hands are kept up and ready.
a b
Figure 6.2 Post player’s basic stance: (a) front view, (b) side view.
Posting up should take place on the post line (defined as

the straight line through the ball or the passer and the basket).
X
X Never
The post line is shown in figure 6.3. The inside player should
below attempt to get open inside or just outside the free-throw lane,
X
X
the on or near the post line. Establishing position on the post line
block shortens the distance the pass travels from the post feeder.
Ideally, the post player should be posted up with the shoulders
square (at right angles) to the post line, “showing numbers”
to the passer (i.e., the passer should be able to read the jersey
number when passing to the post player). Keep the passing
lane open by showing numbers to the passer and moving the
feet (active feet or footfire) while creating lower-body contact
on the defender. Use the posterior as radar bumpers. This rule
Figure 6.3 The post line.
applies in all situations except when defenders are fronting
E3888/Krause/fig.06.03/281481/alw/r2 (playing between the passer and the post player).
The post line should be used whenever possible to shorten the passing lane except
when the passer is in the corner; then the lowest foot of the post player should be
on or above the block in order to have space for a baseline scoring move. Low post
players sometimes start on one side of the post line to force defenders to defend
them on one side or the other.
Getting Open in the Post

The post player needs to get open on the post line between the passer and the defender
whenever possible by using a V‑cut and swim move, stepping into the defender, and
using a rear turn to seal the defender (place the turning foot
between the defender’s legs), or stepping across the near leg of
the defender (sit on the defender’s leg or fight the front foot)
as contact is created. See figure 6.4. The offensive post player
uses proper footwork to post up and then maintains contact
and takes the post defender further in their set direction (i.e.,
defender high—move her higher; defender low—move her lower; V-cut
defender behind—move her toward the basket; and defenders X
in front—move them away from the basket). Rear
turn
X
Getting open at the right time and staying open are primary Step across
seal
tasks of the inside player. Because post play is a constant front foot
of defender
1‑on‑1 battle, players must learn to create contact and stay
open. Once the defender has taken a position, inside players
Figure 6.4 Getting open in the post.
should make contact to keep the defender in place. They
should keep their feet active and use the whole body to work
in a half-circle move (figure 6.5). The hips and buttocks (the
Post
lower trunk) are used to sit on the defender’s legs or body and line
to maintain contact.
Catching the Ball Inside

Post players must want the basketball. They need to build X
confidence in teammates that they will get open, catch the ball
safely when it is passed to them, and score simply inside when 5
open or pass outside when they draw two defenders. X 5
Maintain contact in order to feel and seal the defender (use
radar bumpers, not the arms or hands). The post player should
also be able to locate the defender by reading the pass. The Figure 6.5 Half-circle move: keep open
by saddling up on the defender and showing
passer feeding the post player should pass to the hand target numbers to the passer.
away from the closest defender. The placement of the pass
helps the post player locate the defender—the pass leads to the score. Keeping the
passing lane open is one of the toughest tasks for post players. Players must keep
their feet active and maintain contact until the ball hits the receiver’s hand—show
numbers to the passer (face the passer).
Post players must step into the pass and meet the ball and still hold their position
by catching the ball with two hands, with both feet slightly in the air (when possible),
and then executing a quick stop (except when fronted). Possession always takes prece
dent over position, even though position is necessary to get open. Coaches should
train players to focus on the ball until it hits their hands. When players catch a pass,
they must protect the ball by using the chinit technique—the elbows out and up, the
fingers up, the ball under the chin (or from shoulder to shoulder)—which keeps post
players from dangling the ball and allows good ball protection.
The lob or ball reversal can be used when post players are fronted. When the
defender establishes a ball-defender-post (fronting) position, two techniques are
recommended. The first is an over-the-top lob pass (figure 6.6), where the passer
shows the ball (go from triple-threat position to overhead), uses a check pass to read
the help-side defensive coverage, and then quickly throws a pass over the defender to
the junction of the backboard and the rim. The post player, maintaining quick stance
a
Figure 6.6 Lob pass over the defender: (a) both hands up—contact with the rear end and hip,
(b) use a check pass (pull the string) to test the help-side defender’s reaction, (c) two-handed
capture and chin catch with a power move.
138
and keeping both hands up (the palms facing the passer), faces
the baseline and establishes contact with the defender using
the hips and buttocks (radar bumpers). The post player waits
until the ball is overhead before releasing to catch the ball with
two hands, the palms facing the ball. Care must be taken to
maintain contact with the lower body and not push off with
the arms (especially the forearm). The second technique is to
use ball reversal to the high post or help side. If a defender
is fronting on one side of the court, the ball may be reversed
(second side) as the defender is sealed off and the post player X5
steps to the ball (figure 6.7). 5
Taking Out the Defender Figure 6.7 Post play: reverse the ball
(second side), pin and seal the post defender
(use radar bumpers).
Inside players must learn to take the defender out of the play
automatically. If post players are defended on the low side,
they should take defenders lower (if defended on the high side, take them higher);
if fronted, they should make lower-body contact while facing the baseline and take
defenders away from the basket. If played behind, they should step into the lane Critical Cue:
Catch with two hands
before posting up with a V-cut or a rear turn. The idea is to allow defenders to take and chinit in the post.
a position of choice and then take them further in that direction and pin or seal
them in that position by creating contact with the legs or the lower trunk (use radar
bumpers) in a post stance.
Reading the Defense

When the defender is fronting—playing between the passer and the post player—
coaches should have their players use a lob pass over the defender or reverse the
ball, pin or seal the defender, and feed the post from the opposite side. Offensive
players should use a power move or reverse layup on the lob play. With the defender
playing behind, the passer delivers the ball to the head target; then a post player
should catch and face using post-facing moves. The post shot is also a possibility
in this situation.
The defender positioned on the low side (baseline side) tells the post player to
use the post or wheel move or the power move to a jump hook. Similarly, the power
move or wheel move is indicated when the defender is positioned on the high side.
The guideline for the perimeter passer and the post catcher is that the pass leads
to the score.
Reading and reacting for the post player means learning to feel contact, reading
the pass, turning to the middle, seeing the whole court, and challenging the defense.
Excellent post players with the ball attract two defenders.
Post or Inside Moves

Finally, coaches should teach post players to move aggressively and be alert for
open teammates. Their objective when using inside moves is to gain a position for
a close-in shot or to free a teammate in scoring position for a pass. This h
appens
when the post player attacks and must be guarded by two defenders, which can
be achieved best by mastering a few basic, well-executed post moves to score
simply.
Post Shot
This move to the middle and into the free-throw lane is a basic tool for the post player
and an essential scoring weapon. The move is normally made without dribbling; the
footwork and the mechanics of the post shot and the jump hook shot are explained
in chapter 4. One advantage of the post shot is that it is a quick move to the middle
of the defense and into the high scoring area (free-throw lane). Alternatives are the
power move and the jump hook, which are slower and require a dribble.
Power Move
The power move usually is used to the baseline side when the defender is on the
Critical Cue:
Power move—pivot, high side (away from the baseline). It may also be used toward the middle when the
seal with a half rear defender is on the baseline side. The sequence for the baseline power move is to pivot
turn, power jump from with a half rear turn on the foot closest to the defender and seal off the defensive
two feet (bounce and player with the hips and buttocks. Then the post player takes a one or two-handed
hop), and power layup
or jump hook (from power crab dribble between the legs (near the foot closest to the basket), makes a
two feet). two-footed power jump moving to the basket at the same time, and executes a quick
stop with the feet at right angles to the baseline (belly baseline). This dribble some-
times can be eliminated when the post player is in the lane and close to the basket.
Finally, the power shot or jump hook shot is used to protect the ball with the body
and to score with the shooting hand away from the defense; the backboard is used
whenever possible (figure 6.8). This move is fully described in chapter 4 as a strong
move from two feet to two feet.
The power move to the middle (figure 6.9) is executed the same way: catch the ball
and chinit (the defender on the baseline side), pivot on the baseline foot and use a
rear-turn seal, power crab dribble between the legs near the lead foot as a two-footed
power jump to the basket and into the free-throw lane is made, and finish with a
two-footed power layup or jump hook (may need a shot fake). The most common
error is to dribble or drop the ball outside the base as the rear turn or drop step is
made—this exposes the ball to defenders in the congested post area. Make the two-
handed bounce between the legs and near the front leg as a two-footed hop move
is made toward the basket.
Jump Hook
Critical Cue: The jump hook is a two-footed shot, with the hand away from the defender, that
If you catch the ball in is taken in close to the basket. The technique is to chin the ball and move it to the
shooting range, make shoulder away from the defender. Then use a power jump (two feet) and use the
a quarter turn and
use the jump hook. arm bar to keep the defender from the shot as the ball is taken up over the head and
Point the nonshooting above the defender. The nonshooting shoulder points at the basket. The jump hook
shoulder at the basket. can be used with either hand; it is a safe, powerful move that many players prefer to
use in heavy traffic or congestion.
a b
c d
Figure 6.8 Power move to the baseline: (a) catch and chinit, (b) half rear turn and seal, (c)
crab dribble—both hands between the legs (bounce and hop), and (d) power shot (facing the
baseline).
141
a b
c d
Figure 6.9 Power move to the middle: (a) catch and chin the ball, (b) rear-turn seal, (c) two-
handed bounce and hop, and (d) jump hook, facing the sideline.
142
Wheel Move (Advanced)

This advanced move, a combination of a power move followed by a post move, is
used when the defender begins by playing high-side (or low-side) defense as the
power move is made but then anticipates well and cuts off the offensive player who
has made a power move. The post player then immediately executes a counter post
move (figure 6.10). The sequence is to initiate a power move, then do a quick stop
and chin the ball when the defender overreacts, and, finally, carry out a post move
as a counter reaction to the defender’s position.
a b c
Figure 6.10 The wheel move: (a) the power move to the baseline (cut off by the defender), (b) post move back to the
middle, and (c) take the post shot.
Facing Moves
These basic perimeter moves are used when the defender is playing behind the post
player, especially with a defensive gap. The offensive player pivots with a front turn
or with a rear turn on either foot to face the basket and the defender. The front-turn
options are the jump shot, the jump shot with a shot fake, and the crossover post
shot (figure 6.11). All live-ball moves may be used in this situation. Other post player
options are the rear turn on either pivot foot, followed by a jump shot; the jump shot
with a shot fake; or other live-ball moves. This rear-turn move, first popularized by
Jack Sikma, formerly of the Seattle Supersonics, tends to clear the defender and to
create a gap for the quick jump shot. See figure 6.12.
a b
c d
Figure 6.11 A facing move: (a) pivot on either foot, (b) jump shot fake, (c) crossover, and (d)
post shot.
144
X5
Turning
foot
Figure 6.12 Sikma post move: rear turn (right pivot in illustration).
Passing to the Post

For most post players, the preferred pass into the post is the bounce pass, when
passed to the baseline side. The bounce pass is hard for the defender to deflect or
steal. However, the air pass is quicker and should be used more often to the middle
or on the reverse (second side) pass and certainly on the lob pass (when the defender
fronts the low post). On the direct air pass to the post, pass from above the shoulders
with an overhead pass and hit the post-hand target away from the defender above
the shoulders, or use a one-handed push or flick pass past the defender’s ear from
the triple-threat position. Perimeter players should be sure they can see the numbers
on a post player’s jersey before they make the inside pass to ensure that the passing
lane is open. The perimeter player passer needs to pass to the hand on the open side
(opposite the defender) because the pass should lead to a score. The pass tells the
post player which move to make (reading the defender). When the defender plays
directly behind the post player, the pass is made to the head of the post player.
Troubleshooting
Following are some of the common errors, with the coaching response and corrections.
Problem: Post player not consistently creating Problem: Inconsistent catching of the ball.
contact. Correction: Increase partner passing and catching
Correction: Have players sit into their game, stay with a click (two hands, two eyes), and empha-
in a post stance, and then progressively make size possession over position.
contact on pads or managers, dummy defen-
ders, and then live defenders. Problem: Losing ball (after catch).
Correction: Check capture and chin technique:
Problem: Trouble staying in post stance. the fingers up, the elbows up and out, squeeze
Correction: Have players do more practice with the ball, use turns to shield the ball and escape
the post player line drill, develop added core defenders.
strength, keep in stance for progressively longer
periods. Problem: Not scoring quickly and simply.
Correction: Work harder before the catch for a deep
Problem: Difficulty staying open. post position, sit into a lower stance to main-
Correction: Reteach players how to create contact tain quickness, practice same scoring moves
in all situations, use progressive contact drills, over and over until they’re automatic, read and
and check active feet or footfire to maintain respond quickly, always assume a miss, score on
position. an angle whenever possible.
3
X3
2
X2
b
Coaching Points for Post Play

¤¤Want the ball, call for the ball.
¤¤Teach post players inside moves (one go-to move and one countermove) that they
can perform with confidence and, in turn, have the team take the ball inside (in the
paint) regularly so that players can use these moves. Teams should play from the inside
out.
¤¤Teach players to use the backboard on most inside shots; it is a higher-percentage
shot.
¤¤Consider all players who are competitive and who like contact as potential post
players.
¤¤Have post players keep the hands up inside.
¤¤Get players in post stance with a two-handed target on or near the post line. Players
should always catch the ball with two hands to capture and chin the ball.
¤¤Emphasize that getting open usually requires contact with radar bumpers (the lower
body and thighs) using quick, strong moves.
¤¤Create contact on offense with radar bumpers to pin and seal the defender in order
to get open.
¤¤Get possession of the ball over position when the pass is made inside.
¤¤Take defenders in the direction they position themselves.
¤¤Capture and chin every pass to the post (catch safely).
¤¤Train post players to read the pass, their contact with the player guarding them, and
the position of other defenders. Generally, see and attack the middle and into the
free-throw lane.
¤¤Teach the post shot or the power move and jump hook shot as the basic shot to the
middle of the free-throw lane from the chinit position to score simply.
¤¤Show post players that keeping the body between the defender and the ball during the
power move is essential to its effectiveness.
¤¤Teach players the wheel move as a power move, quick stop, and post move in
sequence.
¤¤In some situations, a post player may catch and face to use perimeter moves, especially
in the free-throw line or the high post area or when the defender plays directly behind.
Post Drills
These drills should be developed progressively with no defense, dummy defense in
different positions, managers defending with hand-held air dummies for contact,
and finally with live defense.
Post Warm-Up Drill
(Also see chapter 3, Ballhandling.)

Purpose: To teach inside players basic skills while preparing for practice.
Equipment: Basketballs, tennis balls, half-court area, basket.
Procedure: Spend 1 minute per item, select at least six options daily.
• Two-ball dribbling sequences
• Dribbling and juggling

• Tennis ball infield (low and wide, the toes to the outside, sit into the game)
• Imaginary defense slides or moves while talking to the defense
• Moving without the ball on offense (alone or in pairs)
• Rim to rim fast-break sprints
• Crab dribbles with bounce and hop down a line (two-handed ball bounce between the
legs near the lead leg followed by a ball chin and two-footed hops down the line)
• Capturing and chinning the ball from an overhead toss or a spin pass to self from
the floor
• Round the world jump hooks (left-handed, right-handed) from 4 to 6 feet (1.2 to
1.8 meters) from the basket
• Soft touch or killer shots—five spots and five shots (any goal) or with jump hooks
• Mikan series (regular, reverse, power, shot fake and power, freelance)
• Post stance with weight plate in each hand (thumb in hole) as post player moves
in half circle from block to block using active feet or footfire
Line Drill:
Post Player Starts, Turns, and Stops
Purpose: To teach inside players proper footwork using the fundamental four-line
format.
Equipment: Minimum of a half-court floor area.
Procedure: Four lines of players on the baseline at the sideline, outside the free-throw
lane (both sides), and on opposite sideline. The movement options are begun with a post
stance and a sequence of starts, stops, and turns:
• Post stance into post start (no negative steps)
• Post stance after quick stop at the free-throw line, quick rear turn and return to
the baseline (quick stop into post stance)
• Repeat with front turns
• Full-court option—post stance stops at the free-throw line, the half-line, opposite
free-throw line, and opposite baseline. Use two quick turns at each location and
restart together. Verbalize each move.
Coaching Points
• Post stance and starts
–– Feet wider than shoulders
–– Sit into the game
–– 90-degree elbows, the hands held high
–– Positive step forward
• Stops
–– Quick stop (heel to toe or land lightly)
–– Full-footed stop
• Turns
–– Execute front turns with the right and left turning foot
–– Execute rear turns with the right and left turning foot
–– Lift the heel and pivot on the ball of the turning foot
–– Stay low and level (head)
–– Rip the lead elbow on the rear turn; throw a forearm punch on the front
turn
Post Pair Drills
Purpose: To teach and practice basic skills for post players, including post stance,
passing and catching, and chinning the basketball.
Equipment: One basketball and player pairs spaced at least 15 to 18 feet (4.6 to
5.5 meters) apart. One player may be positioned in the post.
Procedure: Both players assume a post stance without the ball and perimeter quick
stance (triple-threat position) with the ball as they pass and catch and then capture
and chin the ball on each pass. The pairs pass and catch repeatedly for 1-minute
segments.
Options
• Regular posting and passing and catching in and out.
• Bad pass variation—catcher must give up position to gain possession of the ball
by doing a two-handed capture and chin of the ball.
• Floor pass, capture, chin, and pass out. The feeder bowls the ball to the side of
the post catcher, who captures, chins, and passes back to the feeder, who bowls
the ball to the other side of the post player. The post player should have to step-
slide to the right and the left to capture with two hands and chin repeatedly and
return the pass to the feeder.
• Back to the feeder or the passer—the post player assumes a post stance, facing
away from the passer. The feeder passes to the post player, calls the player’s
name, and he turns to face the passer and to catch or capture and chin the ball
and then to return pass to the feeder.
• The feeder and the rebounder—the post player assumes the post stance as the
feeder shoots the ball or tosses the ball in the air near the post player, who per-
forms a 2-and-2, pursuit and capture of the imaginary rebound. Coaches should
teach players to pursue the ball, rebound out of their area, and capture and chin
the ball with two hands.
Note: Post players should also do general skill drills, such as those in chapters 3
and 4.
Coaching Points
• Post players get in and stay in a post stance.
• Capture and chin the ball every catch.
• Get possession over position.
• Catch every pass.
• Do everything from two feet with two hands.
• Catch the ball with a click (two eyes and two hands).
Spin Pass Post Moves
Purpose: To teach players individual offensive post moves.

Equipment: Ball, basket, and optional tossback rebound device.
Procedure: Post players use a two-handed overhead toss and chinit catch, an underhand
spin pass to the floor and chinit catch, or pass and rebound from a tossback device to
themselves at a desired post location with their backs to the basket. Players execute
three to five repetitions of each post move on each side of the free-throw lane. The
sequence for inside or low post moves consists of the following elements:
• Post shot—to the middle
• Jump hook shot—around the lane (catch and turn; catch, crab dribble, and
shoot)
• Power—to the baseline (power shot on the glass), to the middle (jump hook shot)
• Wheel—to the baseline, to the middle (advanced)
• Face—jump shot, shot fake and jump shot, and crossover post move (front-turn
option) or live-ball move (rear-turn option)
Coaching Points
• No defender is used for this drill.
• The coach also may pass to the post to check post stance, post line, footwork,
hand target, catching technique, chinning the ball, and post moves.
• Another option is to make three to five consecutive baskets before going to the
next move.
• Assume a miss on all shot attempts and rebound until a shot is made.
Post Progression Drill
Purpose: To provide players with a self-teaching progressive drill for offensive post
moves.
Equipment: Ball, basket, and optional tossback device or method of receiving passes.
Procedure: Post players begin with an underhand spin pass to themselves (or pass and
rebound from a tossback) and make post moves in sequence. Five baskets are made
for each move in the sequence:
• Power move to baseline—left side, low post
• Jump hook move to middle—left side, low post
• Post move—left side, low post
• Wheel move—left side, middle or low post
• Facing move—left side, low post
• Facing move—high post, left elbow
• Same moves—right side
After players make the fifth basket for each move, two consecutive successful free
throws (row five plus two free throws) are required for them to advance to the next
move (or repeat the move again).
Options
• Require three to five post move baskets in a row and two or three free throws in
a row for advanced players.
• No defense, position defense, air dummy defense, and live defense progression.
Coaching Points
• First do things right, then go toward game speed.
• Assume that all shots are missed; rebound and score on misses.
Big Spacing and Post Feeding Drill
Purpose: To teach triangle spacing with six players at one basket (post feeding) and
big spacing by perimeter players at one basket from four perimeter spots, as shown
in figure 6.13a.
Equipment: Ball and basket on the half court with four players at a time (big spacing
drill). Two balls and basket on the other half court with two groups of three (post and
two perimeter players) on each side, as shown in figure 6.13b.
Procedure
Big spacing: Four perimeter players fill the four perimeter spots on the half court as
shown. Players use a regular ball or a weighted ball to swing or reverse the ball around
the perimeter as quickly as possible (reversals can be timed).
Coaching Points for Big Spacing

• Players should step and pass, pass with the legs.
• Players cannot space too high or too wide to reverse the ball.
• Players should work the ball around the perimeter.
• Catchers should use a V-cut and shorten the passing lane.
• Passers should pass away from the defenders—using the outside hand target with
both hands up (one as a target and one to ward off the defender).
a b
Figure 6.13 Big spacing and post feeding drill: (a) big spacing—perimeter, (b) post feeding.
E3888/Krause/fig.06.13a/281506/alw/r2 E3888/Krause/fig.06.13b/281507/alw/r2
• Coaches should emphasize rip pivots or turns for players to step across the body
to protect the pass and increase pass power from the legs. Use two-handed air
pass.
• Players should call for every pass (use the passer’s name).
Options: Add four defenders; add basket cuts; add dribble drives.
Post feeding: A post player is positioned on each side of the lane. Two perimeter
players are spaced at least 15 to 18 feet (4.6 to 5.5 meters) apart, to work with the
post player on their side of the floor (six players are working at once). The guard on
top passes to the wing on that side, who catches facing the basket or pivots or turns
to face the basket and calls out rim–post–action (to remind teammates of the priori-
ties with the ball—look for the shot, feed the post, action of pass, or dribble drive). The
perimeter wing then passes back to the guard and uses a back screen from the post
to cut to the basket. The post player then immediately down screens for the perimeter
player and slips or posts up again. On the second catch from the top guard, the wing
player feeds the post.
Coaching Points for Post Feeding

• Use an air dummy defender on the post to teach passing away from the defender
(pass leads to a score).
• Insist on verbal calls for passes, cuts, screens, and rim–post–action with the ball
or on the perimeter.
• Emphasize all passing and catching principles as well as moving and pivoting (turn-
ing) concepts.
• Focus on back screen, down screen, and cutter techniques. Post players must
always screen and slip to get two scoring options on each screen.
Options: Add defenders later; players can change courts to get work in both drills.
All-American Post Workout
Purpose: To teach or practice all offensive post moves (for advanced players).
Equipment: Ball, half court, basket.
Procedure: Make all shots in the sequences before going to the next move in this
30‑minute workout. Do this daily at game speed with proper and quick repetitions. Work
from your favorite side of the lane.
• Four baseline power moves
• Four jump hooks to the middle
• Four turnaround jump shots, pivoting on the baseline side, turning the foot
• Four turnaround jump shots with a shot fake
• Free-throw swish (+2/–2)
–– If player loses (–2), do push-ups or sprints
–– If player wins (+2), shoot a string until a miss; when a miss occurs, the swish
keeps the player going
• Four start low, V-cut, and flash to the free-throw line for a jump shot
• Four step out to the short corner for a jump shot on the baseline
• Free-throw swish game

• Four V-cuts and flash to the free-throw line for a shot fake to a jump shot
• Four short corner shot fakes to jump shots on the baseline
• Four V-cuts and flash to the free-throw line for a shot fake and a drive to a power
shot or a dunk in the free-throw lane
• Four short corner shot fakes to a power shot or a dunk
2-on-2 Feeding the Post Drill
Purpose: To teach offensive and defensive post play skills, passing to post players, and
movement after the pass for a possible return pass.
Equipment: Ball and basket, groups of four players (minimum).
Procedure: Two offensive and two defensive players work on post play from various loca-
tions around the free-throw lane. All offensive and defensive principles of post play are
applied. Two players are needed as feeders. The first outlet pass or dribble for transition
must be made when defenders obtain possession. Have outside
offensive players make a V-cut move for a possible return pass
when they pass to post players and call the post’s name.
Options
Post line
• Two perimeter players undefended, plus one defensive and
one offensive post player (rotate after each score). See figure
2 1 6.14.
• Two perimeter players and two post players—one offense, one
defense. Start the ball on the perimeter at the top of the key.
The perimeter player dribbles to either wing and the offensive
post player gets open on that side—the post may cut to high
1 X1 post or come outside and screen for a teammate (pick-and-roll
or back pick).
Figure 6.14 2-on-2 feeding the post drill.
E3888/Krause/fig.06.14/281508/pulled-alw/r1 • Make-it-take-it 2-on-2.
Mikan Drill
This drill, named after George Mikan, the first dominant post player in history, can be
used for all players (perimeter and post).
Purpose: To teach players footwork, ballhandling, and layup shooting close to the
basket.
Equipment: Ball and basket per player.
Procedure: Alternating layups, shoot with the left hand on the left side and with the
right hand on the right side. Players should move the feet quickly and be in a position
to shoot as soon as they rebound and chin the ball. Catch and chin the ball with two
hands, try to swish each shot, and follow through each time. Never let the ball hit the
floor—develop and maintain a rhythm. Go at game speed.
Options
• One minute or three, four, or five in a row
• Regular Mikans
• Reverse layup Mikans
• Power Mikans—jump under the basket on the shot, catch and chin while jumping
to the other side; repeat the move going from two feet to two feet
• Power Mikans with shot fake (stay in stance—1-inch [2.5-centimeter] fake); keep
the heels down on the shot fake
• Freelance—1-minute consecutive shots or make 10 scores using any move around
the basket
5-on-5 Post Passing Drill
Purpose: To teach post players to get open, catch the ball, make post moves, and pass
from the post position as they read and react to defenders (especially traps). Teach
defensive players to double-team (trap) a post player and rotate to the ball on passes
from the post.
Equipment: Ball, half-court space, and 10 players (5 offense, 5 defense).
Procedure: Position three perimeter players and two post players as shown in
figure 6.15. In figure 6.15a, the defense allows the first pass (always) and the post
player goes 1-on-1 (no traps). In figure 6.15b, a trap is made. After the first pass, all
play is live.
1 1
X1
3 2
X1 3
2
X2 X3 X2 X3
5
X4 X5 4
4 X4 X5 5
aa bb
Figure 6.15 5-on-5 post passing: after each possession, the defensive team has a quick
huddle, decides on a trap, and sprints to defense. In (a), the pass happens with no traps; in (b)
the defense employs a trap. E3888/Krause/fig.06.15b/281510/pulled-alw/r1
Post Score Through Defense (Over and Back)
Purpose: To teach post players to capture and chin the ball and score repeatedly from
two feet through a defender or blocking pad (getting fouled and scoring).
Equipment: Five basketballs, one defender with a blocking pad and basket.
Procedure: Five players, each with a ball, form a half circle around the basket (five spots)
at a 6-foot (1.8-meter) distance from the basket. One defender is in front of the basket,
preferably with a blocking pad. One player on offense starts on the baseline, receives
a shovel pass or floor pass (good or bad) from the player with the ball, captures and
chins ball, and, without dribbling, turns and scores through contact with a two-footed
power move. This move is repeated five times (over) and five times returning (back) for
10 consecutive scores through defense. Rotate and repeat.
1-on-1 Post CutThroat
Purpose: To practice post offense and defense in a 1-on-1 live format. Players play to
two or three baskets or for 1 minute.
Equipment: Three perimeter feeders (point, wing, wing), ball, two post players (one
offense, one defense), and basket.
Procedure: Offensive and defensive post player in the lane with three or four perimeter
players. The ball starts with the defensive post player, who passes it to the perimeter
player of choice; live play begins with 1-on-1 post play in the lane. The ball can be passed
anywhere on the perimeter before being passed to the offensive post player.
Coaching Points
• Offense—post stance on post line, create contact and seal, players point to where
they want the ball on the perimeter, get open and stay open, catch safely, and
score simply.
• Defense—avoid contact unless a position or advantage is offered, keep the ball
from the post.
chapter 7
Individual Defense
“My teams are built around tough defense,

stingy shot selection, and being hard-nosed.”
Don “Bear” Haskins, University of Texas at El Paso, Hall of Fame Coach
I ndividual defense, a great challenge for both coaches and players, involves develop-
ing fundamental skills that depend less on ability than on determination. Defense
can become a consistent part of each player’s game. Both mental and physical chal-
lenges await players developing defensive skills. The effectiveness of this phase of the
game especially depends on what is taught, emphasized, evaluated, and demanded.
Basic individual defensive skills are needed in all defensive systems: player-to-player,
zone, or combination defenses. These essential skills are the following:
• defensive stance and steps;
• on-the-ball, off-the-ball, off-to-on-the-ball, on-to-off-the-ball defense; and
• special situation defense; screens, traps (double-team), and the defensive
charge.
Individual defensive skills need to be blended into a consistent defensive system that
includes the level of coverage (full-court, three-quarter court, half-court), pressure,
lane, sagging style, and assignments (player-to-player, zone, or combination), and
the influence of the dribbler. This chapter discusses individual skills that are geared
to an aggressive style of play, but coaches can adapt them to other situations or to
a specific defensive team philosophy.
Defense is critical to winning, more consistent than offense, and more control-
lable. Hall of Fame coach Ralph Miller stated that losses are rooted in defensive
breakdowns—individual or team defense, defensive rebounding, or turnovers caused
by the opponent’s defense. Defense also generates fast-break offense, easy baskets,
and offensive confidence.
Fundamentals of Defense
Defense is as much mental as physical. Players should be encouraged to be proactive,
rather than reactive. Generally, defenders are at a disadvantage. One way to offset
this edge is to use the rule that action is usually quicker than reaction. Coaches can
emphasize the active elements of defense by the acronym ATTACK.
A—Attitude. The starting point of all defense is the determination to become an
aggressive, intelligent defensive player. Players must develop and maintain
control of their playing attitude, especially on defense. Coaches cannot coach
unless players decide to play hard during each defensive possession. Excellent
defense requires that players give maximum physical effort.
T—Teamwork. The collective effort of five defensive players is greater than five
individual efforts. The synergy of defensive team chemistry can offset the natural
advantage of offensive players; play together to survive and thrive with team
defense.
T—Tools of defense. The four basic physical tools are the mind, the body, the feet,
and the eyes. The hands can be a help or a hindrance. When the other tools
are used first, especially body position, the hands can be a defensive plus.
A—Anticipation. Players must use good basketball sense and judgment (mind)
triggered by vision. See the man and guard the ball—the ball is the only thing
that scores. Players should see the ball at all times and use their eyes to antici-
Individual Defense 157
pate. For example, they should see a careless pass instantly and decide to act
quickly. Quickness is based on physical readiness and mental anticipation.
C—Concentration. Players should be alert and ready to play defense at all times.
They must assess the situation and be able to take away the opponents’ strength.
Players must avoid resting, physically or mentally, when playing defense. Com-
munication is an excellent way to aid concentration.
K—Keep in stance. Defensive players must maintain defensive quick stance at all
times. They should seldom gamble by making moves that take them out of
stance or position, and all players must be constantly ready to take advantage
of opponents’ mistakes. Keeping in stance is the most important physical readi-
ness concept for defenders. Coaches need to remind players constantly to get
in and stay in stance—be ready for the opponent’s best move. Coaches and
Critical Cue:
players can use this concept as a subjective measure of defense. Great defen- Get in and
sive players and teams can stay in a quick stance during the entire defensive stay in stance.
possession.
Essentials of Defense
In addition to being proactive defenders, players must know nine essentials of defense:
transition, purpose, pressure, position, prevention of penetration, moving, line of
the ball, blocking out, and communication.
Transition. The first task is to anticipate shifting from offense to defense, which
requires an organized transition with communication among all five players and
includes rebounding balance (assume that every shot will miss and get back on
defense or go to the offensive boards). Sprint to protect the defensive basket, pick
up the ball, find shooters, and recover to all open offensive players. Players going
to defense should sprint toward the defensive end of the floor while seeing the ball
(look over the inside shoulder—red-light situation) but may run or slide backward
(yellow-light situation) once the offense is contained. Defense starts when a shot
is taken on offense and ends with a defensive rebound, steal, caused turnover, or
opponent’s basket. One useful rule for defenders, when the opponents gain pos-
session of the ball, is to sprint at least three quick steps to defense with vision on Critical Cue:
the ball, looking over the inside shoulder. See the ball during the whole transition. On a shot, go to
Transition to the defensive basket should be in straight lines parallel to the sideline, defense, or go to
offensive rebound.
which helps the team cover all outside shooters better.
Purpose. The purpose of defense is to prevent easy scores and to gain possession
of the ball through rebounds or steals. Defenders must learn to prevent situations
leading to easy baskets by opponents (i.e., prevent all layups). Make the offense
work to get all shots (and only under pressure; i.e., give the opponents one pres-
sured shot). The overall goal of defense is to prevent the opponents from scoring.
Since this is impossible, the best defensive purpose is to allow the opponents only
one contested shot.
Pressure. Offensive play has a basic rhythm that can be disrupted by pressure.
Defensive play must maintain continuous physical and mental pressure on ball-
handlers. Every shot also must be pressured physically and verbally. Bother players
who have the ball (live ball or dribbling), swarm the player with a dead ball (used
dribble), and be ready to protect the basket and support the defender on the ball
when defending off the ball. Pressure all shots by making the shooter adjust the shot.
The hand should go up through the face area to disrupt the shot. Ball pressure must
be combined with off-the-ball position and readiness.
Position. Coaches should train players to stay in a stance and be in proper court
position when on defense. Sprint to the next position as the ball moves on offense.
Most fouls occur when defenders are out of position or have not maintained indi-
vidual defensive stance. Players should get in and stay in a defensive quick stance as
they maintain proper defensive position relative to the ball and the basket. When-
ever the opponent passes or dribbles the ball, defenders should sprint to help the
defender guarding the ball.
Prevention of Penetration. Offensive players attempt to take the ball toward the
basket by passing or dribbling. Defenders must prevent this penetration whenever
possible. One defender always pressures the ball while the four other players play
zone areas toward the basket to protect it and support the defender playing on the
ball. Defenders should prevent middle-of-the-floor penetration toward the goal by
offensive players using the dribble or direct air passes to this area when playing on-
the-ball defense (especially the power zone shown in figure 7.1). Off-the-ball defense
means keeping passes and dribble drives out of the middle of the floor (especially
the power zone) by defending zone areas toward the basket area. Defenders should
play zone defense and support the defender playing on the ball. Prevent the ball and
the offensive player from entering the power zone.
Figure 7.1 Power zone—located 15 to 18 feet (4.6 to 5.5 meters) from the basket.
Moving. Players must learn to move every time the ball is passed. All five players
Critical Cue: should adjust their floor positions with every pass. On the ball, after the ballhandler
Defenders move passes the ball, the defender moves instantly toward the ball and the basket—jumping
when the ball moves
(sprint to help). or exploding to the ball. Off the ball, defensive players adjust their positions toward
the ball with every pass.
Line of the Ball. The line of the ball principle states that players should defend
their opponent only after they have taken a position ahead of the ball and toward
their defensive basket. This position is past the line of

the ball, a side-to-side line through the ballhandler’s
location. In figure 7.2, X1 and X2 need to get ahead of
the ball at O1 before getting in proper defensive posi-
tion to defend the opponent with the ball as well as
the other opponents who do not have the ball.
Blocking Out. Each defensive player is responsible Line
for blocking (checking) offensive players from the of ball X2
basket area and gaining the defensive rebound when X1
Ball
1 position
a shot is taken. Successful coaches recognize that
defensive rebounding is an important part of team
defense and devote appropriate time to teaching it
(see chapter 8).
Communication. Communication is always neces-
sary for group success. All players must react to each
other verbally and physically to produce an effective
team defense. Essentially, the five players should act as
one. Coach Mike Krzyzewski of Duke University says a
team is similar to the relation between the fingers and
a fist. Fingers alone cannot accomplish nearly what
Defensive
they can do when gathered into a fist. Communication basket
links all five fingers into a fist, just as it links all five
players into a defensive team. Especially on defense,
players cannot talk too much. Figure 7.2 Line of the ball.
On-the-Ball Defense
On-the-ball defense can be considered the spearhead of the defense; all good defense
starts by defending the ball. In the defensive location, the concepts of seeing the
assigned offensive player and guarding the ball merge and can both be accomplished,
but on-the-ball defense is also one of the most challenging defensive tasks, one which
requires both technique and determination.
The skills, principles, and defensive concepts in this section are based on the expe-
riences of a lifetime of coaching defensive stance and steps—the footwork needed
to be a successful defender when guarding the ballhandler. As players become more
skilled ballhandlers as well as bigger and better athletes, the advantage for offensive
players increases. Without proper and highly skilled defensive techniques, defending
1-on-1 on-the-ball situations is virtually impossible.
These recommended on-the-ball defensive techniques have evolved to meet the
increasing challenges of the modern game and the advantages of offensive players.
The concepts have been developed through collective playing and coaching experi-
ence, but especially through discussions with Mike Nilson, strength and conditioning
coach at Gonzaga University. Mike has incorporated the concepts of balance and
quickness into the recommended on-the-ball defensive skills. These recommenda-
tions allow all players to become significantly better on-the-ball defenders.
Defending the Live Ball

When guarding a player with a live ball (the player still has the dribble), the defender
needs to be in a defensive quick stance with active feet (footfire). Communicate ball
when the offense catches the ball and then say ready, ready. Defenders should be taught
to maintain their position between the ballhandler and the basket (ball-defender-
basket), as shown in figure 7.3, to prevent dribble penetration as they recognize and
take away the ballhandler’s strengths (on the preferred or dominant side).
Distracting and disrupting the player with the ball while preventing pass and dribble
penetration are also important. Force and encourage slow bounce or lob passes
using active feet (patter step) and hands, from a stance with
the arms and the legs bent (for quickness and balance). Match
the offensive player toes to toes, in a squared up ball-player-
basket relationship (don’t shade or open the defensive stance
and expose the basket). The feet are in a staggered stance,
with the inside foot slightly forward and the back foot toed
outward slightly. The recommendation is for the back or the
butt to be pointed toward the basket to facilitate lateral move-
X1 ment (figure 7.4). This stance is low and wide, with the hips
down, the knees spread, and the head lower than the offensive
player’s head, level with that player’s chest. Dropping the back
foot too much is an error that results in the defender opening
the door for the dribble drive. It is sometimes called matador
defense because it allows the offensive player easier access to
Figure 7.3 Ball-defender-basket: the relative the dribble drive to the side of the dropped foot and causes
relationship of the defender to the basket
and the offensive player (with the ball) being the defender to become a bullfight matador—waving to the
guarded. offensive dribble driver as he passes. This foot position also
makes it more difficult to move laterally with quick-
ness in order to maintain the ball-player-basket
relationship. It also exposes a dribble move to the
side of the front foot (figure 7.5) that is difficult
to defend. Players should position themselves with
their butts to the basket in order to flatten out or
Opens
the gate
Figure 7.5 On-the-ball defense—too much of

Figure 7.4 Defensive stance with the butt to the basket. E3888/Krause/fig.07.05a/281516/pulled-alw/r3
a staggered stance.
arc the offensive player laterally—to prevent dribble penetration. They seldom need
to swing or drop step on a live-ball move if their stance and hands are in the proper
position. This position allows the defender to keep the trunk and chest in front of
the ballhandler in a ball-defender-basket alignment without grabbing or holding
with the hands.
The recommended hand position on the live ball is for the ball-side hand (usually
the front hand) above the front foot to mirror the position of the ball. Mirror the
ball by doing the following:
• Ball overhead—the front hand should be overhead as the
arm is extended to deflect the pass as the defender moves
closer. This can be done with a quick two-foot hop for-
ward. With the ball overhead, the offensive player reduces
the threat of the quick drive or shot (the ball overhead, the
hand up, and move closer). Stay in a quick stance, with
the front arm extended and vertical and the back hand
near the front hand or near the waist in a horizontal arm
bar position, ready for contact (figure 7.6a).
• Ball in the shooting pocket—the hand in front and over
near the ball (if possible), ready to challenge and change
a shot attempt and prevent a quick air pass by the ear
(figure 7.6b).
• Ball low—the hand horizontal and above the ball to pre-
vent a quick shot or bringing the ball up or across the body
(high or low rip or circle tight move), as shown in figure
7.6c. Playing lower than the offensive player with the ball
low is especially important because of the increased threat
of the dribble drive. The defender must keep the trunk in a
b c
Figure 7.6 Defensive hand positioning—live ball: (a) ball overhead, (b) ball in triple-threat position, and (c) ball low.
the ball-player-basket position to prevent the driver from lowering the shoulder
and getting the head and shoulders by the defender on the dribble drive.
The other hand is flexed at the elbow and is in front of the body, ready to become
the disrupter when the ball is moved to the opposite side by the offensive player.
This back hand is ready to chase the ball following a pass to this side; get a touch
on any pass to that side.
Taking a stand on the ball is the phrase that coaches can use to remind players to
get and maintain a ball-player-basket position on ballhandlers as they attempt to
Critical Cue:
distract and disrupt the players with the ball. Be close enough to get a touch on the
Take a stand on
the ballhandler. ball, about an arm’s length. This technique applies to defending the live ball and
the dribbler.
Note: On an offensive jab step, use a 6-inch (15.2-centimeter) retreat step to that
side. This is a power push-step slide to prevent the possible dribble drive.
Defending the Dribbler. Defending a dribbler, the point position, is done with a
gap close enough to get a touch on the ball but adjusted to the quickness of both
the offensive and the defensive player. On determining the direction of the offensive
player using the dribble drive, the defender uses push steps to prevent the drive and
maintain or regain the ball-defender-basket position. A slight rear turn is made in
the direction of the dribble drive as the defender uses repeated explosive push steps
(usually three steps) from the power leg to prevent dribble penetration. A good
defensive reminder is that defenders should use their mind, feet, and bodies to stop
the dribbler. Anticipate the drive direction (mind), use explosive push steps (lead
with the foot in the direction of movement) to maintain the ball-player-basket posi-
tion, and take contact on the chest or trunk in a legal guarding position to prevent
dribble penetration. If the dribbler gets by the defender (head and shoulders past),
the defender then turns and sprints to regain the ball-player-basket position (run
to recover).
Push-Step Technique. From a balanced defensive quick stance, players should
thrust the lead foot (in the direction of movement) laterally as the head and body
weight are shifted in that direction. That foot is toed outward slightly as the same
foot position of the quick stance is maintained. Although some coaches prefer point-
ing the lead foot, keeping the feet parallel is preferable. The power for the push step
comes from a forceful push from the power or trail foot. The movement of the lead
and trail foot is 6 to 18 inches (15.2 to 45.7 centimeters) laterally as the feet are
kept at shoulder width or wider. The trail foot then returns to quick-stance posi-
tion. Usually, three explosive push steps are sufficient to prevent dribble penetration
in one direction. Then, the dribbler is either past the defender (run to recover) or
reverses direction on the dribble (the defender must then use three push steps in the
opposite direction). Partial rear turns may be needed to maintain proper defensive
position prior to the push steps.
The teaching segments for the lateral push-step movement are the following:
• Use a partial rear turn when needed to stay ahead of the dribbler and to main-
tain the ball-player-basket position (figure 7.7a).
• Explosively push from the trail foot as the lead foot moves laterally 6 to 18
inches (15.2 to 45.7 centimeters) and the head and body weight shifts in the
direction of movement (figure 7.7b).
• Focus on lead foot landing with balanced weight distribution (toe and heel hit
at once, with 60 percent of the weight on the ball of the foot) while maintaining
a parallel stance with the feet (or toes pointed slightly outward).
• The trail foot also moves 6 to 18 inches (15.2 to 45.7 centimeters) as the feet
maintain a shoulder-width relationship (figure 7.7c).
• The start and end of the movement are always from and to a balanced quick- Critical Cue:
stance position (with the feet only slightly toed out). Push step and slide,
low and wide,
Push-step technique is sometimes called step and slide motion. A verbal prompt can’t get too low,
(push step and slide, low and wide, can’t get too low, can’t get too wide) is a good learning can’t get too wide.
reminder.
Three push steps should stop the dribbler; otherwise, the run-to-recover move is
needed to regain the ball-defender-basket position. The complete push-step sequence
is shown in figure 7.7.
In the point stance, the player’s nose is on the ball to get ahead of the dribbler.
The near (dig) hand is pointing to the ball, with the elbow bent and the palm up.
When step-sliding to the right, the player’s near (dig) hand is the left hand. The lead
(back) hand is in the “thumb-in-ear” position, the elbow at a right angle, and the
forearm acting like a windshield wiper. Moving right, the right hand is the thumb-
in-ear or wiper hand, used to take away or prevent the quick air pass by the ear.
Stepping
foot
Slight
Turning rear turn
foot
a
E3888/Krause/fig.07.07a/281520/alw/r3
Stepping
foot
Pushing
foot
Trailing
foot
b c
E3888/Krause/fig.07.07b/281521/alw/r2
Figure 7.7 Sequence for the push step direction of movement: (a) partial rear turn (only when
E3888/Krause/fig.07.07c/281522/alw/r2
needed), (b) push step, and (c) return to quick stance.
Communicate point, point when the dribbler puts the ball on the floor. Turn the drib-
bler in the backcourt, adjust to the ball-defender-basket position in the frontcourt.
On a spin dribble, players should jump back away from the dribbler a step to prevent
the dribbler from hooking them to go by.
Traditional Method of Defending the Live Ball. Live-ball defenders must be
Critical Cue: ready in a defensive quick stance in a ball-player-basket position. The forward foot
Hands on the ball may be placed opposite the dominant hand of the offensive player. If that player is
and not on the
offensive player.
right-handed, defenders can have the left leg and arm forward to force the offensive
player to pass or dribble with the weak hand. Another option is to place the inside
foot slightly forward in the ball-player-basket position. Coaches should have players
defend with the palm of the lead hand facing the ball (see figure 7.8), allowing them
to move easily, flick at, and pressure the ball. This is a more common hand position
when players are guarding the live ball.
Players should distract and disrupt with the hands as they keep the inside foot
slightly forward. Most coaches prefer to have the inside foot forward, as shown in
figure 7.9. In addition, many coaches prefer to point the lead foot during step-slide
defensive movement to cut off lateral movement. When a dribbler gets her head and
shoulders past, run to recover.
Figure 7.8 Live-ball defense: lead hand palm facing for Figure 7.9 Foot position—the inside foot
ward, trail hand palm facing up. The right foot is forward forward.
against the right-handed offensive player. E3888/Krause/fig.07.09/281525/pulled-alw/r2
Critical Cue: Defending the Dead Ball

Dead ball—
swarm or sag. When a ballhandler has used the dribble, the two recommended techniques are
swarming the ball, tracing the ball with both hands and attacking the player’s senses
while staying in a stance, as shown in figure 7.10 (pressure option), or dropping
back toward the basket while staying in the ball-player-basket relationship to
anticipate the next pass and help the

team defense (sagging option). The
latter can be used especially when the
ballhandler is out of shooting range.
The pressure option is called the stick
position (communication stick, stick)
to alert defensive teammates to deny
other passing lanes.
Off-the-Ball Defense
This most challenging and crucial
individual defensive skill makes a sig-
nificant contribution to team defense.
Despite a natural tendency for players
to relax away from the ball, they must
learn the importance of off-the-ball
defense. Coaches should teach them
that protecting the basket and sup-
porting the defender playing on the
ball is as important as attending to the Figure 7.10 Attack the senses on a dead ball.
assigned player away from the ball (see
the man, but guard the ball). These multiple tasks require greater attention than
on-the-ball defense.
The two types of off-the-ball stances are open (pistols) stance, farther from the
Critical Cue:
ball (two passes away), and closed (denial) stance, closer to the ball (one pass Ball-defender-player
away). These stances are shown in figure 7.11: X2, X3, and X5 using a closed stance guarded position when
and X4 using an open stance to support defender X1 guarding the ballhandler. The defending off the ball.
common concept is that off-the-ball defenders are in a position of player guarded-
defender-ball.
Several other guidelines can be taught to players about defending away from
the ball. The farther the offensive player is from the ball, the farther the defender
should be from the assigned opponent, always maintaining
a ball-defender-player position. The defender needs to keep
a gap (a distance cushion to provide extra reaction time), as 5
shown in figures 7.11 and 7.12. The closer the ball is to the X5 X3 3
defender, the closer the defender should be to the assigned 4
opponent away from the ball. X4
What the defender does before the offensive player gets
the ball determines what the offensive player can do with the
X1
ball. Defenders should keep the ball away from the assigned X2 1
opponent in favorite spots on the floor. Always take away an 2

opponent’s strength on the ball or off the ball.
Player cuts to the ball (ball-defender-player position)
in the middle or power zone areas should be prevented.
Teach defenders to force offensive players to go around or Figure 7.11 Closed stance (X , X , X ), open
2 3 5
away from a desired position. If contact must be made, the stance (X4).
Flat
triangle
Figure 7.12 Open stance—the off-the-ball defender forms the flat triangle and points pistols (at responsibilities).
defender should beat the offensive player to a desired spot, make contact using an
Critical Cue:
Closed (denial) arm bar and a closed stance, force the cutter high, and then reestablish a gap.
stance—the hand in Seeing the ball at all times allows players to defend the ballhandler and support
the lane, the thumb the defender playing on the ball more easily. Players should follow the ball visually
down, the ear in to anticipate offensive cuts and careless passes. Guard the ball, and see the offensive
the chest, the body
positioned as ball- player being guarded. The ball always scores, not the player.
defender-player being Players two passes away from the ball should assume an open stance, which
guarded, the foot allows them to see the ball and their assigned opponents. In this position, one hand
closest to the ball
forward.
points at the ball and the other points at the opponent—pointing pistols—forming a
flat triangle: ball-defender-player being guarded (figure 7.12).
Defenders near the ball need to develop the skill of denying the pass to the player
they are guarding—closed stance. The defender is in a ball-defender-player guarded
position. In a closed stance, players should place the back partially to the ball (seeing
both the ball over their shoulders and the players they are guarding) while putting
the lead foot (the foot closest to the ball) and the lead hand in the passing lane,
with the thumb down, the fingers spread, and the palm facing the ball. Put the ear
at the level of the chest of the offensive player. Denial pressure can vary from the
hand in the passing lane (moderate) to the elbow in the lane and the shoulder or
the head in the lane (high).
The back hand near the opponent is the brush hand (the back of the hand feels
the opponent, ready for use as the arm bar when the opponent cuts to the ball).
Make a fist with the brush hand to prevent grabbing or holding fouls. The defender’s
vision is down the gun barrel of the extended near arm.
In a closed stance (denying the pass to the player guarded), the offensive player
needs to V-cut to get open, so the defender must stay in a closed stance and move
continually to maintain the desired ball-defender-player guarded position. Also, when
overplayed, the player guarded may cut behind the defender in a backdoor move.
The proper response to the backdoor cut is to go with and stay in the ball-defender-
player guarded closed stance position (snap the head and change the denial hand)
until the cutter reaches the lane, then open up and assume the open stance to see
the ball. Do not follow the cutter away from the ball. See figure 7.13. The commu-
nication on all off-the-ball situations of open or closed stance is help right, help right
or help left, help left. A defender in the key calls hoop, hoop.
2
X2
3
X3 3
X3
2
X2
aa bb
Figure 7.13 Defending the backdoor cut: (a) move with cutter, (b) open up away from the ball.
Post Defense
Techniques for players learning to guard an offensive post player in or around the
free-throw lane include the ball-defender-player closed stance (with the hand across
the passing lane in a ball-defender-offensive player arrangement, figure 7.14a) and
the fronting stance (see figure 7.14b). As a general rule, the ball should be kept out
of the power zone (post area) using one of these two stances. In a closed stance,
the hand is in the passing lane (ball-defender-player guarded) with the thumb down
and the palm facing the ball.
The most common post defense technique is the closed stance, in which players
are avoiding contact unless they have a position advantage, keeping a hand in the
passing lane, and defending in a position on the side of the defender. This tech-
nique is most often used with a high post (free-throw line area) or medium post.
This half-front position is a compromise between keeping the ball out of the post
area and being ready to check or block out the post player when a perimeter shot is
taken. One added position rule is needed: when the offensive post is in the low or
medium post position, players should take a position above the post player when
the perimeter passer with the ball is above the free-throw line extended and take
a closed stance position below or on the baseline side when the ball is below the
free-throw line extended (figure 7.15). When the ball changes positions relative to
the free-throw line, the defender can choose to go behind the post (easier, but more
susceptible to a deep re-post) or in front of the post (more difficult, but prevents
post entry passes better) to regain the closed stance with the ball-defender-player
guarded position.
When in a fronting stance, the defender should see the ball and stay in defensive
stance, with radar bumper contact (the butt front) and the hands up. This allows
the defender to anticipate and move for the pass to the post. The fronting stance has
Figure 7.14 Post defense: (a) closed stance—low side and (b) fronting stance.
the advantage of keeping the ball from post players better but also the disadvantage
Critical Cue:
Fronting post—stay in of giving the offensive post player a definite edge for rebounding when a perimeter
stance with the hands shot is taken.
up and butt contact; Offensive post players control defenders by establishing and maintaining contact.
be ready to move Post defenders should avoid contact unless they have an advantage in position,
for the pass.
maintaining a safe distance from the ballhandler and continuing to move in order
to keep the offensive post player (and the passer) guessing.
The basic fundamentals also apply to defending a post player with the ball;
defenders should stay in a defensive quick stance with both hands ready. When an
offensive post player receives the ball in the low or medium post area, the defender
X5
5 5
X5
aa bb
Figure 7.15 Defending the post—closed stance: (a) the ball above the free-throw line and
(b) the ball below the free-throw line.
should be taught to take a step back and reestablish a ball-defender-basket posi-

tion to prevent angle baskets. Maintaining distance gives the defender reaction time
to defend against an offensive post move, prevents the offensive post player from
using contact to control the defender, and allows a teammate time to help from
the perimeter.
On-the-Ball to Off-the-Ball Defense

When a player is guarding the ballhandler as a pass is made, a necessary and immedi-
ate transition from on-the-ball status (ball-defender-basket position) to off-the-ball
status (ball-defender-player guarded position) is achieved by jumping (or exploding)
Critical Cue:
to the ball (primarily) and to the basket (secondarily) to assume a closed or open On-the-ball defender—
stance, as shown in figure 7.16. This technique, also called chasing the ball, involves ball moves,
attempting to touch the pass with the hand nearest the direction of the pass. Jump- move to the ball
ing to the ball prevents the passer from using a pass-and-cut move to make a front (chase the ball).
cut to catch a return pass going toward the basket.
Jump 1
1
to ball
X1 Jump to ball X1
3
4
3
X3 X3
X4
a b
Figure 7.16 Explode (jump) to the ball on every pass or dribble move.
Off-the-Ball to On-the-Ball Defense

When the opponents have the ball, another defensive transition, called closing out to
the ball, occurs when players change status from off-the-ball (open stance) to on-
the-ball coverage and are in a help defensive position (protecting the basket and
Critical Cue:
supporting the defender on the ball) when the ball is passed to the player being
Close out short to
prevent the drive. guarded. The correct technique for closing out to the ball is described following
and shown in figure 7.17.
• Sprint halfway to the guarded player with the ball (close out short).
• Breakdown into a regular defensive stance using active feet (stutter steps) with
both hands above the shoulders and above head level. Approach the ballhandler
with caution on the line between the ball and the basket to prevent the drive,
but be aggressive and prepared to contest a shot or pass.
• Recommended foot position is with the inside foot up (the belly to the sideline
or the baseline).
• Close out in a ball-defender-basket path (prevent the drive).
• Close out short (keep a gap) with the body weight back. Throw the hands up
and back to prevent the quick air pass.
The objective on a closeout is to prevent penetration (a dribble or quick air pass
past the head) and then pressure the ballhandler, especially on the shot.
1 2
X2
2
X1
X2 3
3 X3
a b
Figure 7.17 Closeout—off-the-ball to on-the-ball.
Special Defensive Situations

In addition to the basic skills of on-the-ball and off-the-ball defense, several other
tactics can help the team defend against special offensive threats. A situation that
occurs mostly on defense but can occur on offense is a loose ball from a bad pass,
errant dribble, or any loss of ball control by an offensive player. The best rule for
this situation is to get both hands on the ball; if it is in the air, use a two-handed
pickup and snap the ball to a quick-stop and chinit position. Capture and chin a
3
X3
2
X2
b
Coaching Points for Defense
General
¤¤Get in a stance and stay in a stance.
¤¤Use the mind, body, feet, and eyes as the first tools of defense.
¤¤Use the hands only as a secondary defensive weapon.
¤¤Prevent easy scores; allow no layups and one pressured shot.
¤¤Keep pressure on the ball.
¤¤Prevent penetration by the pass or dribble.
¤¤Move on every pass or dribble.
¤¤Take away the opponent’s strength.
¤¤Upset offensive rhythm.
On-the-Ball
¤¤Get low and stay low. Be lower than the offensive player (nose in the chest).
¤¤Maintain the ball-defender-basket position.
¤¤Guard players in a live-ball situation: front foot to front foot, hands and feet active,
and within touching distance (lead or front hand up).
¤¤Keep space between yourself and the dribbler (i.e., keep a gap, but get a touch).
¤¤Guard the dribbler, keep the head and chest in front, jab with the lead hand, and run
to recover when necessary.
¤¤Guard a dead-ball situation: swarm the ballhandler and trace the ball without fouling
or sag away from the ballhandler.
¤¤Jump (explode) to the ball when a pass is made (chase the ball). Always move toward
the ball on every pass or dribble—sprint to help.
Off-the-Ball
¤¤Close out to the ball when it is passed to an assigned offensive player; sprint, break-
down, and prevent the drive (always close out short—prevent the drive). Close out on
the driving line to the basket.
¤¤Maintain the ball-defender-basket position.
¤¤Get in an open (pistols) stance far from the ball or a closed (the hand across and the
thumb down) stance close to the ball.
¤¤Keep the ball from offensive post players unless they are no offensive threat.
¤¤Be able to help and make the decision to bluff or switch on screens, penetrations, or
closeouts.
loose ball (a two-handed skill). If the ball is on the floor, dive on the loose ball with
Critical Cue:
both hands. Rules require players to pass to an open teammate before getting up Capture and chin
from the floor with the ball. a loose ball; never
dribble a loose ball.
Help and Decide
On clearouts or any penetration situation, the off-the-ball defenders make critical
decisions: help and rotate (protect the basket and cover the penetrating dribble)
and decide (to switch defensive assignments, trap with the defender on the ball, or
bluff to buy recovery time for the teammate guarding the dribbler). Communica-
tion is the key—be ready to help and communicate the decision. Two options are
shown in figure 7.18. The critical help situation in this case, called help on the help
by X1 in figure 7.18a, occurs when X3 helps on dribble penetration of O2 outside the
free-throw lane.
Defenders should use the help-and-decide defensive technique to combat the
offensive tactic of a dribble penetration, which clears out one side of the court for
the ballhandler to dribble drive to beat the defender. The off-the-ball defender should
be ready to help and decide to help or switch if the defender on the ball is beaten
or when the assigned player vacates the area.
X2 X1 2 X2
2
Help
on help X4 4
3
X3
Help
a bb
Figure 7.18 Help and decide on offensive penetration: (a) help and switch, (b) help and recover.
Screens E3888/Krause/fig.07.19b/281551/pulled-alw/r1
When an offensive player screens or shields a defender to assist a teammate in get-

ting an open shot, special tactics must be used, including avoiding screens whenever
possible—defenders should be in motion when offensive players approach them to
set a screen. Screens generally can be defeated by fighting through (going over or
under) the screen, in which case a teammate may help out the screened defender by
using a show-and-go move (figure 7.19); by switching assigned opponents, especially
when a defender is unable to get through the screen (figure 7.20); or by trapping
the dribbler on a screen. The defender guarding the screener switches forward, calls
the switch, and contains the ballhandler.
On screens away from the ball, players should avoid or slide through these screens,
usually on the ball side. Be a moving target; don’t be screened. Players should stay
sideways and use their arms as shock absorbers to prevent the screener from getting
to their bodies. The player guarding the screener should jump to the ball, stay ball
side, and help a teammate through the screen. Give help when needed.
Traps
Coaches also may want to develop defensive techniques to handle an exceptional
offensive player or to function as a surprise tactic. Trapping occurs when two
defenders double-team an offensive ballhandler (2-on-1) in certain court areas or
on ball screens. Coaches should emphasize that both players must stop the ball-
a b
Figure 7.19 Fighting through screens: (a) go over the top, (b) helper shows to help, (c) teammate recovers when the
offensive player leaves.
handler from escaping the trap by being in good defensive basic position, keeping
Critical Cue:
the feet active, positioning themselves knee-to-knee, and keeping the inside hands Defensive traps—the
up to prevent a quick air pass. The objective is to force a lob or bounce pass, and feet active, the inside
players should learn not to reach for the ball or commit a foul. All other off-the-ball hand up, contain
teammates should close off the nearest passing lanes to prevent any passes from without fouling.
the trap into their zones (play a three-player zone). The best places to set traps are
in the corners of the court (figure 7.21). An example of a frontcourt trap is also
shown. The trap is made in a frontcourt corner, and the other defenders deny the
near passing lanes and force the offense to play on half of the court.
a b
Figure 7.20 Switch screen: (a) helper (on right) steps up to switch on the ballhandler; (b) the helper calls the switch
and a teammate exchanges the assigned players to defend.
3
Trap
1 X1
X3
p
cu
Trap D
X5
X2 X4
2
Figure 7.21 Optimal trapping locations.
Defensive Charge
The defensive charge—one of the fundamental defensive plays in basketball—is used
when a defender has beaten an offensive cutter to a desired position on the floor
and is in a legal guarding position. This charge must be taught properly not only for
its great potential as a team play (it can prevent an opponent’s three-point play and
result in two free throws for the defender), but also because it involves a contact
skill that must be developed progressively to avoid injury. The rules that apply to this
situation are that the defender is entitled to any spot on the floor that is taken in a
legal guarding position; the dribbler needs no room, but the defender must be in a
legal position before the offensive player’s head and shoulders pass the defender’s
Critical Cue:
body; away from the ball, the offensive cutter must be given the chance to change Must be knocked
direction (never more than two steps); the defender must always be in a legal guard- down on the
ing position before a player becomes airborne; and defenders can move their feet defensive charge.
and protect their bodies.
Players should be taught these techniques for taking
the charge:
1. Get in and stay in a good defensive basic stance and
keep the feet active (foot patter) to adjust position.
The defender must be knocked down from the legal
position, but not flop on contact.
2. Take the blow in the chest area.
3. Resist giving up an established position, but keep
most of the weight on the heels (must be knocked
down).
4. Keep the arms out of the action and use them for
protection as in screen setting technique—protect
vital areas (different areas for men and women).
5. Fall properly—with the arms up and in front, the
buttocks should hit the floor first, followed by the
lower and upper back as the palms slap the floor.
Keep the head in a curled chin tuck position (see
figure 7.22).
a
b c
Figure 7.22 Defensive charge—falling properly: (a) The defender must be knocked down (position for protecting the vital
parts with the arms—women cross the chest, men cover groin area); (b) landing—rear end first, back roll, the head curl
or tuck; (c) scramble to regain basic position.
6. Assume that the officials will not call an offensive foul and scramble up to
regain basic position.
7. Know when to take the charge. Disrupt the offensive player’s movement, but
pick a situation in which the offensive player has poor body control and is not
alert.
Pressuring the Shot

A special skill is needed when defending the player with the ball and a set or jump
shot is taken. The general rule is to pressure every shot as follows:
• Stay in the stance and have the ball-side hand up when the ball is in the shooting
pocket (triple-threat position)—don’t leave the feet until the shooter does.
• Use the lead hand to force the shooter to alter the shot—don’t try to block it;
Critical Cue: make the shooter change the shot. The lead hand goes up and past the face
Pressure every shot— on the shot.
stay down, the hand
up, the wrist back. • Keep the lead hand up in a vertical position with the wrist back (don’t slap
down and cause a foul).
• Apply verbal pressure also (shout, make noise, scream, call names). Yell shot to
alert teammates of a rebound situation (help them see and hear the shot).
Troubleshooting
Common defensive errors and coaching responses:
Problem: Players do not get in and stay in a stance. Problem: Fear of taking defensive charges, diving
Correction: Review or reteach stance and gradually on floor for loose balls.
increase the time spent in defensive stance— Correction: Do sequential, progressive teaching and
increase emphasis and reminders. During team physical practicing of the skill to ensure safety
play, develop team consequences when a player and provide experience. Recognize great team
comes out of a stance. plays (incentives).
Problem: Lack of motivation to play defense. Problem: Not playing hard on defense.
Correction: Reason with players; provide concrete Correction: Convince players that getting coached
reasons for the necessity of effective defense. depends on their best effort; establish playing
Emphasize and demand high levels of defense. hard as a tradition; substitute in competitive
practice and game situations.
Problem: Slow reaction to ball movement.
Correction: Emphasize sprinting to the next assign Problem: Lack of defensive confidence.
ment. Correction: Provide success situations in practice,
demand effectiveness and execution that
Problem: Not talking on defense. produce success, and define success in terms
Correction: Emphasize communication; during of proper technique and effort instead of the
drills, require talking on every ball movement ultimate result (makes or misses).
(incentives and consequences) and recognize
the defensive communicator of the day.
Defensive Drills
Insist on execution first, but demand intensity on defense. Players must learn to play
hard individually in order to develop a cohesive team defense.
Stance and Steps Progression
Purpose: To provide a sequential method of developing defensive stance and power

push-step (step-slide) technique.
Equipment: Floor space for movement (half court).
Procedure: Players are spaced facing the coach and perform the sequences on com-
mand or at their own pace. Five repetitions of each move are recommended.
1. One-foot balance, defensive stance, with the chest up, the butt muscles on stretch,
the trunk slightly forward (alternate hops with the right and the left foot).
2. Lateral jumps (one foot to one foot—right to left and left to right); side jumps from
a one-foot stance to a one-foot stance on the opposite foot.
3. Lateral jumps with recovery steps (place the other foot down to gain balance in
the push-step slide).
4. Consecutive lateral jumps with recovery steps—three repetitions in one direction
(left and right).
5. Lateral seamless push steps—three repetitions in each direction.
6. Piggyback seamless push steps (three right, three left, three left, three right).
7. Free-throw lateral lane slides—push steps from outside the lane to the opposite
side and return (right to left, left to right).
8. Baseline closeouts and lateral push steps (three right, three left). Four lines or line
drill with one offensive player 15 to 18 feet (4.6 to 5.5 meters) from the baseline
defensive players.
–– Pass to offender (O), defender (D) closeout
–– O goes two dribbles right, D closes out and defends with push steps
–– O two dribbles left, D closes out and defends with push steps
–– O two dribbles right, reverse to two left, D closes out and defends
–– O two dribbles left, reverse to two right, D closes out and defends
–– O two dribbles right or left, D closes out and defends
–– O two dribbles right or left, then one spin dribble reverse, D closes out and
defends
Coaching Points
• Stay in defensive quick stance.
• Emphasize quickness with balance.
• Take a stand on the ball—maintain the ball-defender-basket relationship.
• Use explosive push steps.
• Step and slide, low and wide.
• Defend with the mind, the feet, and the body (in balance).
• Do it properly first and then quickly.
Moving Stance and Steps
Purpose: To develop individual defensive stance and steps.

Equipment: One ball for coach, half court (minimum).
Procedure: All players are spaced about the court, facing the coach with a clear view.
They assume a basic defensive stance at the coach’s signal (palm down) and respond
to the coach’s signals and commands with continuous defensive stance and step
moves. The coach uses the ball for most signals. The direction moves used are shown
in figure 7.23.
Signals and Meaning Movement

Palm down for live ball Basic stance; active feet
Ball in stomach or back dribble Slide forward
Ball in right front or dribble drive right Angle slide right
Ball in left front or dribble drive left Angle slide left
Finger point left to right or side dribble Push step
Ball in triple-threat position, then toss Close out and dive on the floor for loose
ball on the floor or loose ball ball
Ball overhead or dead ball Stay in stance or the hands around the ball
Shoot the ball in place or shot Defenders call shot; block out and rebound
imaginary ball
Note: This drill can be done with three steps and active feet for any step-slide signals
and then later continuously until the next signal is given.
Angle Angle
X X right left
X X X X
Slide Slide
X X X X right left
X X X X
C Straight
forward
Figure 7.23 Moving stance and steps—direction of movement.
Line Drill: Individual Defense
Purpose: To develop individual defensive skills in a progressive manner.

Equipment: Ball for every two players (at least four balls or one per line).
Procedure: Players form four lines on the baseline. Players execute an offensive or
defensive zigzag (zigzag in pairs). The first player in each line assumes a defensive stance
with the next player in an offensive stance. The offensive player zigzags down the floor
while the defender maintains defensive distance and a ball-defender-basket position.
Players switch positions on the return trip.
Options: These moves should be done in this sequence as a learning progression.
• Offensive zigzag—90-degree change of direction without the ball and then with the
ball (dribbling).
• Defensive zigzag—(three push steps) or using 45-degree backward defensive slides
(the lead hand with the palm up, flicking at an imaginary ball, the trail hand near the
shoulder or the thumb in the air). On change of direction, players lead with the elbow
as they rear turn and continue slides at a 90-degree change of direction—going
baseline to baseline using swing steps and push-step sliding technique.
• Defensive zigzag—90-degree change of direction with running steps (simulates
getting beaten by the dribbler). The move always starts and ends with push-step
sliding steps; slide diagonally left (dribbler gets past), sprint to reestablish posi-
tion, break down and slide again; change direction and repeat (slide, run, slide).
Continue baseline to baseline.
• Offensive-defensive zigzag—offensive and defensive pairs. The offensive dribbler
first coaches the zigzag defender while zigzag moving and carrying the ball under
the armpit to simulate the dribble. Start with three push-step slides and then
continuously zigzag. Then the offensive player dribbles down the floor (using pull-
back crossover, regular dribble crossover, spin dribble, or behind-the-back dribble
moves)—the focus is still to make the defender perfect.
• Offensive-defensive zigzag in pairs—live offense and defense in two alleys down the
court.
• 1-on-1 full court—live offense and defense to score; defender slides, runs when
needed, turns the dribbler in the backcourt, pushes to the weak hand or the side-
line in the frontcourt, maintains ball-defender-basket relationship, prevents layups.
Mix all player pairs.
On-the-Ball and Off-the-Ball Drill: 2-on-2
Purpose: To teach defenders to adjust quickly to on-the-ball and off-the-ball positions

while defending penetration (help and decide situations).
Equipment: Two lines of players at wing positions, one ball, and a half court.
Procedure: The coach starts with the ball in the middle (both defenders in a closed
stance) and then dribbles to one side as the defenders adjust to positions of closed
and open stance. The coach may pass and offensive players go live or penetrate at
any time. The drill rotation is from offense to defense to the back of the opposite line
(figure 7.24).
X2 X1 1
2 2
X2 X1
1
a a bb
Figure 7.24 On-the-ball, off-the-ball 2-on-2: (a) starting positions and (b) the coach dribbles and passes.
Closeout Drill
Purpose: To develop the individual defensive skill of closing out on an off-the-ball offensive
player who has just received a pass.
Equipment: One ball and basket per group; ideally one ball and basket for every two
players.
Procedure: When practicing the closeout technique, the defensive player starts under
the basket with a ball (figure 7.25). The offensive player is in basic position, facing the
basket within a range of 15 to 18 feet (4.6 to 5.5 meters). The defender passes the
ball to the offensive player with a crisp air pass and closes out to defend. The coach
can select a pass, preferably a nonpreferred hand pass. The rule is to first prevent the
drive by breaking down in the stance halfway to the ballhandler (the feet active, the inside
foot forward, both hands up with the palms facing the ball). Then pressure the ball and
shooter, and block out when a shot is taken. From that point, live competition between
offense and defense ends when a basket is made or the defense gains possession of
the ball. The dribbler is limited to two dribbles.
Options
4 • Closeout—shot only
3
• Closeout—shot fake, drive only (right,
left)
2
• Closeout—live offense (rotate lines
1
each time)
• Closeout—live offense and defense
(rotate)
X1 • Closeout—live, make-it-take-it (de-

fense must stop offense to rotate)
X2
X3
X4
Figure 7.25 Closeout.
Closeout Drills: 1-on-1, 2-on-2, 3-on-3, 4-on-4
Purpose: To practice all outside moves by perimeter players.

Procedure: Form a line of players under each basket off the
court. The first player steps under the basket with the ball and is 2
the defender. A line of offensive players is placed 15 to 18 feet
(4.6 to 5.5 meters) away, facing the basket (corner, wing, or 1 3
point position). The defender makes a crisp air pass with the
nonpreferred hand (with the feet on the floor) to the first player
in the offensive line and then closes out to defend that player.
The drill begins as soon as the pass is made for both offense
and defense. The perimeter offensive player should catch the
ball with the feet in the air facing the basket, read and react
to the defender’s actions, and apply fundamentals to shoot or
make an outside move.
X1 X2 X3
Players may rotate to the back of the opposite line each time,
X X X
play make-it-take-it, or any arrangement of their choice. The drill Figure 7.26 3-on-3 closeout—coach passes,
may be run as a 3-on-3 option (figure 7.26) that then becomes closeout defenders cannot cover players in
their line, must communicate.
a teamwork competition with on-the-ball and off-the-ball play.
Defensive Slide Drill:

Moving Stance and Steps 4
Purpose: To develop individual defensive steps.

Equipment: Full-court boundary lines.
Procedure: All players begin the drill in the court corner
and use defensive steps as described. They follow the path
noted in figure 7.27. Players should allow the preceding 3
player to reach the adjacent free-throw line before start-
ing. The drill includes the following 10 movements: 5
1. Forward slide
2. Slide left
3. Close out to baseline 2
8 7
4. Slide right
Hash
5. Angle slide, run, slide mark 6
6. Slide right
Finish
7. Close out to the half-court line 1
8. Face belly to the sideline with an angle left side
10
9. Face belly to the sideline or the baseline with an 9
angle right side
Start
10. Close out to the free-throw line
Figure 7.27 Moving stance and steps, may be

startedE3888/Krause/fig.07.28/281573/pulled-alw/r1
from right or left side.
Players repeat the circuit starting from the left side of the court. They complete one
circuit starting at each corner of one end line. Coaches may want to record the time
to complete the circuit after using the drill several times and after emphasizing proper
technique.
Half-Court Drills: 2-on-2, 3-on-3, 4-on-4
Purpose: To develop individual defensive skills in a team setting.

Equipment: One ball, half court.
Procedure: Three (or four) offensive and three (or four) defensive players play a half-
court game centered around different offensive moves and situations to be played by
the defender. Start with different sets and situations. The coach may rotate after one
defensive stop (successful team defense) or set challenging group goals such as two or
three consecutive defensive stops.
Options
• Screens (on-the-ball and off-the-ball)
• Post play
• Penetration
• Closeouts
• Traps
• Charges
Half Court Plus Transition: 4-on-4
Purpose: To develop individual defensive skills in a team setting and make the transition
from defense to offense after defensive rebounding.
Equipment: One ball, full court.
Procedure: Begin play as 4-on-4 half court, defending against any offensive situation
desired. When defenders successfully gain the ball on a steal or a defensive rebound (a
defensive stop), they may fast break to score at the other end of the court. Four new
defenders then take positions, and the successful defenders now come to the original
half court as offensive players.
chapter 8
Rebounding
“Offense sells tickets, defense wins games, rebounding wins championships.”

Pat Summitt, University of Tennessee Lady Volunteers (Seven-Time National Champions)
Critical Cue:
Defensive rebound—
regain the ball;
I n basketball, rebounding may be defined as gaining possession of the ball after a
missed shot. Players need to learn both offensive and defensive rebounding skills.
The objective of offensive rebounding is to maintain possession of the ball after the
offensive rebound— team attempts a shot, while defensive rebounders attempt to gain possession of the
get the ball. ball after the offensive team has attempted a shot. Rebounding is a major part of the
game at all levels. It may even have a greater influence on a game played by younger
players because of the higher percentage of missed shots at the beginning level.
Rebounding Tools
Rebounding requires determination and discipline. Although height and jumping
ability are advantages, the keys to rebounding are determination and technique.
Statistics on the leading rebounders in professional and college basketball are not
merely a list of the tallest players or the ones with the highest vertical jump. Most
rebounding, even in college and professional basketball, is done below the rim. The
positioning and the ability of players to be quick to the ball (horizontal movement),
not leaping ability (vertical jumping), may be the most essential skills for rebounding
at both professional and school levels. Rebounding requires more than physical tools;
considerable effort, determination, and proper execution of skills are necessary.
Joan Crawford was a 5-foot, 11-inch (1.8-meter) center who was an AAU star in
the 1950s and 1960s as she led her team and the competition in rebounding. She
took her USA team to the 1957 World Championship and was inducted into the
Naismith Hall of Fame in 1997. Denise Curry, at 6 feet, 1 inch (1.9 meters), also
Critical Cue: a 1997 Hall of Fame inductee, holds the UCLA rebounding record, was the 1981
Rebounding USA Player of the Year, a Gold Medal Olympian, and was named “French Player
depends on skill, of the Decade” for the 1980s. Dennis Rodman came from a small NAIA school in
position, effort, and
determination. Oklahoma and led the NBA in rebounding for many years. He is only 6 feet, 8 inches
(2 meters) tall, which is short for an NBA frontcourt rebounder.
Without question, certain physical attributes are advantageous to rebounders.
Players who are tall, have long arms, large hips, and well-developed leg and upper-
body musculature have an advantage over other players.
Vertical jumping ability is an asset for a rebounder. Coaches should ensure that
all players learn rebounding skills, not just jumping skills, although players should
develop jumping ability to their full potential. Coaches can use strength programs and
other devices to enhance players’ vertical jumps in practices. In addition to helping
them jump their highest, coaches must make sure that they are jumping correctly.
Proper jumping technique involves bending the knees, jumping from both feet, and
using the thrust of both arms to reach full extension (2-and-2 rebounding). Teach-
ing players to jump in this manner not only develops their leaping abilities to the
maximum but also helps them maintain their balance in contact jumping situations
and reduces the number of over-the-back fouls when rebounding.
Motivating Players to Rebound

The first step in teaching rebounding is to convince players that it is a relevant and
important skill to learn and perform in game situations. Explain that the entire
Rebounding 185
team—not just those who are tallest, play post positions, or have exceptional jumping
ability—must master rebounding skills. Every player can become a good rebounder. If
coaches bypass this initial step, they will probably be disappointed by the rebounding
performance of certain players during the season, especially the smaller players.
Reasons for Rebounding

Give players solid reasons why rebounding is such an important skill to develop. They
must come to see rebounding in terms of its importance in getting and maintain-
ing control of the ball and its key role in team offensive and defensive production.
Rebounding as the final phase of defense is also a critical part of team defense.
Rebounding at both ends of the floor can have a significant positive effect on offen-
sive and defensive efficiency.
Ball Possession. Rare is the player who does not like to shoot the basketball. But
players can’t shoot if they don’t have the ball. Rebounding is the primary way of
gaining or maintaining possession of the ball.
At the offensive end of the court, offensive rebounds to maintain possession
frequently lead to quick and easy baskets. An offensive rebound is like causing an
opponent’s turnover—it takes the ball away from the other team. At the defensive
end, rebounding gains possession, the final part of defense. Complete the defense
with a defensive rebound.
Fast Break. The ability of a team to begin a fast break depends entirely on defensive
rebounding and turnovers by opponents, which is why teams with a well-developed
fast break develop effective defensive rebounding. Whether a team’s offensive style
is fast or slow, the basic strategy should emphasize getting the ball up the court
quickly to prevent opponents from sending their whole team to the basket for an
offensive rebound on a shot attempt instead of keeping some players back to defend
against the fast break.
Players usually like to fast break, so it should be easy to motivate them to concen-
trate on rebounding: no rebounds, no fast break. Defensive rebounds equal more
fast-break chances.
The fast-breaking Boston Celtics of the 1960s were at their best when triggered by
a defensive rebound and outlet from Bill Russell, one of the best college and profes-
sional rebounders in history.
Winning. Perhaps the strongest evidence of the importance of rebounding is the
high correlation of successful rebounding with winning basketball games. One U.S.
study examining rebounding and winning over a 10-year period found that, 80 per-
cent of the time, teams that out-rebounded their opponents won. National leaders
in team rebounding in the United States win more of their games and list rebounding
as the third most important factor related to winning. Teams that lead the nation in
fewest turnovers (the second most important factor) plus field-goal and free-throw
accuracy (the most important factor) win more games. This statistic suggests that
teams who gain possession of the ball only after their opponents score, at best, trade
basket for basket with them. The effective rebound allows a team to pull ahead.
Work Ethic. Rebounding is a blue-collar skill that depends mostly on hard work.
It is the mark of players and teams who get down in the trenches to do the physical
dirty work required of rebounding. Players should develop the tradition of rebound-
ing (for themselves and their team) because it enhances a hard work core value.
Reinforcing the Motivation

Coaches can convince players to rebound if players understand that it is essential
for ball possession as well as for the fast break and that it is important (the third
most important factor) to winning.
Praise and encourage players who give maximum effort in rebounding, and
single out individual players for particular rebounding accomplishments (e.g.,
most rebounds in a half, most defensive rebounds for the game, best blockout,
most consistent rebounder). Make sure that they know how much their coach and
teammates value rebounding as a team skill and that their efforts to perform well
in rebounding will be rewarded.
After all players feel responsible for rebounding and understand why they must
rebound, then explain and demonstrate the fundamental rebounding skills.
Rebounding Rules
Four concepts (the big bullets of the boards) apply to offensive and defensive
rebounding and are critical for any player or team to be successful in rebounding:
1. Assume that each shot is missed and do the assigned job.
2. Keep hands up when in rebounding areas, on offense or defense.
3. Use 2-and-2 rebounding—when going for any rebound (offense or defense),
rebound from two feet with two hands. Go up tall and small, and come down
big and wide.
4. Capture and chin the ball on all rebounds; use two hands to capture the ball
and chinit to protect the ball. Chinit—two hands, the fingers point up, the ball
under the chin or from shoulder to shoulder (the power position), the elbows
out and up (big and wide).
Assume is the prompt used to remind players and coaches to assume that every
shot will be missed. When that becomes a habit, players are conditioned to focus on
carrying out their rebound assignment on every shot attempt. Even on an uncontested
layup by a teammate, players should always assume a miss—then they will develop
the habit of rebounding consistently.
The verbal prompt hands up is a reminder of this essential skill needed in rebounding,
especially when players are blocking out on defense or near the offensive rebound-
ing basket. The arm position is shown in many of the figures in this chapter. Players
should start in quick stance, ready to jump (the legs bent, sit into the stance), with
the hands up and ready to rebound the ball (the upper arms horizontal and level
with the shoulders, the forearms vertical and slightly forward). The rationale for
teaching players the hands-up arm position is the following:
• Keeps players ready for a quick rebound (hits the rim and bounces directly to
the player with no time to respond).
Rebounding 187
• Allows players to prevent the opponent from rebounding (just get close, with the
hands up). This prevents the opponent from getting his hands up to rebound
the ball.
• Makes a difference when players are blocking out on defense. The hands-up
technique prevents the defensive rebounder from using the illegal method of
hands down to feel and hold the offensive rebounder (see figure 8.1).
a b
Figure 8.1 Hands-up rebounding: (a) hands up (offense and defense), (b) improper defensive blockout
(hands down).
The term 2-and-2 rebounding refers to the important skill of rebounding from two
feet with two hands. Hall of Fame coach Jim Brandenburg popularized this concept.
Because rebounding is a contact skill, players should use a quick stance (sit into
the game), with the feet shoulder width before and after jumping into the air for a
rebound. Likewise, the effective rebounder needs to capture the ball securely with
both hands, preferably at the peak of the jump.
The teaching technique for 2-and-2 rebounding is as follows:
• Get into a rebounding ready position (quick stance, the hands up).
• Execute the 2-and-2 rebound (go up tall and small and come down big and
wide) (see figure 8.2).
• Capture and chin. Grab the ball with two hands and rip it to a position under
the chin or into the power position and against the chest. The fingers should
be pointed up, not out, the elbows should be out and up, and the ball should
be forcefully squeezed under the chin.
• Protect the ball (chin the basketball). This technique is shown in figure 8.2b.
a b
Figure 8.2 2-and-2 rebounding: (a) go up tall and small, (b) come down big and wide, capture
and chin the ball.
All players need to learn the “big bullet” principles that are essential to successful
Critical Cue:
Rebounding: rebounding: assume, hands up, 2-and-2, capture and chin.
1) assume,
2) hands up,
3) 2-and-2,
4) capture and chin.
Defensive Rebounding
The suggested rebounding technique requires that players gain the inside position on
an opponent, block out the opponent, and then get the rebound. Getting a position
between the basket or the ball and the opponent enhances the defense’s positional
advantage to secure the rebound bouncing from the rim or the backboard. Although
rebounding seems to consist of three distinct phases, these occur as quickly as if they
were a single action. The rebounding technique is commonly referred to as blocking
out, but it is sometimes also called boxing out or checking an opponent.
All players should understand the following fundamental rebounding principles
associated with blocking out.
• See or hear the shot (teammate guarding the shooter calls shot).
• Assume that the shot will be missed.
• Locate the opponent.
• Go to the opponent and block out.
• Go to the ball.
• Get and keep the ball.
• Move the ball out or down the court.
Rebounding 189
See or Hear the Shot Critical Cue:

Visual contact until
Players must be aware of when and where a shot is taken. Whether they are guarding physical contact on
an opponent on defense or attempting to get open on offense, they should know rebounds.
where the ball is at all times. Coaches should emphasize to players the need to
position themselves so that they can see both their assigned player and the ball on
defense and use their peripheral vision while moving to get open on offense. Players
who are blind to the ball usually have other problems with fundamental skills, such
as positioning and movement, that should be corrected.
Once players see a shot being taken, they call out shot to alert teammates (who may
have momentarily lost sight of the ball) that they should get in position to rebound
(hear the shot). The defender guarding the shooter has the primary responsibility
for making the defensive call. However, none of these verbal alarms are as effective
as a player’s own observation of the shot being released.
Assume That the Shot Will Miss

Every shot attempt means a potential rebound. Players must learn to assume that Critical Cue:
every shot will be a miss and to go to their rebound assignment. When players develop Assume a miss is
the most important
this habit, they will be conditioned to do their assigned rebound tasks every time a rebounding principle.
shot is taken, regardless of the outcome.
Find the Opponent

Almost without exception, young players fall into the habit of watching the flight of
the ball when shots are in the air—the most common rebounding mistake. This can
prevent them from being able to gain an advantage in rebounding position. Once
the ball is in the air, their first reaction should be to locate the opponent they are
responsible for blocking out or the opposing player nearest to them (visual contact
before physical contact).
This does not mean that players should not be aware of the direction and distance
of the shot, but they must avoid becoming spectators when the ball is in the air.
Coaches should train players to be active rebounders by teaching them to locate an
opponent while maintaining a sense of the direction and timing of the shot. Move
the feet; rebound with the feet.
To determine whether players are only watching the shot in flight, use a simple
rebounding drill in which the opposing player holds up a given number of fingers
after the shot is released by another player. After rebounding the ball, the player
guarding the offensive player should be able to report the number of fingers the
opponent held up. If not, the player probably was focusing too much on the ball in
the air and not enough on the opponent.
Go to the Opponent and Block Out

Now the player has set the stage for the next step—the actual blocking out of the
opponent. Players may not have difficulty with the first three steps, but blocking out
is challenging for almost all players, especially for beginners.
The purpose of boxing or blocking out is to gain a positional inside advantage over
an opponent for a rebound. Normally, a player is more likely to rebound a missed shot
if positioned closer to the basket than the opponent. This

is called inside position because the player is between the
basket and the opponent (opponent-rebounder-basket).
However, it is best to get that inside position away from
the basket and congestion (form a deep pocket).
Occasionally—when an opponent is far underneath
the basket and a shot is taken from a long distance, for
example—outside position (the opponent between the
player and the basket) is preferable. But the inside posi-
tion is generally the desired position for a player while
blocking out an opponent. Figure 8.3 illustrates the dif-
ference between inside and outside positions.
Before actually blocking out, a player must go to where
the offensive opponent was previously located, as shown
in figure 8.4 (visual contact, then physical contact). The
player should move quickly and not allow the opponent
to gain a positional advantage. Coaches should teach
players to use pivots and turns to help them gain inside
position for the blockout.
When blocking out an opponent, a player must be
in a stance similar to a quick stance with the following
Figure 8.3 Inside (right) and outside (left) positions. modifications. The feet should be parallel and shoulder-
width apart; the arms should be raised, with the upper
arms parallel to the floor and bent at the elbows; and the hands should be palms
up and forward. Figure 8.4 shows the standard blockout position.
The box or blockout is the phase of the rebounding sequence in which players
usually make contact with an opponent. Contact is normally initiated by the player
with the inside position. Because players must turn to the basket and be in quick
Figure 8.4 Go to the offensive player to block out. Make contact with the hands up.
Rebounding 191
stance to rebound the ball (having already located the designated

opponent after the shot was released), they can no longer see the
opponent being blocked out. Players must use another sense, the
sense of touch, to keep track of the opponent’s location. The but-
tocks, back, upper arms, and elbows are used most often for this X1
purpose. Sit into the game and make contact using radar bumpers
and active feet. Feel with the radar bumpers, not the hands. Keep X1
the hands up.
Figures 8.5 and 8.6 illustrate the preferred action technique for
beginning and intermediate players—go to the opponent, use a front a. Front turn b. Rear turn
turn to step into an opponent’s path (right foot to right foot or
Figure 8.5 Front turn and rear turn
vice versa) followed by a rear turn to make contact and take away blockout.
the opponent’s momentum and remaining path. Be pro
active—go to the opponent. An advanced technique that can
be used by elite players is called blast and box, which is shown E3888/Krause/fig.08.06/281582/pulled-alw/r1
in figure 8.7—the defender blasts the offensive player with a
forearm shiver (a) and then slides into a regular blockout (b)
before pursuing the ball or rebounding (board the ball). In
this method, the defender locates and meets the opponent
with a forearm shiver blast to take away momentum to the
basket. This is followed by a front turn move to slide into a
box or blockout position. Go to the opponent, blast and box,
then board (pursue the ball).
Figure 8.8 illustrates why it is so important that players
make contact with the opponent. In figure 8.8a, no contact
was made, and as a result, the opponent has a clear lane to
the basket and an advantage for the rebound. The player in
figure 8.8b, however, established contact and prevented the
opponent from gaining an inside position for the rebound.
Turns and pivots are not always viable options for defensive
rebounders, so it is important for coaches to emphasize that
the key concern in defensive rebounding is not so much the
technique used to block out the opponent but whether or
not the opponent is effectively blocked out.
Against an exceptional offensive rebounder, players might
use a face-block technique: face the player and use a two-
forearm shiver technique to get and maintain contact. This Figure 8.6 Rear turn completion of blockout
with contact.
move prevents that defensive rebounder from pursuing and
capturing the ball—teammates must do so.
Despite widely held perceptions, basketball is a contact sport. Coaches know that
Critical Cue:
some players are better prepared than others for the physical side of rebounding. Defensive rebounding
In drills and games, they should match up the players according to size, strength, —go to the opponent
and readiness for contact. and make contact
with a front-turn or
rear-turn move.
Go to the Ball
The old saying that certain players have a nose for the ball may be true. Some
rebounders seem to be in the right place for a rebound on every missed shot. These
a b
Figure 8.7 Blast and box, then board: (a) forearm shiver blast, (b) radar bumper blockout.
a b
Figure 8.8 Blockout contact: (a) contact not made, (b) contact made.
192
Rebounding 193
apparently instinctive rebounders have probably

studied where shots taken from various places on the
court are likely to go when they are off the mark and Middle
Shot
Help-side area
then they hustle and actively pursue the ball. area
location
on side
Coaches can help players develop a rebounding
instinct by pointing out the rebounding distribution
diagrammed in figure 8.9. Shots taken from the side
of the court are much more likely (70 to 75 percent) to
rebound to the opposite side. Players should learn to
take a position on the opposite side of the basket from
where the shot was taken (the weak-side or help-side
position). Get at least two rebounders to the weak
side on all shots from the side of the court. However,
Figure 8.9 Rebound distribution areas.
players should be taught that shots taken from the E3888/Krause/fig.08.10/281588/pulled-alw/r1
middle of the court more often tend to rebound to an area
in the middle of the lane. Also, make sure players know that
shots taken from close range rebound closer to the basket than
shots launched from long distances. Finally, players should be
aware that some rims tend to make the ball rebound farther
away from the basket, whereas others seem to cushion the
impact of shots and produce much shorter rebounds. Have
players test the bounce of the rims during warm-up.
Three-point field-goal shots rebound a longer distance,
shots from in front (the top of the key) rebound near the free-
throw line, and shots from the side generally rebound outside
the free-throw lane on the opposite side of the court.
Hustle is another explanation for the success of some
players in getting to the ball. Players who are good rebounders
take the approach that every free ball is theirs, telling oppo-
nents, “I want the ball more than you do.” Coaches can instill
this mentality in players by giving praise and other rewards
for coming up with the most rebounds, loose balls, and steals
(sometimes called garbage plays).
Timing and jumping ability are two helpful attributes for
rebounding. However, all the spring in the world means noth-
ing if a player does not know when or how to use it. There
are several useful drills for helping players get a feel for when
they should leave the floor for a rebound. One especially
Figure 8.10 Angle jump to the ball.
effective drill is to have players repeatedly toss the ball off the
backboard and attempt to grab the rebound at the maximum height of the jump
each time. See “Rebounding Drills” for additional drill ideas. Instill the concept of
angle jumping to the ball and rebounding out of the area (to the side)—pursue and
board the ball (see figure 8.10).
Get and Keep the Ball

Too often, players make perfect rebounding plays only to lose possession because
of poor ball protection. When teaching rebounding, coaches should emphasize that
all players’ efforts to gain possession of the ball are for naught if they fail to protect
it afterward.
Jim Brandenberg, former Montana and Wyoming Hall of Fame coach, popularized
the concept of rebounding from two feet with two hands (2-and-2 rebounding). Using
this strong, balanced technique of two-foot jumping and two-handed grabbing for
rebounding reduces the chances of the ball slipping out of the players’ hands or of
an opponent dislodging it from their grip. Coaches can help players develop this skill
by insisting that they go after every rebound in this manner. Young players should
keep their eyes open and focused on the ball as they capture the rebound.
Occasionally, the ball may come off the rim in an area where the player is unable
to grasp it with both hands. Players should then gain control using only one hand
(block and tuck with two hands) or tap the ball to a teammate.
Maintaining possession of the rebound once it is captured is frequently more dif-
ficult than it might seem. Opposing players try to knock the ball from the rebounder’s
hands. Often they trap the rebounder with two or even three players, making it nearly
impossible for the player to pass or dribble the ball. Players need to learn to handle
such situations.
When players rebound the ball in the vicinity of an opponent or opponents, their
first move should be to bring the ball in under the chin with the elbows out and
a hand (with the fingers pointing up) on each side of the ball, squeezing it tightly
(see figure 8.11)—chinning the ball. The best position is directly under the chin, but
the ball may be moved from shoulder to shoulder anywhere in the power position
to protect the ball away from defenders. The teaching points are the following: the
fingers up (to prevent dangling the ball and exposing it away from the body), the
elbows out and up; players should squeeze the ball and make themselves big. Tell
a b
Figure 8.11 Chinit—the elbows out, the fingers up: (a) side view and (b) front view.
Rebounding 195
players to chinit on rebounds and whenever handling the ball in a congested area in
Critical Cue:
order to capture and retain control of the ball. Tell players not to swing the elbows The most important
around to ward off an opponent because this can constitute a violation or foul. technique of
They may take up space to clear their area with elbows out (make themselves big). rebounding is
A rebounder chinning the ball can always use a pivot or turn to move away from chinning the ball.
pressure (danger) to protect and shield the ball. Players should keep the head up
and look for teammates breaking downcourt or to an open spot in the backcourt.
When a rebounder gains possession of the ball after a missed shot, a single oppo-
nent (usually one that the rebounder has blocked out) is often nearby and attempts
to steal the ball or pressure the rebounder. Coaches should teach players to pivot
away from the opponent, as shown in figure 8.12. The player should have an open
passing lane to a teammate or be able to dribble without having the ball stolen.
Caution your players not to put the ball on the floor immediately after rebounding
a shot in traffic, which presents an opportunity for an opponent to steal or deflect
the ball.
When rebounders find themselves surrounded by two or more opponents, they
should not panic. If they are trained to remain calm, to keep the ball in the protective
power or chinit position, and to look over the entire court, options present themselves.
One escape move coaches can teach players is the step-through technique shown in
figure 8.13. This can be followed by a two-dribble push to advance the ball up the
floor. Big players can then quick stop, chin the ball, and look for a pass to an open
teammate. Perimeter players can continue dribbling up the floor. This technique
Rebound
Push
Figure 8.12 Pivot away from pressure. Figure 8.13 The step-through move (outlet pass or two-dribble push).
can be used when the defenders trapping the player leave an opening large enough
for the player to slither through. Sometimes an overhead pass fake causes defenders
to leave their feet and creates an opening for the offensive player to step or dribble
through. Players should not force their way through the defensive players, which
may result in a charging foul.
Another option for a rebounder surrounded by opponents is to throw a pass over
them. Even smaller players can use this approach if they make the proper fakes prior
to the pass. If the rebounder is being trapped by two or more opponents, a teammate
should be open or able to break open to receive a pass. Also, one of the defenders
can reach in and foul the rebounder. Tell players to keep their composure when they
are trapped by opponents after a rebound and wait for one of these options to open
up. Fake a pass to make a pass is a rule for these situations, advocated by Morgan
Wootten of DeMatha High School.
Move the Ball

Once possession is assured, the player with the defensive rebound must choose
Critical Cue:
Use outlet pass or one of the options: pass to an open teammate up the floor, use a two-dribble push
two-dribble push to clear the ball, or wait for a ballhandling perimeter player to come for the ball.
to start fast break. Whatever action the player takes should begin with the head up and the ball in a
protected power position.
Passing the Ball. The preferred method for moving the ball after a defensive
rebound is the outlet pass. No opponent can outrun a sharp pass down the court.
Emphasize that this pass is the first option players should look for after a defensive
rebound whether the game strategy calls for a fast break or simply moving the ball
quickly.
Several types of passes are used to get the ball to a teammate breaking down the
court. The long air pass (also called a baseball or one-handed pass) is used when a
teammate is open at the other end of the court. The two-handed overhead pass is
used when a teammate is around the midcourt area and opponents are in the line
of the pass. The two-handed chest pass is used to get the ball to a teammate who
has broken open within 10 to 30 feet (3 to 9.1 meters) to the side or to the middle
of the court. Because traffic is often less on the sides of the court than the middle,
teach players to look first for open teammates in this area on the rebound side of
the court before looking to the middle.
Successful passing is the responsibility of both the passer and the catcher, so
coaches should teach players to get open after a teammate has claimed a defensive
rebound. If the opportunity to beat an opponent down the court is available, a player
should take advantage of it. Guards should be instructed to move quickly to a spot
where the rebounder can get the ball to them. A particularly good spot for guards
to position themselves for outlet passes after a rebound is the rebound side of the
court—between the opponent’s free-throw line and the half-court line—with their
backs to the sideline to allow the outlet catcher to see the whole floor (especially
defenders).
Good basketball teams retain possession of the ball after defensive rebounds.
Coaches must emphasize that the transition from defense to offense can lead to a
successful offensive possession or a return to defense, depending on how players
handle the ball.
Rebounding 197
Dribbling the Ball. Certain players should not be put in the position of dribbling
the ball from one end of the court to the other. However, it has recently become
more common for coaches to allow players on their teams to take a rebounded ball
the length of the court using the dribble. As bigger and better players develop the
ability to rebound and dribble, the benefits of this full-court maneuver have become
apparent.
One major advantage of having a defensive rebounder dribble the ball to the other
end of the court is that it eliminates the possibility of passing errors. There can be
no errant pass if there is no pass. In addition, the rebounder or dribbler can quickly
assume the middle position on the fast break without having to wait for a teammate
to get open. Players must be able to respond to this situation. Have teammates
practice spreading out and filling the passing lanes as they run down the court.
Having defensive rebounders dribble the ball usually creates a numerical advan-
tage over the opposition. Because one or more opponents are often slow to react in
making the transition from offense to defense, a defensive rebounder or dribbler can
get down the court ahead of them. If players are trained to recognize the s ituation
quickly and hurry down the court, the team can frequently have a 5-on-4 or even
5-on-3 advantage.
In general, almost all big players can be taught to rebound, pivot and face up the
court, use one or two dribbles (two-dribble push) to clear the ball, use a quick stop,
chin the ball, and look for a clear pass to a ballhandling teammate.
Offensive Rebounding
A coach must decide on a rebound philosophy, especially on offense. Generally,
all players should have the same assignments and rules for defensive rebounding.
On offense, coaches decide which offensive players should be assigned to go to the
boards (go to a gap) as offensive rebounders and which players, on the shot, should
transition back to defense. Most teams have three players rebound and have two
players get back on defense (one as full safety and one to stop the advance of the
ball). For a more aggressive approach, a team could have four players rebound and
have one safety getting back on defense.
Offensive rebounding is especially difficult in a successful ball-defender-basket
defense because players have the advantage for getting the inside position. How-
ever, offensive players can gain an edge by knowing when and where a shot is going
to be taken. Coaches should emphasize the need for players to anticipate shots by
teammates, as well as to react to their own shots; otherwise, players have difficulty
being successful against good defensive rebounders. Getting around a rebounder
in proper position for blocking out is not always possible. Players should not go
over the defensive rebounder’s back when attempting to get an offensive rebound
because this can lead to being charged with a foul.
The primary position objectives (in order of importance) for an offensive rebounder
Critical Cue:
are the following: Players should go to a gap and not a back, get an inside position Offensive rebounding—
and block out the defender, get at least even with the defender by going to one side go to a gap,
and around to the basket (go to a gap, as in figure 8.14), make contact with and not a back.
nudge the inside defender under the basket—pin inside by chesting with the hands
up (figure 8.15), and tap to self or teammate only to keep the ball alive when they
can’t get both hands on the ball.
Shot Best
3
or piece 2
X1 X3 of pie X1
X2
or
X2 2 Nudge
or X5 under
4
X4 5
basket
Figure 8.14 “O” boards—go to a gap: go to Figure 8.15 “O” boards—block in (when
a gap, best piece of pie (help side, baseline). defense is too close to the basket).
E3888/Krause/fig.08.15/281594/alw/r2 E3888/Krause/fig.08.16/281596/alw/r1
The techniques for going to a gap are the V-cut, or swim, move (primary) and
the rear-turn roll. On the shot, the offensive rebounder selects the best gap by the
defender (depending on position and percentages) and makes a V-cut to the gap.
When blocked out, the offensive rebounder executes a tap with the outside hand
or arm, followed by a forceful, quick overhead swim stroke with the near hand or
arm to get at least even with the defender in the hands-up position (figure 8.16).
Another move to get by or even with a defender is the rear-turn roll, which is best
used against a physically aggressive defender who actively blocks out. The offensive
player meets the contact with the forward leg in the direction of the desired gap.
Using that foot to make contact and as the turning foot, the offensive rebounder
a b
Figure 8.16 (a) V-cut and tap with the outside hand or arm, and (b) swim by with the near
hand or arm.
Rebounding 199
a b c
Figure 8.17 Rear-turn roll for offensive rebounding: (a) meet block-out contact with turning foot, (b) 180-degree rear turn
to get outside, and (c) 180-degree front turn into the gap.
makes a 180-degree rear turn to get the stepping foot outside the defender’s foot in
the desired gap. Then, using that stepping foot as the new turning foot, the rebounder
uses a 180-degree front turn to get by the defender at the gap in a hands-up posi-
tion (figure 8.17).
Offensive rebounding is important because it gives the offensive team another
opportunity to score. This new life for the offensive team also discourages the
defensive players, who have lost a chance to gain possession of the basketball. Many
options are available to the offensive rebounder.
Shooting After Rebounding

When a player gets an offensive rebound, the first option is to shoot the ball. P
layers
should first look to shoot, but, if this is not possible, then they should pass to a
teammate (passing outside for a three-point field-goal attempt is a good option)
before finally exercising the option of dribbling (action over reaction). Coaches
should emphasize that this is a very good time to take advantage of the defense.
Because the defensive opponent is unable to prevent the offensive player from get-
ting in position for the rebound, the defensive player may also be in a poor position
to defend against a shot. An offensive rebounder can take shots without dribbling
or shots after dribbling.
Tips. If players are skilled and big enough, they should tip the ball back at the basket.
Tipping is actually a misleading term for a leaping player shooting a rebounded ball
before returning to the floor. Tips that involve slapping at the ball with one hand are
usually unsuccessful. Coaches can teach players to catch the ball with the elbows
locked and to shoot it with both hands if possible (tip with two hands).
Tipping the ball is the most efficient way of taking advantage of the defensive
players’ being out of position. By not bringing the ball down from the jump, offensive
rebounders take away the defenders’ opportunity to recover and give them almost
no chance to block the tip attempt. Make sure players are physically mature and
skilled enough before suggesting the tip as a rebounding option. The tip is too dif-
ficult for beginning players.
Shots Without Dribbling. Encourage players to go up with the shot after a rebound
without putting the ball on the floor. Dribbling takes time and allows the defense to
recover. It also exposes the ball to the defense, making it more likely that a defender
will steal or deflect the ball. If players have learned the correct rebound jumping
technique, they should land with the ball ready to go back up for the shot. They can
shoot the ball from an overhead position (explode to score from the forehead) or
chinit position, but they should always keep the ball up.
Often players develop the bad habit of dribbling the ball right after they get it from
a pass or a rebound. Coaches should make a point of noting instances when players
do not put the ball on the floor after rebounding and praise them for this.
A good time to help players develop the habit of going back up with a shot after
a rebound is during individual shooting practices. Tell them that, on every missed
shot, they should hustle for the rebound, get their balance, and, with the shoulders
square to the basket, go back up with another shot (keep the ball overhead and
explode to the basket; chin the ball and explode; or chin the ball, do a shot fake, and
explode). Players should continue to shoot and rebound until they make the basket
and then start over from a new spot on the court. Shooting without dribbling after
an offensive rebound can become an automatic response.
Shots After Dribbling. Although it should be avoided whenever possible, it is occa-

sionally acceptable for a player who has grabbed an offensive rebound to dribble
before shooting. One obvious example is when a player grabs a rebound far away
from the basket and has an open lane to the goal. Because this situation presents
an easy scoring opportunity, players should dribble the ball in for the layup (attack
the basket) when the path to the basket is clear. Another option is dribbling out of
the lane to clear the ball from a congested area.
Passing After Rebounding

The player who has captured an offensive rebound also can pass the basketball to a
teammate. The pass is the second option (after shooting) that players should look for
after getting an offensive rebound. When they turn to the basket to look for the open
shot after the rebound, they also should locate any open teammates to whom they
could pass the ball for an easy shot, especially for a three-point shot. Coaches can
encourage players to take advantage of the defensive players’ having to recover after
the rebound, either by taking a shot or by passing to a teammate (usually outside)
who has a good shot. Coach John Wooden believes that a good option is a pass out
of the collapsed defense resulting from an offensive rebound for a trey.
Sometimes an offensive team chooses to reset the offense, either to run a play
or to take more time off the clock. Then the option to shoot has the lowest priority
for the offensive rebounder, and passing and dribbling become the more preferred
options.
Rebounding 201
3
X3
2
X2
b
Coaching Points for Rebounding

¤¤Rebounding is the responsibility of all of the players on the team.
¤¤Ball possession, the fast break, and winning are all closely associated with good
rebounding.
¤¤Assuming that a shot will be missed is the most important principle of rebounding.
¤¤The 2-and-2 rebounds are effective; rebound from two feet with two hands.
¤¤The hands should be kept up when players are blocking out or near the basket.
¤¤The best rebounding technique emphasizes blocking out the opposing player.
¤¤The blocking-out technique includes the following:
–– Being aware of when a shot is taken and assuming that it will be a miss.
–– Finding, going to, and blocking out an opponent (blast and box) while paying
attention to the direction and distance of the shot.
–– Going to (pursuing) and capturing the ball and getting it into the protected
position under the chin (capture and chin the ball).
¤¤Chinit is the most important technique of rebounding.
¤¤Offensive rebounders—assume a miss, go to a gap with the hands up.
¤¤2-and-2 offensive rebounders should look to shoot, pass, or dribble—in that order.
¤¤Defensive rebounding—blast, box, and board.
¤¤Defensive rebounders should either pass, dribble, or hold the ball, depending on their
skills and the situation.
Dribbling After Rebounding Critical Cue:

Get the offensive
In most situations, the offensive rebounder should dribble only if a shot or a pass rebound, then score,
is impossible. Dribbling usually only affords the defensive players an opportunity pass, or dribble
to recover and possibly steal the ball. Because the offensive rebounder is often sur- (in that order).
rounded by defenders, the chances of a turnover are even greater. Coaches should
continually advise players to look first for a shot and then for a passing opportunity
before dribbling when they get an offensive rebound.
Rebounding Assessment
Coaches should keep rebounding statistics for each player and for the team as a
whole. Offensive and defensive rebounds should be recorded separately to help
identify players who have success or difficulty rebounding at a particular end of the
court. This information may reveal a problem with a player’s offensive or defensive
rebounding technique or indicate that a player is not hustling enough at one end of
the court. Individual rebounding statistics are one of the many pieces of informa-
tion that coaches can use in evaluating the contribution of each player, particularly
those positioned nearest the basket.
An excellent team goal is 60 percent of all rebounds, 30 percent of offensive
rebounding situations, and 80 percent of defensive rebounding situations. Percent-
age goals are generally better than rebound numbers because they are valid for all
styles of play (slow or fast).
Assessment of individual rebounding can be carried out as a percentage; compare

the number of times a player did the assigned job with the total number of rebound-
ing situations. A player with an offensive rebound efficiency of 70 percent might have
done the job 14 times in 20 situations (shot attempts while on offense), thus requir-
ing a coach or program assistant to define and evaluate all 20 possessions and to
decide on pass or fail. For example, on a shot attempt, did the offensive rebounder
go to a gap (V-cut or swim move or rear-turn roll or nudge under the basket), make
a 2‑and‑2 attempt to capture the rebound, and (if captured) chin the ball? If a player
is a designated safety on the shot attempt, did the player sprint back to half court
before the shot hit the rim and prevent the layup and organize the defense?
Individual defensive assessment is more challenging. Each player is graded on each
attempt. For example, when an assigned offensive player is inside the three-point arc,
did the defender blast, box, and board; have the hands up on the blockout and near
the basket; and actively pursue, capture, and chin the ball with a 2-and-2 rebound
move? A percentage of rebound defensive efficiency is obtained by dividing successful
rebound attempts by the total shot attempts. A goal of 80 percent for offensive and
defensive rebound efficiency is a reasonable but challenging target. If players do their
rebounding job 80 percent of the time, the team will be successful. This efficiency
does not require getting the rebound, although it enhances a team’s chances.
Rebound percentages can be tracked in practice or in games. One evaluator can
directly rate two players at a time, in practice or games. In practice, any competition
situation involving offense and defense is charted (1-on-1, 2-on-2, and up to 5-on-5).
The two players selected should be anonymous during each practice and the results
should be totaled, announced, and posted after each practice. For games, video
analysis allows a coach, given enough time, to assess each player on each possession
to determine a percentage of offensive rebound efficiency, a percentage of defensive
rebound efficiency, and a percentage of total rebound efficiency. Assessment should
be performed at least every fifth game to ensure realistic feedback in order to change
behavior and enhance learning. The totals for all individual players can be used to
obtain a team percentage of rebound efficiency: offense, defense, and total.
Rebounding Drills
An important part of rebounding is aggressiveness and making legal contact with
opponents. Players should be given drills that progressively develop the trait of
aggressiveness.
Line Drill: 2-and-2, Capture

and Chin Rebound Addition
Purpose: To teach 2-and-2 and capture and chinit rebound techniques.

Equipment: Half court, one basketball per line.
Procedure: Start without the ball first—using the 2-and-2 rebound technique, get an
imaginary rebound at the free-throw line, the half-line, the opposite free-throw line, and
the baseline. Then the first player in each line has a basketball and creates her own
rebound with a two-handed or underhand overhead toss, uses 2-and-2 rebound tech-
Rebounding 203
Troubleshooting
Some common rebounding errors are identified, and possible remedies are given. Coaches should provide
appropriate feedback in order to change player behavior and enhance learning.
Problem: Lack of motivation to rebound. Problem: Small rebounding pocket on defense.

Correction: Review importance and rationale for Correction: Defenders are not going to the assigned
rebounding and sell players on correct tech player to block out (blast or make contact) first.
nique, effort, and rebound success. Often, this problem is caused by defenders who
follow the flight of the ball on a shot attempt
Problem: Errors in rebounding based on the fabu- (ball watchers or rebound spectators). Coaches
lous four principles (big bullets). should teach them to see the defender first
Correction: (visual contact after a shot attempt). Locate
–– Assume—evaluate to ensure that each the assigned offensive player visually (see the
shot attempt causes each player to know, player) and then physically (block the player).
understand, and attempt to carry out Visual contact comes before physical contact.
rebound responsibility.
–– Hands up—practice and correct or re- Problem: Hands down.
inforce this position until it becomes Correction: Feel or hold the defender when defen-
automatic. sive rebounding. Caution players that it is illegal
to hold when blocking out and impossible to
–– 2-and-2—penalize players for loss of the
capture the quick rebound in a hands-down
ball on one-foot or one-handed rebound-
position. Players should keep the hands up
ing (unless they are tipping to self or to
for the quick rebound, make contact with
a teammate).
radar bumpers, and use active feet to maintain
–– Capture and chin—remind and reinforce, contact until pursuing the ball. Get the elbows
penalize for loss of possession of the ball level with the shoulders.
as a last resort.
Problem: Rebounders who only rebound overhead
Problem: The player loses or cannot capture the or near the basket.
ball. Correction: Focus on angle jumping at less than
Correction: Check 2-and-2 technique. Stand under vertical angles out of the area, 2-and-2 tech
the basket to see if they are capturing the ball nique for capturing with balance and protec-
with a click (using both hands, with both eyes tion. The only rebounds under the basket are
open and focused on the ball). Beginners often made shots.
close their eyes during contact rebounding.
Problem: Dangling the ball or putting the ball
overhead and away from the power or chinit
position.
Correction: Losing the ball usually occurs by players
not capturing and chinning the ball. Have
players attack rebounders; slap from under,
pressure, reach over, or bat the dangling ball.
nique, captures and chins the ball, and then uses a PPF rear turn to pass to the next
person in line, who repeats.
The learning progression is the following:
• Imaginary 2-and-2 rebound.
• Toss directly overhead.
• Toss to right, left, or in front (force rebounders to use 2-and-2 technique to rebound
out of their area, i.e., angle jump to left, right, or forward to capture and chin the
ball). A variation is to use a coach at the top of the key as the tosser in each line
for the first two progressions.
• Toss overhead in pairs—the second person can contest the rebound and pressure
the rebounder to check the chinit position. The rebounder must pivot away from
pressure and execute an outlet pass back to the next person in line.
• Practice two-dribble push upcourt. Rebounder can do 2-and-2 rebound, capture
and chin the ball, pivot from pressure, and practice the two-dribble push toward the
half court. On completion with a quick stop, the rebounder can pivot and execute
an outlet pass back to the next person on the baseline.
Line Drill: Defensive Rebound Addition
Purpose: To teach the techniques of defensive rebounding through s

imulation.
Procedure: The drill is organized in four lines on the baseline. The coach gives the verbal
command shot. The first player in each line sprints on the court 6 to 15 feet (1.8 to
4.6 meters) from the basket in defensive closeout position and then uses the blast,
box, and board technique. Each player simulates the blockout, captures the imaginary
rebound, chins the ball, and makes an outlet pass. Then the next four players sprint
onto the floor in basic position or quick stance for defense.
Variations
“D” Boards Help-Side Box: The first four players sprint onto the floor in an offensive basic
stance near the free-throw line extended, and the next four assume a proper defensive
basic position to support the defender (pointing pistols at the imaginary ball and the
player being guarded) while facing a sideline. On the command shot, all four defenders
carry out defensive rebound assignments, and all must make contact at the free-throw
line. No ball is needed for this variation.
“D” Boards With a Ball (Blocking the Shooter): The four defensive players on the baseline
each have a ball in triple-threat position. They pass to the offensive player at the free-
throw line and then close out from off-the-ball to on-the-ball position (prevent the drive,
contest the shot). The offensive player is the buddy coach, who checks the defensive
rebound technique of the partner while catching the ball with feet in the air and ready
to shoot, executing a shot fake, and then shooting a short shot (12 to 15 feet [3.6 to
4.6 meters] out and without using a basket) and focusing on shooting up, not out while
holding the follow-through until the ball hits the floor. The shooter coaches the buddy,
who becomes the next shooter and then goes to the back of the line. Many “D” board
repetitions can be practiced in a short time using this variation.
Line Drill: Offensive Rebound Addition
Purpose: To teach players the techniques of offensive rebounding: getting past the
defender to block out, getting to a gap (getting at least even with the defender), and
making contact to move the defender closer to the basket (when the defender doesn’t
move away from the basket to block out).
Equipment: Half court.
Rebounding 205
Procedure: The players are organized in four lines on the baseline, with the first four
players at the free-throw line level, facing away from the baseline, in a quick-stance and
hands-up position. For a more realistic perspective, place the lines at the half-line and
the first four players at the top of the key level, facing the baseline. The coach controls
the drill with the following commands:
• Swim move by right or left, and block out with the hands up.
• Swim move by right or left, and go to a gap.
• Go to a gap, with the hands up, and return to the baseline.
The first player in the line learns the feeling of the hands-up, ready-to-rebound position,
moves to the back of the line as the second person practices offensive rebounding
technique and then becomes the first in line (the hands up, ready to rebound). The drill
is performed without a ball and is controlled by the coach. Many repetitions of basic
offensive rebounding technique can be done in a short time.
The same procedure can be carried out to practice the rear-turn roll variation. The
offensive player approaches the defender from behind, places one foot or knee in the
middle of the defender (split legs), and performs a rear turn and then a front turn to
get to the gap and by the defender.
Rebound and Outlet Drill
Purpose: To teach players the skill of taking a defensive rebound off the backboard and
making an outlet pass (or dribble).
Equipment: One ball per basket (the drill can be run simultaneously with two lines, one
on each side of the basket).
Procedure: This is a defensive rebounding and passing drill. Have the receiver call the
passer’s name while breaking to get open.
The first player X1 passes to X4, gets open for a return pass received with a quick
stop in the free-throw lane, and tosses the ball underhand above the rectangle level to
simulate a defensive rebound (figure 8.18). Player X1 angle jumps to the ball, captures
the ball with two hands, brings the ball to the forehead, makes a front turn on the right
pivot foot, makes an outlet pass to X4, and takes the place of X4. Player X4 passes to
X3 X3
X2 X2
2
1 X1 3
X4 X5 X4 X5
2
Ball
1
X1
a.a bb
Figure 8.18 Rebound and outlet drill for defensive rebounding: (a) start and (b) continuation.
X2 and then goes to the back of the line. The sequence is repeated on the other side
with players X2, X5, and X3.
Variation: The outlet lines can be placed at the half court, and the “D” rebounders can
use the two-dribble push, quick stop, and pass to outlet the ball.
Rebound Number
Purpose: To practice seeing the opponent and the ball when a shot is taken.
Procedure: Divide players into pairs, with two or three pairs per basket. Put two p layers
on offense and two on defense; one offensive–defensive pair on each side of the lane,
halfway between the baseline and the free-throw line. A coach is positioned at each of
the free-throw lines with a ball. The defensive player on each side of the lane in basic
position guards the offensive player. The offensive players begin to move to get open. The
coach can pass to them if they get free. Otherwise, the coach takes a shot and each
offensive player immediately raises a hand and holds up a certain number of fingers as
they rebound. The defensive players try to block out the offensive players and get the
rebound. If one of the defensive players gets the rebound and both defenders correctly
name the number of fingers their offensive opponent held up, the offensive players move
to play defense during the next repetition of the drill.
Closeout and Blockout Drill
Purpose: To simulate team competition in a controlled 1-on-1, 2-on-2, or 3-on-3 rebound-

ing situation that includes on-the-ball and off-the-ball blockouts.
Equipment: Ball, basket, and half court.
Procedure: One, two, or three offensive players at 15 to 18 feet (4.6 to 5.5 meters)
from the basket and the corresponding number of defensive players under the basket
with a ball start the drill. The drill is played as a competitive make-it-take-it exercise
that is restarted only when a basket is made. In defensive rebound situations, the
defense must clear the ball above the top of the key area before changing to offense.
The coach may require the three defenders to stay on defense whenever an assign-
ment is missed.
Line Drill: Full-court Offensive Boards

Without the Ball
Purpose: To teach players the offensive rebounding skills by simulation.

Procedure: The first four players make a get-ahead-or-get-even move from basic posi-
tion, move to the free-throw line area, jump quickly, simulate capturing the ball, land
in the chinit position, and use a designated scoring move. They repeat this process at
the half-court line, the opposite free-throw line, and the opposite baseline. The return is
made when all groups of four reach the end line. Offensive spacing (15 to 18 feet [4.6
to 5.5 meters]) should be kept with the player immediately ahead.
Rebounding 207
Advanced Figure-Eight Rebound Drill
Purpose: To teach players to control the rebound.

Equipment: One ball per basket.
Procedure: In groups of three players at a basket, the middle player starts the drill with
a pass off the backboard (above the rectangle) to the next player. The object is continu-
ous, controlled two-handed tipping or chinit rebounding by the group for a given number
of repetitions, with players tipping or rebounding and then going behind.
Most players need to rebound the ball with a two-footed and two-handed rebound and
chinit move and then go back up with an offensive scoring move designated by the coach
(overhead, power shot, or shot fake and power shot). Rebounders should keep the feet
at right angles to the baseline (point the toes at the baseline) and shoot the ball above
the rectangle so that it rebounds from the backboard to the next rebounder.
Garbage Drill
Purpose: To teach players to score on the offensive rebound.

Equipment: Two balls per basket.
Procedure: Two lines of players at the free-throw line area face the basket with a ball in
each line. The first player passes the ball to the backboard with a two-handed underhand
toss and rebounds the ball and then uses a designated scoring move. After scoring (and
only after scoring), the player passes the ball to the next player in line and goes to the
end of the opposite line. Each player assumes a miss and continues until the basket is
made. The scoring moves should be the following:
• two-handed tip and score;
• overhead (keep the ball on the forehead—two hands), quick jump to score;
• chinit and score;
• chinit, fake (lift the ball head high and keep the legs locked), then score; and
• chinit, pass to an outlet player for a trey.
A final competition phase of the garbage drill can be added to teach aggressiveness
and scoring in the lane. The coach has one ball at the free-throw line and works with
two players at a time, one from each line. The coach usually shoots the ball and players
rebound until one captures the ball and scores. The players should use a two-handed
rebound or two-handed pickup and chinit on a loose ball. The player with the ball must
score in the lane without dribbling while the other player defends. There are no out-
of-bounds areas, and the ballhandler may use the coach for a release pass (which is
returned if a quick move to get open is used).
NBA (No Babies Allowed)

or Survival Rebounding
Purpose: To teach aggressiveness to the players.

Equipment: One ball per basket.
Procedure: Groups of four to eight players are at each basket, with three players in the
game at one time. If six to eight players are used, extra players should be shooting free
throws until they are rotated into the game. A coach or manager
is positioned at each basket to shoot the ball (intentionally miss-
ing) and acts as a passing outlet for the rebounder. See figure
8.19. The rules of competition are as follows:
• Play starts with a missed shot.
• All three players attempt to get the rebound.
C
• The player who obtains the rebound is on offense, and the
other two players become defenders. Rebounders use scor-
ing moves; all shots must be taken in the free-throw lane
Extra players without dribbling.
• The rebounder may outlet to the coach and get open for a
return pass in the lane.
Figure 8.19 No babies allowed (NBA)
• There is no out-of-bounds boundary for play.
rebounding.
E3888/Krause/fig.08.21/281606/pulled-alw/r1 • Three scored baskets allows a player to rotate out (other
players retain their totals). When starting, the best variation is one scored basket
to move out of the drill and into the line feeding players into the drill.
• Significant fouls are the only ones called by the coach. A player may lose a score
by fouling or by not playing defense.
Individual Rebounding
Purpose: To have players practice rebounding skills on their own.

Equipment: Ball, basket, and tossback rebounding device (or a partner).
Procedure: Carry out rebound options at game speed using two-footed and two-handed
rebounding technique.
Options
• Toss the ball against the backboard or above the rim with a two-handed underhand
toss to create a rebound—an angle jump to capture the ball and make an offensive
scoring move (overhead; chin and score; chin, shot fake, and score). Assume a
miss.
• Toss the ball to create a defensive rebound—make a quick outlet pass to the toss-
back or the partner or use a two-dribble push to clear the ball.
• Advanced—players jump as high and as quickly as they can; they pop the ball with
two hands against the backboard on each jump.
• Place the ball on the free-throw lane block—grab it with two hands, explode to the
backboard, and score from 2 feet (.6 meter) without gathering—capture, chin,
explode to basket. Place the ball on the opposite block and repeat.
• Super rebounds—start outside the lane and pass the ball off the backboard to
the other side of the lane. Take one step, jump over to get the rebound, and land
outside the lane on the other side. Repeat five times and finish with a power move
score.
Rebounding 209
Rebound Progression: 3-on-0, 3-on-3
Purpose: To provide a three-player rebound format to review and practice rebounding

skills as a team and as part of a practice or a game warm-up.
Equipment: Ball, basket, half court, and three air dummies (if available).
Procedure: Half of the team performs the drill near the basket while the other half
stretches or performs other skill work. There are two sections with the drill:
1. In the offense (3-on-0) team rebounding, the coach controls and shoots the ball
to create the rebound. Variations include the following:
–– Regular 3-on-0 at any three positions (on shot, low post player rebounds to
the middle or the weak side, two to the weak side).
–– Tip up (to keep alive) and tip out.
–– Out-of-bounds save—the coach bounces the ball toward the out-of-bounds
area—must be a saver and a savee (a teammate not pursuing the ball) verbally
communicating (ball and help).
–– 3-on-3 with air dummies or dummy defenders—offensive players must go to
a gap and rebound.
–– No Babies Allowed—the player who gets the rebound tries to score and the
other two players harass. All three offensive rebounders assume a miss,
rebound until a score, and then sprint toward the half-line (to the top of the
key) with vision of the ball and the basket over the inside shoulder.
2. The defense (3-on-3) team rebounding uses three air dummies or dummy offensive
players to block out. The coach shoots and three defenders blast, pursue, and
outlet the ball to the coach or execute a two-dribble push outlet and then pass to
the coach. Follow the BOPCRO sequence: Block out or blast, pursue and chin the
ball, rebound, and outlet.
Cutthroat Rebounding: 3-on-3, 4-on-4
Purpose: To simulate game-like offensive and defensive rebounding in a continuous,

coach-controlled drill.
Equipment: Ball, basket, half court, with three groups of players (three or four) sepa-
rately identified (e.g., red, white, and blue).
Procedure: Begin with a group on offense, a group on defense, and a group behind the
baseline underneath the basket. The coach has the ball and is underneath the basket
behind the baseline to start and control the drill. Two outlet receivers are positioned
near the sideline rear half court.
The rotation is as follows: As a shot is missed, both offensive and defensive groups
rebound. When the defensive group gets the ball, the players use the BOPCRO sequence
to the outlet and move to offense (the baseline group comes in on defense). When the
offensive group gets a rebound, the players stay on offense (after a score, they transition
to half court and stay on offense). The baseline group again comes in on defense. The
ball is always returned to the coach to continue the drill. The drill may be continued for
a period of time. Winners can be determined by the most defensive rebounds, offensive
rebounds, or points scored. The coach can emphasize any of these options.
War Rebounding
Purpose: To emphasize aggressive defensive or offensive rebounding in a 5-on-5

situation.
Equipment: Ball, basket, half court.
Procedure: This is a live drill started by the coach shooting the ball (and missing most
of the time). It is played on live, made, or missed shots, without regard to out-of-bounds
lines, in order to get players to capture, secure, and chin the ball in all circumstances.
The usual scoring scheme is 1 point for a defensive rebound, 2 points for a score, and
3 points for an offensive rebound. Coaches can emphasize offense or defense by giving
points to that phase only and allowing a team to stay in the scoring mode when players
score (e.g., defensive rebound score, stay on defense). The drill may start with many
variations:
• Closeouts—defenders start on the baseline, pass to an offensive player, pass to
the coach for the shot
• Skip pass, then shot
• Secondary fast-break set, swing the ball, then shot
• From zone defense
• Any special offensive set or situation, then shot
This drill can be done for a time period or to a given score.
chapter 9
Team Offense
“Basketball is a game of finesse and reason, especially on offense.”

Phil Jackson, former Coach of the Chicago Bulls and Los Angeles Lakers,
used a concept from a Lakota Indian war chant—“Don’t overpower, outsmart the opponent.”
C oaches should instill in players the confidence to go all out—to have fun, to learn
and improve, and to take chances and make mistakes, especially on offense. By
preparing players to handle all situations and improving their basketball IQ, coaches
can strengthen their confidence that they can be successful.
The following areas should be covered to prepare the team for all situations:
general offensive principles, responsibilities of players at each offensive position,
offensive team tactics, and special situations for team offense.
General Offensive Principles

Unless coaches are familiar with the offensive strengths and weaknesses of team
Critical Cue:
Team offense must members, they should select a basic offense that can be adapted to a variety of
have high-percentage players and that is flexible enough to allow team members to use their individual
shots, transition, strengths. The coach’s basic philosophy should be stable and evolve slowly, but the
balance, movement, offensive and defensive style of play should change to fit the players.
and execution.
Offense depends heavily on proper spacing and timing; all five players should be
spread out on the court area, moving and cutting together at the right time. Any
offense should have court balance; that is, it should produce high-percentage shots
with assigned offensive rebounders and assigned players for defense when a shot is
taken. Balance also refers to maintaining proper court spacing—about 15 to 18 feet
(4.6 to 5.5 meters)—between offensive teammates. Finally, offensive balance also
consists of offensive rebounding and concern for defense when a shot is taken. Making
the quick transition from offense to defense (and vice versa) is called developing the
transition game—going to offensive rebound or back to defense quickly. Balanced
scoring from several players is always better than dependence on a scoring star in
a team game.
A good offense includes player movement as well as ball movement and may, with
more experienced players, include screening. Scoring should come from the inside
(close to the basket) as well as the outside (on the perimeter of the defense). Develop
the offense from the inside out; establish an inside game and a complementary
outside game, preventing the defense from concentrating on one area or one player.
The execution of any system is much more important than the system itself. What
a team does is not as critical as how well the players do it.
Player Positions and Responsibilities

Each player on a basketball team has a position to play that is related to role,
ability, and skill. The three basic positions are guard, forward, and center (or
post) (figure 9.1). Some coaches use other names, such as point, wing, and inside
player.
The center is usually the tallest player, with forwards next, and guards being the
smallest. Centers and forwards tend to be the best rebounders, whereas guards are
often the best ballhandlers. Guards also tend to play outside more than forwards
and centers. No matter what term is used, all perimeter players and all inside players
should learn the basic skills so they can be interchangeable in selected situations.
Team Offense 213
F1
Backcourt
players
Center
Frontcourt or post
G1
players
G2
F2
Guards Forwards
Figure 9.1 Player positions.
Guards. Guards grouped together are usually called the team’s backcourt. This
grouping can be broken down further into point guards (normally the best ballhandler
and often the player who directs the team on the floor) and shooting guards (also
called big guards or off guards). Because of their dribbling ability, point guards can often
create a scoring chance for a teammate (such as the shooting guard) by penetrating
and passing, that is, by driving past defenders to the basket and passing to an open
or unguarded teammate (penetrate and pitch or drive and dish). Point guards are
called playmakers because they direct teammates and create scoring opportunities.
The point guard is usually among the best ballhandlers on the team and should also
be a leader who can become the coach on the floor. Choose shooting guards from
among the best shooters, scorers, and ballhandlers on the team.
Forwards. Forwards are sometimes called corner players because their normal offen-
sive position is in the corner of the frontcourt. Most teams play a small forward and
a big forward (sometimes called the power forward or strong forward). The small
forward is more of a swing player who can play guard or forward and who plays
facing the basket, where good ballhandling and outside shooting are essential. The
big forward is often a strong rebounder who swings from outside to inside (back to
the basket). Small forwards should be able to play as combination guard–forwards,
handle the ball well, play outside on the perimeter, and rebound. Big forwards must
be combination forward–centers.
Center or Post Player. Choose players for the center position from among the
biggest players, those who relish playing inside, near the basket, where contact and
congestion are readily accepted. The center is usually the biggest player, who plays
inside around the free-throw lane in the high post (near the foul line) or in the low
post (close to the basket) and outside the free-throw or three-second lane with
the back to the basket. The center and two forwards are collectively known as the
frontcourt.
Offensive Team Tactics

Develop team tactics to prepare the team to face all basic defensive situations,
including the following:
• a transition game as an organized way to go from defense to offense (primary
fast break—to keep the defense honest and put immediate pressure on the
defense and secondary fast break for when the defense is back but not fully
organized),
• a press offense to be used against defensive presses, from half court to full
court,
• a player-to-player set offense for situations in which opponents guard the
players individually,
• a zone set offense to be used against zone or area defenses,
• a set offense that can be used against combination defenses (zone and player-
to-player),
• a delay or control offense to use when time and score dictate controlling the
game and maintaining ball possession for longer periods before a shot and
forcing the opponents to defend a larger court area,
• a transition game from offense to defense (providing offensive rebounders while
preventing the opponent’s easy scores and fast breaks), and
• special situation plays: jump ball, out-of-bounds, free throws.
Primary Fast Break: Transition From Defense to Offense

A team can set up a good shot by running the fast break when the team that gains
possession of the ball brings it up the court before the opponents can get into a
good defensive position. This outnumbered fast-break situation is called a primary
fast break. The fast break, which usually develops after a rebound, steal, or possibly
after a made basket, is the fastest way to make the transition from defense to offense.
As soon as the defense gains control of the ball, it uses the outlet pass or dribble to
start the break—passing being the first option and dribbling the last when moving
the ball up the court. Then the other teammates attempt to beat the defenders up
the court while staying spread out. Players should run at top speed under control
when executing a fast break up the court. One player should stay a few steps behind
the action in a defensive safety role for balance.
Critical Cue: A typical three-lane fast-break pattern is shown in figure 9.2. A team needs a three-
Three-lane fast break: lane fast break (the ball in the middle) when the players outnumber the opponents,
the ball in the middle, 3-on-2. In a 3-on-1 situation, the offense should convert to a two-lane fast break
the side lanes wide,
and a banana cut to (2-on-1 plus a trailer), as shown in figure 9.3. In a two-lane fast break, the offensive
the basket (at the top players should split the floor (stay at least as wide as the free-throw lane) to make
of the key) or drift to the defender commit. The best ballhandler should handle the ball at the comple-
the corner for three.
tion—go to the glass unless forced to pass. The dribbler always needs to offset the middle
to the side of the lane, preferably dribbling with the outside hand. Advanced players
can dribble with the inside hand (easier to push a bounce pass by the defender) and
shoot the reverse layback shot if the defender doesn’t take the dribbler.
3
3 1
5 5 1
4 2
or
4
aa b
b
3
1 X X
Veer
2
or
cc
Figure 9.2 Primary fast breaks: (a) starting after defensive rebound, (b) spreading out and filling the lanes,
and (c) completion of three-lane fastE3888/Krause/fig.09.02c/281611/pulled-alw/r2
break.
2 1 3
Trailer
X1
Figure 9.3 Primary two-lane fast break.

215
Critical Cue:
Secondary Fast Break: Transition From Defense to Offense
Two-lane fast break:
split the floor and If a primary fast break (outnumbering the defense 3-on-2, 3-on-1, or 2-on-1) is not
go to the glass. available, teams should develop a secondary fast break. This move keeps pressure
on the defense by taking the ball up the side to the baseline (flattens or collapses
the defense), posting a player inside, and reversing the ball to the second side before
flowing into the set offense. A secondary fast break is shown in figure 9.4.
X4 X1
5
X3 X5
1 X2
Figure 9.4 Secondary fast break (4 out, 1 in).

Press Offense
Fundamentals such as spacing, cutting, meeting the pass, catching and facing the
basket, passing first, and dribbling last are more important than any specific press
offense.
If the defense is defending on a full-court (all over the court) basis, coaches need
a press offense to help the team get the ball in bounds safely. Players should get the
ball in bounds before the defense gets set (i.e., use the transition fast break to beat
a pressing defense before it is set). Designate a frontcourt player to take the ball out
after all made baskets and quickly inbound the ball to a guard, as shown in figure
9.5a. The inbound pass catcher should stay out of the corners and not get too close
to the sideline (prime trapping areas).
Against any zone press, coaches should teach players to attack the defense in the
backcourt or frontcourt by having a sideline pass outlet, two middle pass outlets
(short and long), and a safety valve pass outlet slightly behind the ballhandler, as
shown in figures 9.5b and 9.6. Emphasize to players the need to use good passing
and catching fundamentals and remind them to move to get open and to keep their
poise. Pressing defenses take chances. Players should be prepared to take advantage
of those overcommitments.
Generally, players need to attack a pressing defense. Be aggressive and look to score
layups by getting the ball up the side or to the middle of the pressing defense.
As a last resort, the offense can use the safety valve to reverse the ball and attack
on the second side, as shown in figure 9.7. In extreme emergencies, with the ball-
handler in a trap or double-team, the nearest teammate (usually the safety valve)
If needed
Middle
long
Safety 3
3 valve
4
2 5
1
Middle
5 short
4
4
1
2
a b Sideline
a
Figure 9.5 Press offense—get the ball in quickly: (a) get the ball in; (b) press offense when trapped.
E3888/Krause/fig.09.05a/281615/pulled-alw/r1 Safety E3888/Krause/fig.09.05b/281616/pulled-alw/r2

valve
1
X2 2
Cup
X1 X4 Middle
short
5 4
3
Sideline
cut
X3 Middle
Basket long
X4 threat
Figure 9.6 Beat the trap: form the three-player cup (O3, O5, O2) with a basket threat.
Sideline
Safety 3
valve
4
5
Middle
short
Middle
long
New
safety
Figure 9.7 Press offense—reverse the ball and attack.

E3888/Krause/fig.09.07/281618/pulled-alw/r2 217
can come to the ball directly behind the trap (usually not defended) for a pass. The
ballhandler can use a rear turn to protect the ball and make the pass. The safety
valve player should attack the press immediately.
Set Offense
If the defense is set and waiting after the primary and secondary fast breaks, a set
offense should be used to get a good shot. The team should get into a basic start-
ing formation and then use the fundamental skill moves with and without the ball
to create scoring opportunities. This basic set or formation may take a variety of
starting positions. Coaches should select a preferred starting formation that fits
personnel and favored tactics.
The 2-2-1 Give-and-Go Offense. The first team play in basketball was the two-
man play called give-and-go or pass-and-cut. This play is the basis of this offense, a
two-person play in which the passer passes to a catcher and cuts to the basket for a
possible return pass as the foundation play. This play is started from a four out–one-
in, two-guard and two-forward set, as shown in figure 9.8 (which also shows possible
give-and-go, or pass-and-cut, options). It can be initiated by any two players at any
time. Basic rules of the offense are the following:
1. The court middle is the cutting highway. Cutters must cut through the middle
after a pass, go toward the basket, and clear the middle in two seconds. This
cut controls the defense.
2. Players should read and react to defenders: pass and cut against the sag (soft)
defense, cut in front of defenders when possible, and backdoor on defensive
overplay.
3. Cutters can post up briefly, but then must clear the middle area.
4. Players should make a catching spot available to the passer, space themselves
15 to 18 feet (4.6 to 5.5 meters) away, and meet the pass.
5. Against zone defenses, cut through the middle of defensive gaps or holes. Drive
into gaps after a catch.
6. Offense is player generated (much freedom) and rule based. The penetrating
cut is the key.
7. The post player is stationed on the low post near the block; responsibilities are
to rebound the weak side and be ready for the strong-side 2-on-1 dumpdown
on cut or pass penetration. The post player may post up when the ball is on
that side and flash post for a layup only occasionally when the defender is not
alert.
8. Some optional moves also can be used by verbal call:
• Perimeter screen on the ball
• Perimeter pass and screen off the ball
• Perimeter drive on clearout on one side of the floor
• Flash post by cutters (two-second rule)
9. On traps or double-team, players should pass to the middle cutter in a hole
or to another player coming to the ball (emergency).
5 5
4
3
or
2
1
1
a b
5
E3888/Krause/fig.09.08a/281619/alw/r3 5
E3888/Krause/fig.09.08b/281620/alw/r3
c d
5 5
E3888/Krause/fig.09.08c/281621/alw/r2 E3888/Krause/fig.09.08d/281622/alw/r2
or
4
3
2 1
e f
Figure 9.8 Pass-and-cut offensive variations: (a) go—forward cut, (b) go—guard cut, (c) go—
guard around, (d) guard ball pick, (e) guard to forward pass-and-cut or post flash, (f) guard to
forward pass-and-cut to post up.
E3888/Krause/fig.09.08e/281623/alw/r3 E3888/Krause/fig.09.08f/281624/alw/r3
219
10. Offense can be run from full court, three-quarter court, or half court. The move-
ment of the ball and the cutters is more important than the formation or the
set. Coaches should watch player spacing. Players should cut with a purpose;
they may go on the same side or on the opposite side on the middle clear.
11. Offense teaching progression:
• 2-on-0, 2-on-2 (guard, forward)
• 3-on-0, 3-on-3, 3-on-3 with the weak-side post
• 5-on-5 half court, full court
The 1-2-2 Give-and-Go. Another offense for begin-

ning players is the 1-2-2 give-and-go offense, which can
be used effectively against player-to-player defenses.
4 or 4 5 or 5 The give-and-go offense is a simple team offense that
uses passing, catching, basic moves without the ball,
and individual moves with the ball. The 1-2-2 double
low-post or open-post set is a one-guard, open-post
formation that allows any player to V-cut into the post
2 3 area and keeps the middle open for individual offensive
1
moves plus give-and-go options (figure 9.9). The give-
and-go offense from the 1-2-2 open-post formation
can also be used against zone or combination (zone
and player-to-player) defenses by depending less on
Figure 9.9 A 1-2-2 double low-post set (may cutting and emphasizing more individual moves from
also be open post).
stationary spots.
The rules for this offense are the following:
1. The give-and-go from the point to wing pass is a pass and go-to-the-basket
move after a V-cut is made by O3. Cutting players who don’t receive the return
pass should balance the floor opposite the first pass (figure 9.10a). The give-
and-go from the wing position to the corner position is shown in figure 9.10b.
Notice how floor balance is regained.
2. If a wing player is overplayed or denied the pass by a defender, players should
use a backdoor cut to the basket and replace on the same side (figure 9.10c).
A corner player who is overplayed should make a backdoor cut and come back
to the same side (figure 9.10d).
3. A wing or forward may V-cut into the post area (high or low). Players who make
ball cuts and don’t receive the ball within 2 seconds should return to the same
starting position (figure 9.10e).
4. When a shot is taken, the point guard (O1) should go to defense near the half-
court line, and the other four players should go to offensive rebounding posi-
tions. This rule applies to all offensive situations: The offensive team should
always have defensive balance and make a quick transition to defense. Coaches
may prefer to have two players change to defense as fullbacks when a shot is
taken.
The 1-4. The 1-4 double high-post set is a formation that requires a good point
guard. It is difficult to press, there are four possible entry passes, and the offense
needs two inside players (figure 9.11).
Team Offense 221
4 5 4 5
2 3 2 1
1 1
a b
4 5 4
5
2 2 3
3
1 1
c d
E3888/Krause/fig.09.10c/281628/pulled-alw/r3 E3888/Krause/fig.09.10d/281629/pulled-alw/r2
4
5
2 3
Figure 9.10 1-2-2 offense: (a) Give-and-go from the point. (b) Give-and-go on wing-to-corner
pass. (c) Backdoor cut by the wing. (d) Backdoor cut by the corner. (e) V-cut to the post area
and go back.
E3888/Krause/fig.09.10e/281630/pulled-alw/r3
The 1-3-1. The 1-3-1 high-to-low post set has a point guard in front; it positions
forwards for individual moves and requires two inside players (the high-post player
must be able to face the basket). See figure 9.12.
The 1-2-2 Stack. Coaches might consider using a 1-2-2 stack formation, which
calls for a point guard in front, one open side for individual moves, and a stack on
the other side. This set may be used with one player (O4) cutting to any position,
while the other stack player acts as a screener and then takes up a single-post posi-
tion (O5). The stack allows a variety of cuts by player O4, as shown in figure 9.13.
The 2-2-1 or 2-3 Set. The final possibility for an offensive formation is the tra-
ditional 2-2-1 or 2-3 set (figure 9.14). This is a two-guard front with a single post
(high or low). The sides and corners of the court are open for forward moves. The
2-3 formation is more vulnerable to pressing defenses.
2 4 5 3 4
2 3
1 5
Figure 9.11 A 1-4 set or formation (point Figure 9.12 A 1-3-1 high-to-low post set.
O1, two wings O2 and O3, and two posts O4 and E3888/Krause/fig.09.12/281632/pulled-alw/r1
O5), sometimes called a double high post.
4
or
5
5
or
5
2 3 3 4
1 2
Figure 9.13 A stack set with a one-player Figure 9.14 A 2-2-1 or 2-3 set (high or low
front. post).
E3888/Krause/fig.09.13/281633/pulled-alw/r3 E3888/Krause/fig.09.14/281634/pulled-alw/r1
Zone Offense
Against a zone defense, coaches can opt for the modified, recommended give-and-
go offense or may select another formation. In any case, teach players to use the
following rules:
• Perimeter players align in the gaps on the perimeter and step up into shooting
range (figure 9.15).
Team Offense 223
• Attack the defense, but be patient. Look for opportuni-

ties for dribble or pass penetration inside the zone after
passing around the perimeter. X3 X5 X4
• Watch floor spacing between other offensive players.
This spreads the defense and makes it difficult to cover
offensive players. X1 X2
• Cut through zone—test the zone by moving players and
relocating, as shown in figure 9.16.
Perimeter
• Screen the zone—beat a zone defense by screening inside gaps
or outside on the zone, as shown in figure 9.17.
Coaches should encourage player and ball movement.
Because most zone defenses are ball oriented, ball fakes are Figure 9.15 Against zone defense, align in
effective. Players should put the ball overhead in order for the the gaps.
defenders to see the ball and react to a fake (pass or shot). Fake E3888/Krause/fig.09.15/281635/pulled-alw/r1
a pass to make a pass. Players should only place the ball over-
head after catching and pitting it in triple-threat position.
1
1
3 3
Rim 2
2
cut
Through
cut
4
4 or 5 5
or
Overload
a b
Figure 9.16 (a) Point cuts through the zone. (b) Wing cuts through the zone.
1
1 2 X
2
5
3 X X 3
5
or
4 X X 4
a b
Figure 9.17 (a) Screen the zone low. (b) Screen the zone inside.
Offense Against Combination Defenses

When combination player-to-player and zone defenses are used (triangle-and-2, box-
and-1, or diamond-and-1), the team needs an organized approach to attack them.
The regular player-to-player offense can be used or the zone offense—coaches need to
choose an offense that has player movement, ball movement, and screening action.
Analyze the defense and use the offense (play or set) that exploits that defense. For
example, the set shown previously in figure 9.17a could be used with the offensive
player guarded one-on-one defensively being the baseline runner using the screens.
When the team has a lead late in the game, coaches may decide to have players
spread out on the court and use the whole frontcourt to make the defense cover
a larger area. This is called a delay game (or control game), and usually only close-
to-the-basket shots are taken. In these situations, running a normal offense may
be best, with stricter rules on shot selection, or making a certain number of passes
before a shot is taken (unless the shot is a layup). This offense can be used with or
without a shot clock.
When a shot rule is applied until 8 to 10 seconds remain, the ballhandler looks
for dribble penetration and other players start individual moves to set up a good
shot. Time and score dictate when the team should control the ball and use the
clock (delay-game tactics). The most common formation for this offense is shown in
figure 9.18, where four offensive players are placed in the four corners and the best
dribbler or ballhandler is out front in the middle of the court. Player O1, usually the
point guard or playmaker, constantly looks for chances to penetrate and pass. All
offensive players should read and react to the defense and wait for their defender
to make an error they can capitalize on. Coaches should be sure to have good free-
throw shooters playing when using the control game, because defenders may foul
more, out of frustration or by design.
Stay on the attack; don’t get passive and lose momentum. Players can decoy the
defense by appearing to delay but always looking for chances to score. If they don’t
want to shoot, they can run a normal offense and act as though they are a ttacking.
With 8 to 10 seconds left, a special play may be used (figure 9.19). The options
are O1 using the pick, O2 or O3 moving for the penetrate and pitch three-point field-
goal attempt, O4 using the backpick by O5, and O5 stepping out after the screen.
2 1 3 2 1
3
Shooter
Screen
and roll
Shooter
Pick
and pop
4 5 4 5
Figure 9.18 Four-corner offense-delay or Figure 9.19 Last-second score.

control game.
E3888/Krause/fig.09.18/281640/pulled-alw/r1 E3888/Krause/fig.09.19/281641/pulled-alw/r1
Team Offense 225
Special Situations for Team Offense

Team offense should be prepared to face a variety of special situations: out-of-
bounds plays, free throws, jump balls, and last-second scoring plays. The purpose
is to prepare a team for any game situation.
Bringing the Ball Inbounds. Every team must have a plan for bringing the ball
into play underneath its own basket and on the sidelines. Examples of formations
and plays, shown in figures 9.20 and 9.21, can be used against any defense. Most
important, a team needs to be able to inbound the ball safely against all defensive
tactics.
3 2 1
2 1
5 4
4 5
3 Figure 9.21 Side out-of-bounds play. O2

Options screens for O1, O5 screens for O4, and O3 has
Figure 9.20 Under out-of-bounds play. O5 four passing options.
and O2 run a pick-and-roll play.
Free Throws. Free-throw situations also must be planned carefully. On an offen-

sive free throw, the two best rebounders should occupy the second-lane spaces and
attempt to gain an offensive rebound in the middle of the lane or to the baseline
side of the defender. Player O3 is stationed in a position to be alert for any long
rebound or loose ball that might be tipped out, and O1 and O3 have safety (fullback)
responsibilities on defense and must not let any opponent get behind them for a long
pass reception (figure 9.22). For a defensive free-throw situation, player X1 must be
alert for a loose ball or long rebound. Player X2 blocks out or checks the shooter by
getting between the shooter and the basket. Players X4 and X5 check the opponents
on their side of the lane (second-lane space) while player X3 rebounds in the middle
area (figure 9.23). When a defensive rebound is captured, all team members make
a transition to the fast break.
Jump Balls. Special plays should be developed for jump-ball situations to start
games and overtime periods. The smaller, quicker players defend the basket. No
matter what the formation is, the ball should be tipped to an open spot (where
two teammates are next to each other without an opponent in between). See
figure 9.24.
Last-Second Shots. The last-second shot, diagrammed in figure 9.25, may be used
in the delay game or in any situation where a move to the basket is made with 8 to
10 seconds remaining, depending on the level of play (younger players need more
time), allowing time for a good shot opportunity, a possible offensive rebound,
and a second shot, but not enough time for the opponent to get a good shot at the
other end of the court.
No matter what offensive situation, formation, play, or system is chosen, execution
is the key—it is not what players do but how well they do it. Practice these special
situations using the clock.
3 X1
X3 X2
5 4 X4
or or X5
Figure 9.22 Offensive free throw. O2 is

E3888/Krause/fig.09.22/281644/pulled-alw/r2 Figure 9.23 Defensive free throw. Four
shooting, O4 and O5 occupy the second-lane defenders block out or check their opponents
spaces on each side, O3 is at the top of the onE3888/Krause/fig.09.23/281645/pulled-alw/r1
the free-throw lane.
circle (the key), and O1 is defensive safety.
3 2
1
Offensive
open spot
X4 3
2
5
X5 4
X3 X2
Defensive
open spot 5 4
X1
Figure 9.24 Jump ball. Figure 9.25 Last-second shot. O4 and O5
cross under the basket while O2 and O3 slide
into scoring position and are ready to shoot.
E3888/Krause/fig.09.24/281646/pulled-alw/r1 O1 has four passing options.
Team Offense 227
Defensive Transition: Offense to Defense

An organized plan is needed to execute offense properly. Players should make a
transition to defense quickly, without being outnumbered on the fast break, in order
to set the defense. One method is for the coach to create transition roles for all of
the offensive players:
• Fullback—the designated safety, usually the point guard, who is responsible for
preventing easy scores (no layups). As any shot by teammates is taken, the fullback
sprints to the half-court center circle and retreats, running backward to the basket,
and directs the defense from there (figure 9.26). When the fullback shoots, another
player makes the call and switches assignments. On an offensive fast break, the last
player down the floor becomes the fullback and never crosses the half-court line
until a score is made or the secondary fast break begins.
Run Sprint
backward
4 Rebound
first
5
Shot
3
1
Fullback
Figure 9.26 Defensive transition.
• Tailbacks—all other players, when the shot is taken, are responsible for going
to the offensive boards (assume a miss) until the opponents get the ball or a basket
is made. When that happens, all four players sprint to half-court, seeing the ball
over their inside shoulder while running backward to their defensive assignment
(i.e., they get their tails back on defense) if they are not outnumbered. Most teams
use three tailbacks with the fourth player (usually the shooter) used as a rebounder
at the free-throw line or a long rebounder, who then transitions to defense early
and becomes a halfback who is responsible for stopping the ball coming up the
court.
Variations of the plan can be developed for special situations (e.g., to pressure
the rebounder, to stop the ball coming up the floor, etc.).
3
X3
2
X2
b
Coaching Points for Team Offense

¤¤Be quick, but don’t hurry—focus first on execution and timing, later on speed.
¤¤Maintain balance in all areas:
–– Individual—physical and emotional.
–– Offensive and defensive.
–– Offensive rebounding and defensive coverage (on all shot attempts).
–– Floor spacing—spread out and move the ball.
–– Inside and outside scoring.
–– Passing and scoring.
¤¤Strive for spacing and timing.
¤¤Teach intelligent teamwork on offense.
¤¤Teach players to put the team first and individual plays second.
¤¤Encourage players to play fearlessly—to make mistakes, but to learn from them.
¤¤Develop individual play within the team context.
¤¤Have the ball and the players move on offense. Players should move with a purpose.
¤¤Be patient with team offense. Play must be coordinated with player movements; as a
result, learning progress is slower than with team defense.
Checklist for Team Offense

¤¤General principles developed
¤¤Positions and responsibilities defined
¤¤Offensive fundamental skills
¤¤Body control
¤¤Ballhandling
¤¤Shooting
¤¤Perimeter play
¤¤Post play
¤¤Rebounding
¤¤Press offense
¤¤Transition to offense (primary, secondary fast break)
¤¤Player-to-player set offense
¤¤Zone set offense
¤¤Combination set offense
¤¤Delay (control) offense
¤¤Special situations: jump balls, offensive free throws, out-of-bounds plays
¤¤Transition to defense
Troubleshooting
Most offensive errors occur because of improper sequential and progressive devel-
opment. It is critical to go slowly and carefully with no defenders, then 5-on-0 at
game speed to get spacing and timing. Only then can defenders be added to simu-
late game conditions; first use a dummy, then live in all variations of defense so
offensive players learn to read and respond properly to all defensive situations.
228
Team Offense 229
Drills for Team Offense

Team offense should first be executed slowly and correctly. Then moves are carried
out at game speed to develop team coordination and timing. An emphasis on proper
spacing is needed unless players are screening or cutting to the basket.
Skeleton Offense Drill: 5-on-0
Purpose: To teach movements and assignments for basic team offensive formation.
Equipment: One ball, five players, and half court.
Procedure: Five players at a time take the court to practice team offensive formations,
plays, or movements, and individual assignments within the team offense. The offense
should be initiated from all situations: backcourt, frontcourt, out-of-bounds, and free
throws. Offensive play should be completed with a score each time (rebound each shot),
and transition should be made to half-court. This drill includes five offensive players at
a time and no defenders.
Options
• Half court offense—all sets
• Half court to full court (defense to offense)—after made or missed baskets; press
offense; secondary fast break; set offense
• Half-court defense to full-court offensive options to defensive transition
On all offensive shots, assume a miss and make a transition (always rebound until the
basket is made). Players should always make a transition to half-court on all drills whether
a shot is made or missed.
Team Offense-Defense Drill: 5-on-5
Purpose: To teach team offense and defense in a progressive manner that culminates
in 5-on-5 competition.
Equipment: Ball, basket, and half court or full court.
Procedure: Five defenders and five offensive players practice team play. They should
practice all offensive situations in order to prevent surprises at game time. The pro-
gression is to have defenders play dummy position defense and then no-hands defense
(players may grasp the jersey in front), before going to game-like offense and defense
with no restrictions and different defensive tactics.
Play should continue until the offense transitions to the other end of the floor (i.e., go
from half court to full court).
Options
• Half court only
• Half-court make-it-take-it, full-court transition on misses
• Half court to full court (defense to offense transition—press offense, fast break,
set offenses)
• Full court—stop for corrections, shooting drill breaks (field goal, free throw)
Blitz Fast-Break Drill
Purpose: To teach the fundamentals of two-lane and three-lane fast-break offensive and
defensive plays.
Equipment: One ball, 10 to 16 players divided into two teams, and a full-court space.
Procedure: The two teams are aligned as shown in figure 9.27, with opposing teams
at half court. One team is selected to start on defense at one end of the court; the
other team starts on offense at half court.
X2 X3 X4
X1
3 4
Figure 9.27 Blitz fast break: 2-on-1.
The drill begins when player O1 crosses the half-line with the ball for a 2-on-1 fast-break
situation; player X2 is allowed to help X1 in the outnumbered situation after touching the
center circle. The defender X1 should bluff, anticipate, and delay the offensive duo in
the two-lane fast break until X2 can recover to help—talk and get both players covered
if they don’t complete the break.
When the basket is made or missed, X1 or X2 captures the ball and advances the ball in
a two-lane fast break toward the other basket. As soon as the X team gains possession
of the ball, the next O player, O3, touches the center circle and becomes the defensive
safety (figure 9.28). When X2 crosses the half-line with the ball, O4 can sprint to defense
after touching the center circle. The drill usually continues to nine baskets. Score can
be kept on the scoreboard. Coaches should officiate.
The other blitz fast-break option is the three-lane fast break, 3-on-2, with at least twelve
players to form the two teams. The alignment is shown in figure 9.29. The two defenders
usually align in tandem with the inside player forward (X4) and the outside player (X1)
covering the basket and taking the first pass on a closeout.
The other defender sprints to help as soon as the middle ballhandler crosses the half-
court line. Then dribbler O1 veer dribbles to one side after reading the back defender X1
and passes to the open teammate. When defenders on the X team get the ball, they
form a three-lane fast break to the other end, with the ball in the middle. As soon as the
Team Offense 231
X3 X4
1
X2
X1
2
3 4
Figure 9.28 2-on-1 blitz fast break, part two.
X3 X2 X5 X6
1 X4
X1
2 5 6
Figure 9.29 3-on-2 blitz fast break.
X team gains the ball, the next two O players, O2 and O5, sprint to defense after touching
the center circle. The drill runs continuously until one team reaches 10 baskets.
Options
• 2-on-1 blitz.
• 3-on-2 blitz.
• Start sideline players at the top of the key; have the defender touch the top of the
key circle before going to the other end.
Transition Fast-Break Drill
Purpose: To teach transition basketball from a structural start and unpredictable

finish.
Equipment: Ball, two opposing teams, and a full court.
Procedure: Figure 9.30 shows the start at one end of the floor. The coach begins by
passing to any offensive player (O4 in this case) and calls numbers or names for one or
two defenders. When a name is called, that player touches the baseline before going to
defense, thus creating an outnumbered fast-break situation. The defensive team sprints
back and talks to protect the basket, stop the ball, and cover all offensive players quickly.
The offensive team attacks, reads the defense, and runs the primary or secondary fast
break. Play continues for one, two, or three transitions before starting over.
2 4 3 5 1
X4 X3 X1 C X2 X5
Figure 9.30 Team transition fast-break drill.

E3888/Krause/fig.09.30/281651/alw/r3
chapter 10
Team Defense
“Team defense and ballhandling are the cornerstones of successful teams.”

Henry “Hank” Iba, Oklahoma State, Olympic Coach, Hall of Fame Coach
C oaches should build the team on a solid foundation. Defense, one of the most
concrete and unchanging elements of the game, can be the most consistent phase
of team play and should be the heart of a team’s strength. A team that prevents its
opponents from getting good shots is tough to beat.
In addition, because younger players have limited individual and team offensive
skills, team defense can be an even more dominant aspect for beginners. Convince
Critical Cue: players that defense is the key to building a foundation for team play. Beginners have
Prevent easy scores
(allow only one
trouble understanding the relation between defense and preventing opponents from
contested shot). scoring and winning games and need to be convinced that defense and preventing a
score by opponents are as important as scoring points for their own team.
Defense tends to be reactive rather than proactive—a defender usually reacts to the
moves of an offensive player. Players must learn to be aggressive and initiate action on
defense; teach players to act—not react—when playing defense. With determination
and practice, a team can develop effective defensive play that is more proactive.
Team defenses are based on individual defensive fundamental skills. Motivate
players to develop pride in their ability to play defense. Any team can be made better
by developing a sound team defense.
A basic precept of team defense is to prepare players for action and to prevent
problems. For example, a player in quick stance can often anticipate moves by offen-
sive players before they are made and then take those moves away. Teach players to
be ready for anything, which means being prepared to defend against an opponent’s
best offensive moves. This preparation makes the defender mentally and physically
ready for secondary offensive moves by an opponent. Players should get in a defensive
quick stance and stay in that stance—a measure of team defense.
One main objective of any defense should be to make the other teams do things
that they do not want to do. Offense depends on confidence and rhythm, which
players can disrupt on defense. Take away the opponents’ strengths—make them
learn how to play differently during games. This forces offenses to perform second-
ary moves and options instead of moves that are their strengths—which is especially
Critical Cue: difficult to do during games. Make them play to their weaknesses by taking away
Take away the
offensive player’s their strengths. Defense is a game of give and take; if players take something away,
best move or strength. they will likely give up something in return. This applies to strengths and weaknesses
as well as each defensive level and category of defense.
Communication is the glue that holds team defense together. For effective defense,
teams need to develop and implement excellent communication skills—verbal and
Critical Cue: nonverbal, talking and listening. In the team sport of basketball, players cannot com-
Can’t talk too much municate too much, and coaches cannot emphasize communication too much.
on defense.
Team defense also depends on the effectiveness of team offense (ballhandling
and taking good shots). Efficient offense tends to energize and complement team
defense, as well as take the pressure from the defense and make it more proactive.
Defensive Court Levels

The many varieties and styles of defense can be played at various levels of the court
(figure 10.1). Coaches can instruct players to begin defending the opposing team
at any point on the court.
The full-court team defense is a pressing defense in which defenders guard or
pick up opponents as soon as possible all over the court. In a three-quarter-court
Team Defense 235
Full court 3/4 court 1/2 court 1/4 court
Figure 10.1 Levels of defense—defending and protecting the basket on the right.
defense, defenders usually allow the first inbounds pass and then pick up offensive
players near the free-throw line or the top of the offensive circle. The most common
pickup point is at midcourt, where the opponents are first guarded at the half-court
line. Half-court player-to-player team defense is recommended for most players of
elementary to junior high school age. Coaches can also activate team defense at
the top of the defensive key. This quarter-court defensive level is used if the other
team has greater individual talent. It is the foundation level. As teams get better at
defense or have better talent, the level of defense can be increased.
A team defensive level set at full court or three-quarter court puts more pressure
on opponents but forces an increase in court coverage. This level takes away the
free movement of opponents in the backcourt but gives the opponent the possible
advantage of beating the pressure and getting an easy score from an outnumbered
situation.
Defensive Categories
Team defenses fall into three general categories: player-to-player, in which each
defender is assigned to a specific offensive player to guard or defend against; zone,
in which each player is assigned a specific area of responsibility depending on the
position of the ball and the offensive players; and combination, having elements Critical Cue:
of both player-to-player and zone defenses. All defenses can be started at different Use only player-to-
levels and with various amounts of pressure (proactive pressing rather than reactive player defense for
sagging defense). young players through
eighth grade (ages 13
to 14). No pressing
Player-to-Player Defense defenses until players
are in junior high
Coaches should emphasize player-to-player as the basic defense for all players. The school (at the earliest).
player-to-player defensive approach is valuable because the techniques can be applied
in all defenses; it should be the primary, and probably the only, defense used for
elementary to junior high school levels of play.
Elementary, middle, and junior high school teams often use defenses and pressing
tactics to take advantage of lower skill levels in perimeter shooting and ballhandling.
This approach hinders the long-range development of young players and should
be discouraged. Players at these age levels should focus on fun and fundamentals,
with everyone getting a chance to play in every game in order to use strengths and
work on weaknesses.
If players in this age group learn the basics of player-to-player defense, they can
adapt to other defenses later. Player-to-player defense is also the most challenging
and most personally rewarding type of defense. No defender can hide: The offense is
likely to score an easy basket after any defensive lapse, with personal accountability
specifically ensured. As a result, player-to-player defense promotes individual respon-
sibility to the team. The basic principles of the defense are explained in chapter 7.
Zone Defense
Zone defense assigns each player defensive responsibility for a certain area or zone,
rather than for an individual offensive player, and it focuses more on the ball. Zone
defense usually changes as the ball moves and is designed to protect a limited area
of the court. Zone defenses are often weaker in the gaps or seams between defenders
and on the outside, but they can be modified to disguise those weaknesses.
Zone defenses can be designed to give and to take away; sagging zones give up
more outside shots but take away the inside. Lane or pressure zones take away out-
side shots but may be vulnerable inside.
Zones can also be changed to lane defenses that are designed to intercept passes,
trapping defenses (two players double-teaming one offensive player with the ball),
or sagging defenses where the inside area near the basket is heavily protected.
The 2-3 Zone. The most commonly used zone defense is the 2-3 zone. Figure 10.2a
shows the basic coverage areas of this defense; figure 10.2b shows the weak areas.
Coaches can use this defense when playing a team with a good post player or when
they need to ensure good corner coverage. Figure 10.3 shows that the players shift
with the ball in various positions.
X1 X 2 X1 X2
X3 X4
X5 X3 X5 X4
a.a bb
Figure 10.2 The 2-3 zone defense: (a) coverage and (b) weakness areas.
Team Defense 237
X1 X2 X1 X2
X5
X3 X4 X4
X3 X5
a.a b.
b
Figure 10.3 The 2-3 zone (a) with the ball on the wing and (b) with the ball in the frontcourt
corner.
The 1-3-1 Zone. The 1-3-1 zone defense is also commonly used to cover the high
post and wing area: It is strong in the center, the wings, and the point. The coverage
and gaps are shown in figure10.4. The shifts of the 1-3-1 zone are shown in figure
10.5, with the ball in the corner and on the wing, respectively. Most zones revert to
a 2-3 formation with the ball in the corner.
The 1-2-2 Zone. The 1-2-2 zone defense has good coverage on the perimeter but
is vulnerable inside. Its coverage and weakness areas are indicated in figure 10.6.
The movement and shifts of this 1-2-2 zone (figure 10.7) are similar to those for
the 1-3-1 zone.
X1
X1
X2 X4 X4
X5 X2 X5
X3 X3
a.a bb
Figure 10.4 The 1-3-1 zone defense: (a) coverage and (b) weakness areas.
X2 X1 X2 X1
X4
X5
1
X3 X 5 X4 X3
a.a bb
Figure 10.5 The 1-3-1 zone (a) with the ball in the corner and (b) with the ball on the wing.
X1 X1
X2 X3 X2 X3
X4 X5 X4 X5
a.a bb
Figure 10.6 The 1-2-2 zone defense: (a) coverage and (b) weakness areas.
1 1
2
2
X2 X1 X3
X2 X1 4
X4 5
4 X5 5 X5 X3
3 3 X4
a.a bb
Figure 10.7 The 1-2-2 zone defense (a) with the ball on the wing and (b) with the ball in the
corner.
238
Team Defense 239
Combination Defense
Combination defenses may take several forms. Generally, they
are used to take away an opponent’s strength and confuse
offenses. For example, a triangle-and-2 defense might be used 1 2
against a team with only two good scorers; a box-and-1 could
be used against an opponent with one key player or ballhandler
X1
who is high scoring. X2
Triangle-and-2. Two defenders are assigned player-to-player 3
on selected opponents while three defenders play a triangular X3
zone, as shown in figure 10.8. To use this defense effectively,
4
coaches must decide on the extent of floor coverage and shifts
for the triangle zone defenders. They must also decide how they
X4 X5
5
want the two player-to-player defenders to play (tight, loose,
ball denial, etc.). This defense takes away the effectiveness of
Figure 10.8 The triangle-and-2 combination
two offensive players (usually perimeter players) but is vulner- defense (X1 and X2 player-to-player).
able in other outside shooting areas.
Box-and-1 or Diamond-and-1. One defender is player-to-player while the other
four play a zone defense near the basket. This works well against a team with one
outstanding scorer or ballhandler. Two forms of this defense are shown in figure 10.9.
Coaches should assign the opposing player who is the best scorer, ballhandler, or
team leader to the best player-to-player defender. Determine who is the key player
for the other team. Then determine how to take away that player’s strength.
This defense takes away the effectiveness of one player, with four zone players used
to help and protect the basket, but it can also be vulnerable to outside shooting.
1
1
X2
2
X1
X1 X2
X3
X3 X4 5 4
X5 3
X4 X5
aa bb
Figure 10.9 (a) The diamond-and-1 combination defense. (b) The box-and-1 combination
defense.
Pressing Defenses
Player-to-player pressure defenses can be played at any level: half court, three-quarter
court, or full court. All basic principles apply, but helping situations are much more
challenging as the defense expands to full court. A premium is placed on individual
defenders’ stopping and pressuring the ballhandler because of the greater floor area
to cover. This type of pressure defense was first developed in the 1940s in men’s
college basketball and has become commonplace today, especially on teams with
greater athletic talent.
Zone pressure defenses can be played at all levels. Probably the most famous
instance of a full-court zone press was popularized in the unprecedented success
experienced at UCLA under John Wooden. The staple of his first national collegiate
championship team was the full-court 2-2-1 zone press, as shown in figure 10.10.
Zone presses tend to speed up game tempo, whereas player-to-player pressure
defenses may slow the tempo.
This press is usually used as a containing press, keeping the ball out of the middle,
that sets at least one sideline trap before half court (figure 10.11). Player X1 covers
the middle, X5 covers the sideline, and X3 protects the basket on this trapping
sequence.
X1 X3
X5
X2
X4
Figure 10.10 2-2-1 zone press.
4
X1 2
X3
X5
5 X2
X4
1
3
Figure 10.11 2-2-1 zone trap.
Team Defense 241
Coaches need to make decisions about when to trap (usually when the dribble
comes to the defense and near the half-court line), how to rotate, whether to use
continuous trapping, when to drop back to the regular half-court defense, and what
type of defense to transition into on the half court. With player-to-player defense,
one method is to retreat to the basic defense after one trap: protect the basket,
stop the ball, and pick up all open players (in that order). Communication is a key
in that transition.
A half-court zone press is exemplified by the 1-3-1 defense used by the Kentucky
team, coached by Joe B. Hall, that won a national championship in 1978. The basic
set is an extended 1-3-1, shown in figure 10.12.
The perimeter players X3, X4, and X2 play in the passing lanes and force the offense
to pass over the top (slower passes). The ball is forced into the corners and trapped,
as shown in figure 10.13.
2 X2 5
X3 X5 X1
1
X4
Figure 10.12 1-3-1 half-court zone press.
X3
X3
X2
X4 X5 X2
X4 X5
X1
X1
a b
Figure 10.13 Corner traps: (a) near the half-courtE3888/Krause/fig.10.13b/281673/pulled-alw/r1

line, (b) near the baseline.
3
X3
2
X2
b
Coaching Points for Team Defense

¤¤Select one defense as the primary team defense. The half-court player-to-player defense
is recommended for young players through junior high school level.
¤¤Make attitude and motivation major concerns when developing team defensive play.
¤¤Focus on practicing against all offenses. Prevent surprises for the defense during games
by preparing the team fully in practice for all game situations.
¤¤Place equal emphasis on offense and defense, but spend more time on offense (requires
ballhandling and shooting).
¤¤Require defenders to play hard—all five players must move with every pass or
dribble.
¤¤Begin with an effective transition from offense to defense.
¤¤End with the defensive rebound, steal, or opponent’s turnover.
¤¤Require communication—verbal and nonverbal, talking and listening.
Checklist for Team Defense

¤¤General principles developed
¤¤Defensive fundamental skills
¤¤Stance and steps
¤¤Defense on-the-ball (live ball, dribble, dead ball)
¤¤Defense off-the-ball (closed or open)
¤¤Defense closeouts (off-the-ball to on-the-ball)
¤¤On-the-ball to off-the-ball defense (jump or explode to the ball)
¤¤Special situations for defense
–– Post defense
–– Help and decide (bluff, switch, trap)
–– On-the-ball screens
–– Off-the-ball screens
–– Double screens
–– Defensive charge
–– Pressure the shot
–– Loose ball
¤¤Defensive rebounding
¤¤Team defense
¤¤Player-to-player
¤¤Zone
¤¤Combination
¤¤Levels of defense
¤¤Zone press
¤¤Out-of-bounds, under
¤¤Out-of-bounds, side
¤¤Defensive free throws
¤¤Transition to offense
242
Team Defense 243
Troubleshooting
The biggest challenge on defense is to get players to play as hard as possible at this
end of the floor. Especially on defense, coaches cannot coach well unless players
play extremely hard with maximum effort. Convince players that they can’t be
successful without an all-out effort. Part of that effort is to give maximum mental
effort, which requires high levels of communication for defensive effectiveness. Be
your best on defense, both physically and mentally. The “mad dog in a meathouse”
approach does work on defense. Playing as hard as you can and as long as you can
is a good defensive rule to follow.
Drills for Team Defense

Defense needs to be learned for all situations and built up from individual play
(1‑on-1) progressively to team play (5-on-5). See chapter 7 for individual defensive
drills as the foundation for developing team defense.
• Moving stance and steps
• Line drill—individual defense, especially 1-on-1 (live ball, dribble, passer, dead
ball)
• Closeouts—1-on-1, 2-on-2, 3-on-3, 4-on-4
• On-the-ball to off-the-ball 2-on-2
• Defensive step slide—moving stance and steps
Half-Court 3-on-3, 4-on-4 (Shell Drill)
Purpose: To break down all situations of two-person and three-person offensive play
and to learn to defend them in a team situation.
Equipment: Ball, half court, 8 to 12 players.
Procedure: Each practice can emphasize a selected offensive situation to defend. Pre-
pare the team for all situations (no game surprises). Set up a drill rotation; offense to
defense to off-court.
Options
• On-the-ball screens
• Off-the-ball screens
• Double screens
• Use of traps
• Two out, two in (perimeter, post)
• Four outside players, flash post on the cut
• Give-and-go moves
• Dribble penetration focus

• Post play (single, double)
• Three out, one in
• Three in, one out
• One-guard front or two-guard front
Half-Court to Full-court Drills:

3-on-3, 4‑on-4, 5-on-5
Purpose: To practice basic half-court defense and transition to offense; to practice

basic half-court offense and transition to defense.
Equipment: Ball, full court, and at least two groups of players.
Procedure: Set up selected offensive situations to defend and then transition to offense
on missed shots; work on selected offensive situations and then carry out an effective
defensive transition on made or missed baskets.
Options
• 3-on-3
• 4-on-4
• 5-on-5 team offense and defense
Full-court Drills: 3-on-3, 5-on-5
Purpose: To teach all phases of defense progressively—3-on-3 breakdowns and 5-on-5

with full teams.
Equipment: Ball, full court, and at least two groups of players.
Procedure: For 3-on-3 full court, players or groups should change after no more than
three circuits of full court up and back. The ball must be dribbled over half court, and
no breakaway lob passes are allowed in an early progression.
Variation: Play full-court 3-on-3 games to two baskets using the following rules:
• Offense calls fouls (count as a score)
• No lob passes over half court (breakaway)
• No dribble on offense (pass and cut, pass and pick away from the ball)
• New team ready to come in, winner stays
This drill is one of the best, most taxing offensive and defensive drills that can be used.
Players must play full-court offense and defense while executing all fundamental skills.
Drill Finder
Warm-up Conditioning
Drill Level Specific focus component component Page
Basic Body Control
Quick-Stance Check Basic Basic stance 17
Quick-Stance Mirror Basic Basic stance 17
Mass Quick Moves Drill Intermediate Basic stance ✓ ✓ 17
Line Drill: Quick Starts, Basic Starting, turning, and stopping
✓ 19
Steps, Turns, and Stops
Line Drill: Quick Jumps Basic Jumping skills for rebounding and
✓ ✓ 20
shooting
Line Drill: Rebound Basic Jumping skills for rebounding
✓ ✓ 21
Jumping and Turns
Line Drill: Quick Stance, Basic Body-control movements
Starts, Steps, Jumps, ✓ 21
Turns, and Stops
Line Drill: Starts, Stops, Intermediate, Quick stance, quick starts, quick
and Turns advanced stops, quick turns, and passing and ✓ 21
catching skills
Advanced Body Control
Line Drill: Move Without Basic Basic moves without the ball
✓ 35
the Ball
V-Cut Drill Basic Basic moves without the ball in
36
2‑on-0 and 2-on-2 situations
Pick-and-Roll Drill Intermediate, Screening and cutting options for
37
advanced on-the-ball screens
3-on-0 Motion Advanced Scoring options on screens away
37
from the ball; two-ball shooting
3-on-3 Motion Screen Advanced Screening and cutting options for
38
Drill off-the-ball screens
Ballhandling
Ballhandling Drills Basic Controlling the ball; becoming
✓ 62
familiar with the ball
Line Drill: Passing and Basic Passing and catching techniques; all
✓ 63
Catching basic passes
Two-Player Passing and Basic Passing and catching using a push
64
Catching Drill pass with either hand after a dribble
2-on-1 Keepaway Intermediate Passing and catching between
Passing Drill partners who must pass by a ✓ 64
defender
Moving Pairs Passing Basic Partner passing and catching
skills while moving and against a ✓ 65
defender
Wall Passing Basic Individual ballhandling skills of
✓ 66
passing and catching
Line Drill: Stance, Starts, Basic Selected footwork skills from a
✓ 66
and Skill Breakdown quick stance and a quick start
Line Drill: Starts, Stops, Intermediate Combining dribbling, starting,
and Turns stopping, passing, catching, and ✓ 66
turning skills
245
246 Drill Finder
Ballhandling (continued)
Mass Dribbling Basic Basic ballhandling skills of dribbling ✓ 66
Full-Court Dribbling Basic Ballhandling skills of dribbling ✓ 67
Wall Dribbling Intermediate, Ballhandling skills
68
advanced
Ballhandling Basics Basic Basic dribbling, passing, and
✓ 69
catching skills
Shooting
Line Drill: Shooting Basic Shooting in a simulated game
99
Addition situation
Layup Progression Intermediate Proper and quick execution of
✓ 101
Shooting game-type layups
Field-Goal Progression Basic, Improved shooting through
intermediate, feedback ✓ 102
advanced
Soft Touch or Killer Basic, Shooting mechanics and
Shooting intermediate, confidence building ✓ 104
advanced
Groove It Shooting Drill Intermediate Evaluating shooting effectiveness
105
and range
Pairs or In-and-Out Intermediate, Shooting in a 2-on-0 game
✓ 105
Shooting advanced simulation; all shooting situations
Make-It-Take-It Row Basic, Self-testing shooting skills
Shooting intermediate, ✓ 106
advanced
Individual Drill for Basic Mechanics of shooting hand and
107
Grooving the Shot balance hand; increasing shot range
Field-Goal Correction Basic Troubleshooting
107
Drill
Free-Throw Progression Basic, Free-throw shooting fundamentals
intermediate, ✓ 108
advanced
Foul-Shot Golf Basic Free-throw shooting 109
Knockout Shooting Intermediate, Shooting in a competitive situation
109
advanced
Row Plus Free-Throw Intermediate, Competitive shooting
110
Shooting advanced
Footwork and Field Intermediate, Competitive shooting
110
Goals (or Free Throws) advanced
Mental Practice Drill Intermediate, Building shooting confidence
for Field-Goal and Free- advanced through automatic verbal prompts, 111
Throw Shooting shooting rituals, and self-evaluation
Outside Offensive Moves: Playing the Perimeter
Warm-Up for Perimeter Basic Warm-up for fundamental skills
✓ 127
Players
Line Drill: Live-Ball, Basic Live-ball and dead-ball moves;
Dead-Ball, and review of dribble moves
✓ 127
Completion Moves
Addition
Outside Moves Using a Basic Outside moves
✓ ✓ 128
Spin Pass
Closeout: 1-on-1, 2-on- Basic, All outside moves
2, 3-on-3, 4-on-4 intermediate, 129
advanced
1-on-1 Drill Basic, 1-on-1 competition for perimeter
intermediate, players ✓ 129
advanced
Drill Finder 247
Outside Offensive Moves: Playing the Perimeter (continued)
Partner Penetrate and Basic, Live-ball moves; passing to
Pitch Drill intermediate teammate for score at completion 130
of dribble drive
Timed Layups Basic Ballhandling and layup shooting ✓ 131
Perimeter Game Intermediate, All perimeter moves with the ball
✓ 131
advanced
Inside Offensive Moves: Playing the Post
Post Warm-Up Drill Basic Basic post skills ✓ 146
Line Drill: Post Player Basic Proper footwork
✓ 147
Starts, Turns, and Stops
Post Pair Drills Basic Post stance, passing and catching,
✓ 148
and chinning the ball
Spin Pass Post Moves Basic Individual offensive post moves ✓ 149
Post Progression Drill Basic, Offensive post moves
intermediate, ✓ 149
advanced
Big Spacing and Post Intermediate, Triangle spacing; big spacing
150
Feeding Drill advanced
All-American Post Advanced All offensive post moves
✓ ✓ 151
Workout
2-on-2 Feeding the Post Intermediate, Offensive and defensive post play
Drill advanced skills; passing to post players;
152
movement after the pass for a
return pass
Mikan Drill Basic, Footwork; ballhandling; layup
intermediate, shooting close to the basket ✓ ✓ 152
advanced
5-on-5 Post Passing Drill Advanced Post players: getting open,
catching, post moves, passing from
the post position while reading and
reacting to defenders; Defensive 153
players: double-teaming post
players, rotating to the ball on
passes from the post
Post Score Through Intermediate, Capture and chin the ball
✓ 153
Defense (Over and Back) advanced
1-on-1 Post Cutthroat Basic, Post offense and defense in 1-on-1
intermediate, live format ✓ 154
advanced
Individual Defense
Stance and Steps Basic Defensive stance and power push-
✓ 177
Progression step (step-slide) technique
Moving Stance and Steps Basic Individual defensive stance and
✓ ✓ 178
steps
Line Drill: Individual Basic Individual defensive skills
✓ 179
Defense
On-the-Ball and Off-the- Basic Quick adjustment to on-the-ball
Ball Drill: 2-on-2 and off-the-ball positions while
179
defending penetration (help and
decide situations)
Closeout Drill Basic Closing out on off-the-ball offensive
✓ 180
player
Closeout Drills: 1-on-1, Intermediate, All outside moves of perimeter
✓ 181
2-on-2, 3-on-3, 4-on-4 advanced players
Defensive Slide Drill: Basic Individual defensive steps
181
Moving Stance and Steps
248 Drill Finder
Individual Defense (continued)
Half-Court Drills: 2-on- Intermediate, Individual defensive skills
✓ 182
2, 3-on-3, 4-on-4 advanced
Half Court Plus Intermediate, Individual defensive skills; transition
Transition: 4-on-4 advanced from defense to offense after ✓ 182
defensive rebounding
Rebounding
Line Drill: 2-and-2, Basic 2-and-2 and capture and chinit
Capture and Chin rebound techniques ✓ 202
Rebound Addition
Line Drill: Defensive Basic Defensive rebounding techniques
✓ 204
Rebound Addition
Line Drill: Offensive Basic Offensive rebounding; getting past
Rebound Addition the defender to block out, getting
✓ 204
to a gap, making contact to move
the defender closer to the basket
Rebound and Outlet Intermediate, Taking a defensive rebound off the
Drill advanced backboard and making an outlet 205
pass
Rebound Number Basic Seeing opponent and ball when a
206
shot is taken
Closeout and Blockout Intermediate, Team competition; 1-on-1, 2-on-2,
Drill advanced 3-on-3 rebounding situations; on- ✓ 206
the-ball and off-the-ball blockouts
Line Drill: Full-Court Basic Offensive rebounding skills
Offensive Boards 206
Without the Ball
Advanced Figure-Eight Intermediate, Controlling the rebound
207
Rebound Drill advanced
Garbage Drill Basic, Scoring on the offensive rebound
✓ 207
intermediate
NBA (No Babies Advanced Aggressiveness
Allowed) or Survival ✓ 207
Rebounding
Individual Rebounding Basic Rebounding skills ✓ 208
Rebound Progression: Intermediate, Rebounding skills
✓ 209
3-on-0, 3-on-3 advanced
Cutthroat Rebounding: Intermediate, Offensive and defensive rebounding
✓ 209
3-on-3, 4-on-4 advanced
War Rebounding Advanced Aggressive defensive or offensive
✓ 210
rebounding
Team Offense
Skeleton Offense Drill: Basic Basic team offensive formation
✓ 229
5-on-0
Team Offense-Defense Intermediate, Team offense and defense
✓ 229
Drill: 5-on-5 advanced
Blitz Fast-Break Drill Intermediate, Two-lane and three-lane fast-break
✓ 230
advanced offensive and defensive plays
Transition Fast-Break Intermediate, Transition basketball
✓ 232
Drill advanced
Team Defense
Half-Court 3-on-3, 4-on- Intermediate, Two-person and three-person
✓ 243
4 (Shell Drill) advanced offensive play
Half-Court to Full-Court Intermediate, Half-court defense and transition
Drills: 3-on-3, 4-on-4, advanced to offense; half-court offense and ✓ 244
5-on-5 transition to defense
Full-Court Drills: 3-on-3, Intermediate, All phases of defense
✓ 244
5-on-5 advanced
References
Bunn, J. 1955. Scientific principles of coaching. Englewood Cliffs, NJ: Prentice Hall.
Carter, J. 2006. Noah’s arc—Building the perfect shot. Palo Alto, CA: Self-published.
Harle, S., and J. Vickers. 2006. Quiet eye improves accuracy in the free throw. Calgary, Alberta: University
of Calgary.
Hays, D. 2006. Developing your shot and offensive moves. Oklahoma City: Self-published.
Jaimet, S. 2006. The perfect jump shot. Indianapolis, IN: Elemental Press.
Krause, J., C. Janz, and J. Conn. 2003. Basketball skill progressions: NABC’s handbook for teaching. Monterey,
CA: Coaches Choice.
Krause, J., and B. Brown. 2006. NABC’s youth basketball coaching handbook: Beyond the backboard. Monterey,
CA: Coaches Choice.
Krzyzewski, M. 2000. Leading with the heart. New York: Warner Books, Inc.
Martens, R. 1997. Successful coaching. 2nd ed. Champaign, IL: Human Kinetics.
Wolff, A. 2002. Big game, small world. New York: Warner Books, Inc.
Wooden, J.R. 1998. Practical modern basketball. 3rd ed. Redwood City, CA: Benjamin Cummings.
249
Index
Note: The italicized f and t following page numbers refer to figures and tables, respectively.
A basic moves without the ball. See decoy moves 28
Abdul-Jabbar, Kareem (Lew Alcindor) movement without the ball defending the live ball
90 Basketball Skill Progressions (Krause) 73 defending dribbler 162
air passes 42-43, 43f. See also passing BEEF principle 74 hand position 161-162, 161f
principles behind-the-back dribble 59-60, 60f push-step technique 162, 163f, 164
assigned moves 28 between-the-legs dribble 61, 61f techniques 160-161, 160f
ATTACK 156-157 Bird, Larry 32 traditional method 164, 164f
blocks. See illegal screens defense, essentials of. See individual
B bounce passes 43, 43f. See also defense
back cuts 32, 33f, 33. See also off-the- passing principles defense, special situations
ball screens; V-cuts Bradley, Bill 110 defensive charge 174-176, 175f
back dribble 58 Brandenburg, Jim 187, 194 help and decide 171-172, 172f
ballhandling Bunn, John 74 screens 172, 173f, 174f
arms mechanics of 40 tactics 170, 171
C
balanced development 40 traps 172, 173, 174f
catching principles 47-49 catching principles
defensive categories
passes, types of 43-47 feet positioning 47-48
combination defense 239, 239f
passing and catching 41 methods of 48-49, 48f, 49f
player-to-player defense 235-236
passing principles 41-43 running through the basketball 47
pressing defenses 239-241, 240f-
triple-threat position 40-41, 40f change-of-pace dribble 54
241f
ballhandling drills chest bounce pass 44, 44f
zone defense 236-237, 236f-238f
ballhandling basics 69-70 chest pass 42f, 43-44
defensive drills
ballhandling drills 62-63 combination defense
closeout drill 180, 180f
full-court dribbling 67-68 box-and-1 or diamond-and-1 239,
closeout drills: 1-on-1, 2-on-2, 3-
line drill: passing and catching 63 239f
on-3, 4-on-4 181, 181f
line drill: stance, starts, and skill triangle-and-2 239, 239f
defensive slide drill: moving stance
breakdown 66 communication
and steps 181-182, 181f
line drill: starts, stops, turns 66 consistency of xii
half-court drills: 2-on-2, 3-on-3,
mass dribbling 66-67 description of xi
4-on-4 182
moving pairs passing 65, 65f echo calls xi
half-court plus transition: 4-on-4
2-on-1 keepaway passing drill 64, primary measure of xii
182
65f skills, areas of development for xi-xii
line drill: individual defense 179
two-player passing and catching Conn, James 73
moving stance and steps 178, 178f
drill 64, 64f Crawford, Joan 184
on-the-ball and off-the-ball drill:
wall dribbling 68-69 credibility with players xii. See also
2-on-2 179, 180f
wall passing 66 communication
stance and steps progression 177
basic body-control drills. See also crossover dribble 54, 54f, 55f
defensive rebounding. See also
movements and positions curl cut 32, 32f. See also off-the-ball
rebounding
description of 16 screens
assuming shot will miss 188, 189
line drill: quick jumps 20-21 Curry, Denise 184
blocking out 188
line drill: quick stance, starts, D dribbling ball 197
steps, jumps, turns, and dead-ball moves find opponent 188, 189
stops 21 crossover step-through move get and keep ball 193-196, 194f-
line drill: quick starts, steps, turns, (advanced) 123, 124f 195f
and stops 19-20, 19f, jump shot 122 go to ball 191, 193, 193f
20f shot fake and jump shot 122 go to opponent and block out
line drill: rebound jumping and spinner (advanced) 123, 126f 188-191, 190f-192f
turns 21 step-through move into one-foot move ball 196-197
line drill: starts, stops, and turns layup (advanced) 123 passing ball 196
21-22 step-through move into power rebounding principles and blocking
mass quick moves drill 17-19 shot or layup (advanced) out 188-197
quick-stance check 17 123, 125f see or hear shot 188, 189
quick-stance mirror 17 using 122 Docheff, Dennis xiii
250
Index 251
Drew, Homer 86 blocking out and communication catch-and-face technique 114-

dribble moves. See dribbling 159 115, 115f
dribbling coaching points for 171 coaching points for 8
coaching points for 61 defense, essentials of 157-159, crossover drive 7, 8f
description of 50 158f, 159f description of 114
dribble moves, types of 52-61 defensive drills 177-182 direct drive 7, 7f
faking move 55 elements of defense by acronym dribble drives 115, 116, 116f, 117
strategies 52, 52f 156-157 moves with either pivot foot
techniques 50-52, 51f, 52f essential skills 156 (advanced) 120-122,
dribbling after rebounding 201 line of ball 158-159, 159f 121f, 122f
Dunlap, Mike xiii moving 158 permanent pivot foot (PPF) moves
E off-the-ball defense 165-167, 116f, 117-120, 118f-120f
165f-167f primary objective of 117
echo calls xi
off-the-ball to on-the-ball defense triple-threat position 114, 114f
F 170, 170f winning the battle 116
fake-and-break. See V-cuts on-the-ball defense 159-165 Lloyd, Tommy 30
feedback on skills on-the-ball to off-the-ball defense lob passes 43, 43f. See also passing
guidelines xiii 169, 169f principles
John Wooden’s Pyramid of Success position and prevention of low dribble 53
xiv, xvf penetration 158, 158f M
teaching and learning tips xiii-xv, xvf post defense 167-169
Malone, Karl 30
field-goal shooting pressure 157-158
Martens, Rainer xi
acronyms for learning concepts pressuring the shot 176
mass dribbling 66-67
74, 75 purpose of 157
Meyer, Ray 135
building confidence 76 special defensive situations 170-176
Mikan, George 135, 152
game modification for youths 73 transition 157
Miller, Ralph 156
importance of 72 troubleshooting 176
movements and positions
Noah’s Arc 74 information over emotion xii. See also
balance and quickness 2
proper technique 73 communication
basic body-control drills 16-22
shooting percentage 72, 73, 73t inside offensive moves
quick jumps 13-16
flare or fade cut 32, 33f. See also off- description of 134
quick stance 2-5
the-ball screens post drills 146-154
quick starts, steps, turns, and
footfire 4 post or inside moves 139-145
stops 5-13
free-throw shooting. See also free- post play 134-135, 134f, 136f,
troubleshooting 16
throw technique 146
movement without the ball
coaching points for 98 post skills 135-139, 136f-139f
ball magnet and team spacing 24,
description of 96 troubleshooting 145
24f
free-throw confidence building 99 J basic moves without ball 26-28
game percentage goals 96, 96t
Jaimet, Scott 87 coaching points for 34
practicing 96
Janz, Curtis 73 concepts of 24-25, 25f
free-throw technique
Johnson, Earvin “Magic” 41 decoy, shot, and assigned moves 28
bounce at the bottom 97-98
John Wooden’s Pyramid of Success xiv, front and rear cuts 26-27, 27f
description of 96, 97f
xvf. See also feedback on skills screen moves 28-33
find the spot 96, 97, 97f
K troubleshooting 34
full focus 97
V-cuts 25f, 26, 26f
full follow-through 98, 99 Krause, Jerry 73
movement without the ball drills
physical mechanics of 96-98 Krzyzewski, Mike 159
description of 34
ritual 98 L line drill: move without the ball
front and rear cuts 26-27, 27f. See also
layups 83-85, 84f-86f. See also shots, 35, 35f
movement without the ball
types 3-on-0 motion 37, 38f
H learning. See also communication 3-on-3 motion screen drill 38
Hagan, Cliff 135 abilities x pick-and-roll 37
Hall, Joe B. 241 communication xi-xii V-cut drill 36, 36f, 37f
Hays, Dan 77, 80, 103 essential concepts of ix-x moves with either pivot foot
head-and-shoulders crossover move feedback on skills xiii-xv (advanced)
56-57, 56f. See also dribbling senses and skill learning stages xi crossover drive 121-122, 122f
head-and-shoulders move 54-55, 55f. skills and drills x description of 120
See also dribbling stages of x-xi direct drive with direction foot 121
I value of ix direct drive with opposite foot
visualization xi 121, 121f
Iba, Henry “Hank” x
listening skills xii. See also
illegal screens (blocks) 28. See also N
communication
screen moves NABC’s Handbook for Teaching (Krause)
live-ball moves
individual defense 73
252 Index
Nash, Steve 41 P controlling defenders 168

Nilson, Mike 159 passes, types defending post player with ball
nonverbal communication xii. See also chest bounce pass 44, 44f 168, 169
communication chest pass 42f, 43 fronting stance 167, 168, 168f
O one-handed baseball pass 46, 46f post drills
one-handed push pass 46-47, 47f all-American post workout 151-152
offense, setting
overhead pass 45-46, 45f big spacing and post feeding drill
1-4 double high-post set 220, 222f
vertical fakes 47 150-151, 150f
1-2-2 give-and-go 220, 220f, 221f
passing and catching. See also line drill: post player starts, turns,
2-2-1 give-and-go offense 218,
ballhandling and stops 147-148
219f, 220
coaching points for 49 Mikan drill 152-153
1-3-1 high-to-low post set 221, 222f
communication of 50 2-on-2 feeding post drill 152, 152f
2-2-1 or 2-3 set 222, 222f
description of 41 1-on-1 post cutthroat 154
1-2-2 stack 221-222, 222f
passing principles 5-on-5 post passing drill 153, 153f
offensive rebounding. See also
correct pass, choosing 42-43, 43f post pair drills 148
rebounding
fundamentals of 41-42, 42f post progression drill 149-150
approaches 197
important principles 42 post score through defense (over
dribbling after rebounding 201
special passing situations 43, 43f and back) 153-154
going to a gap techniques 198-
Paterno, Joe x post warm-up drill 146-147
199, 198f, 199f
pedestal-pocket shots spin pass post moves 149
passing after rebounding 200
coaching points for 88 post or inside moves
primary position objectives of 197,
important factors 87, 87f facing moves 143, 144f, 145f
198, 198f
recommendations 86-87 jump hook 140
shooting after rebounding 199-200
sequence of 87f, 88, 89 objective of 139-140
successful ball-defender-basket
using 87f, 88 passing to post 145
defense 197
Perfect Jump Shot, The (Jaimet) 86-87 post shot 140
offensive team tactics
perimeter drills power move 140, 141f, 142f
basic defensive situations 214
closeout: 1-on-1, 2-on-2, 3-on-3, wheel move (advanced) 143, 143f
defensive transition: offense to
4-on-4 129, 129f post play
defense 227, 227f
guidelines for 126-127 assume the miss 135
offense against combination
line drill: live-ball, dead-ball, backboard shots 134
defenses 224, 224f
and completion moves coaching points for 146
press offense 216, 217f, 218
addition 127-128, 128f description of 134, 134f
primary fast break: transition from
1-on-1 drill 129-130 penetrate 134
defense to offense 214,
outside moves using spin pass post-player skills
215f
128-129 catching ball inside 137-139, 138f,
secondary fast break: transition
partner passing and shooting 131 139f
from defense to offense
partner penetrate and pitch drill description of 135
216, 216f
130, 130f getting open in post 136-137, 137f
set offense 218-222, 219f-222f
perimeter game 131-132 post line 136, 136f
special situations for team offense
timed layups 131 reading defense 139
225-226, 225f, 226f
warm-up for perimeter players 127 stance 135, 136f
zone offense 222-223, 223f
permanent pivot foot (PPF) moves taking out defender 139
off-the-ball defense
crossover drive 120, 120f power dribble 53, 53f
guidelines 165-167, 165f, 166f, 167f
description of 117 pull-back crossover dribble 58-59,
stances, types of 165, 165f
direct drive 116f, 117-118 58f-59f
off-the-ball screens 31-33, 32f, 33f
one-handed baseball pass 46, 46f hesitation or step-step move 118, Q
one-handed push pass (flick pass) 118f quick jumps
46-47, 47f offensive quick start 7 coaching points for 16
on-the-ball defense for perimeter moves 117 description of 14, 15f
defending dead ball 164-165, 165f rocker step 119, 119f jumping skill, improving 13
defending live ball 160-164, 160f, pick-and-roll. See on-the-ball screens landing position 13
161f, 163f, 164f pivoting. See quick turns and pivots one-foot jumps 16
description of 159 player positions and responsibilities rebounding 14, 14f, 15f
recommended skills 159 center or post player 213 take-offs 13, 14
on-the-ball screens 30-31, 30f, 31f. description of 212, 212f two-foot power jumps 13, 14,
See also screen moves guards and forwards 213 14f, 15f
outside offensive moves player screens 28. See also screen quick stance
coaching points for 123 moves arms and legs 4-5, 5f
dead-ball moves 122-126 pop cut 31, 32f. See also off-the-ball coaching points for 5
live-ball moves 114-122 screens description of 2
perimeter drills 126-132 positive communication xii. See also foot position 3, 3f
troubleshooting 126 communication head and trunk position 4, 4f
types of 114 post defense parallel stance 3, 3f
overhead pass 45-46, 45f closed stance 167, 168f, 169f staggered stance 3, 3f
Index 253
test 2, 3f capture and chin ball 186 layups 83-85, 84f-86f

weight distribution 3-4 hands up 186-187, 187f pedestal-pocket shots 86-89, 87f
quick starts Riley, Pat 90 post hook shot 90-93, 91f, 92f
coaching points for 8 ROBOTs principle 75 post jump hook shot 93-94, 93f,
defensive quick start 6-7, 7f Rodman, Dennis 184 94f, 95f
description of 6, 6f RPA (rim-post-action) 24, 41 post power shot 89-90, 89f, 90f, 91f
front (lead) foot first 6 Russell, Bill 185 shot fakes 95-96, 95f
live-ball moves 7, 7f, 8f S three-point shots 85, 86, 86f
offensive quick start 7, 7f, 8f Sikma, Jack 143
Scientific Principles of Coaching (Bunn)
quick starts, steps, turns, and stops 5-9 skills, learning stages of x-xi
74
quick steps skyhook 90-91
screen moves
change of pace and change of slip the screen. See on-the-ball screens
legal and down screens 29
direction 9 speed dribble 53
off-the-ball screens 31-33, 32f, 33f
description of 7 spin or whirl dribble 57-58, 57f
on-the-ball screens 30-31, 30f, 31f
live-ball moves 9 Stockton, John 30, 41, 42
setting screens 29, 29f
quick stops stride stops. See quick stops
types of 28, 28f
coaching points for 12 Successful Coaching (Martens) xi
using 30, 30f
description of 10, 11, 12, 12f swing step. See quick turns and pivots
senses and skill learning xi. See also
stride stops 12, 13f T
learning
quick turns and pivots 9-10, 9f-11f
shooting team defense
R coaching points for 75 checklist for 242
rebounding description of 72 coaching points for 242
assessment 201-202 field-goal shooting 72-76 defensive categories 235-241
ball possession and fast break 185 objectives of 72 defensive court levels 234-235, 235f
coaching points for 201 troubleshooting 100 description of 234
defensive rebounding 188-197 shooting after rebounding 199-200 troubleshooting 243
motivating players 184-186 shooting drills team defense drills
offensive rebounding 197-201 field-goal correction drill 107-108 full-court drills: 3-on-3, 5-on-5
reasons for 185-186 field-goal progression 102-104, 244
reinforcing motivation 186 103f, 104f half-court 3-on-3, 4-on-4 (shell
tools 184 footwork and field goals (or free drill) 243-244
troubleshooting 203 throws) 110-111 half-court to full-court drills: 3-on-3,
vertical jumps, teaching 184 foul-shot golf 109 4-on-4, 5-on-5 244
winning and work ethic 185-186 free-throw progression 108-109 team offense
rebounding drills groove it shooting drill 105, 105f checklist for 228
advanced figure-eight rebound drill individual drill for grooving shot 107 coaching points for 228
206 knockout shooting 109 offensive balance 212
closeout and blockout drill 206 layup progression shooting 101-102 offensive team tactics 214-227
cutthroat rebounding: 3-on-3, line drill: shooting addition 99-101 player positions and responsibilities
4-on-4 209 make-it-take-it row shooting 106- 212-213, 213f
garbage drill 207 107 principles of 212
individual rebounding 208 mental practice drill for field-goal troubleshooting 228
line drill: 2-and-2, capture and and free-throw shooting team offense drills
chin rebound addition 111-112 blitz fast-break drill 230-231, 230f,
202-204 pairs or in-and-out shooting 105- 231f
line drill: defensive rebound 106, 105f, 106f skeleton offense drill: 5-on-0 229
addition 204 row plus free-throw shooting 110 team offense-defense drill: 5-on-5
line drill: full-court offensive soft touch or killer shooting 104- 229
boards without ball 206 105, 105f transition fast-break drill 232, 232f
line drill: offensive rebound troubleshooting 100 turning. See quick turns and pivots
addition 204-205 shooting mechanics V
NBA (no babies allowed) or arc in shooting 81-82
V-cuts 25f, 26, 26f
survival rebounding 207- backspin 81, 83f
visualization and skill learning xi
208, 208f balance or bookend hand 79f,
rebound and outlet drill 205-206, 80, 81f W
205f balance with feet ready 77, 78f Winter, Fred “Tex” 42
rebound number 206 description of 76 Wooden, John 4, 200, 240
rebound progression: 3-on-0, follow-through 82, 83f Wootten, Morgan 196
3-on-3 209 release 81-82, 81f, 83f Z
war rebounding 210 shooting hand 79-80, 79f, 80f zone defense
rebounding rules target 77, 78, 78f 1-2-2 zone 237, 238f
2-and-2 rebounding 186, 187, techniques of 77, 77f 1-3-1 zone 237, 237f, 238f
188, 188f shot moves 28 2-3 zone 236, 236f, 237f
assume 186 shots, types
About the Authors
Jerry Krause has been coaching the basics of basket

ball since 1959. He has experience at the elemen-
tary, high school, college, and Olympic levels, which
uniquely qualifies him to help players improve their
skills at all levels.
Krause is the director of men’s basketball opera-
tions for Gonzaga University. During his first stint
with Gonzaga, Krause was an assistant coach for eight
years. In between his time at Gonzaga, Krause spent
five years at the U.S. Military Academy at West Point
serving as a professor of sport philosophy, director
of instruction for the physical education department,
and assistant women’s coach. Prior to his latest
endeavors, Jerry Krause was head coach of the Eastern
Washington University Eagles. During Krause’s tenure his Eagle teams compiled a
262-196 (.572) record.
Krause has been a leader in national associations dedicated to the continued
growth of basketball. He served on the selection committee of the National Basket-
ball Hall of Fame, the board of directors of the National Association of Basketball
Coaches (NABC), and the NCAA rules committee. He is the NABC research chair and
a member of the NAIA Basketball Coaches Hall of Fame and the National Associa-
tion for Sport and Physical Education Hall of Fame. He holds a bachelor’s degree
from Wayne State University and master’s and doctoral degrees from the University
of Northern Colorado.
Krause was recognized for lifetime contributions to basketball as the 2007 Battle
in Seattle honoree by Northwest Sports and Gonzaga University. He is the most
widely published coach in basketball history, having written more than 30 books on
coaching basketball. He resides in Cheney, Washington.
See his Web site at www.coachjerrykrauseonline.com for more information.
254
About the Authors 255
Don Meyer is the head coach at Northern State Univer-

sity in Aberdeen, South Dakota. His 860-plus wins put
him in fifth place on the all-time list of coaches in men’s
collegiate basketball. Before his term at Northern
State University, Meyer was the head men’s basket-
ball coach at Lipscomb University in Nashville for 24
seasons, where he reached the 700-win plateau faster
than any other coach in college basketball. Named the
National Coach of the Year in 1989 and 1990, Meyer
was inducted into the NAIA Hall of Fame in 1993. See
www.Northern.edu or www.coachmeyer.com.
In addition to coaching, Meyer has established
a coaching academy that has attracted more than
10,000 basketball coaches from all over the United
States. His reputation as a coach and teacher has allowed him to attract some of
the most renowned coaches, including Pat Summitt and John Wooden, to speak at
his academy. He resides in Aberdeen, South Dakota.
Jerry Meyer is currently the chief analyst and scout
for the Rivals.com basketball recruiting coverage. He
is a nationally recognized basketball instructor whose
expertise dates back to his high school playing days
when he won Tennessee’s Mr. Basketball award in
his junior and senior seasons. As a college player for
Lipscomb University and the University of Minnesota
at Duluth, Meyer was a two-time All-American and
became college basketball’s career assist leader. Meyer
has been a high school head coach, has served as an
assistant at Vanderbilt University, and has been a head
coach in the American Basketball Association. Jerry
lives in Nashville, Tennessee.
You’ll find other outstanding basketball resources at
http://basketball.humankinetics.com
In the U.S. call 1-800-747-4457

Australia 08 8372 0999 • Canada 1-800-465-7301
Europe +44 (0) 113 255 5665 • New Zealand 0064 9 448 1207
HUMAN KINETICS
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P.O. Box 5076 • Champaign, IL 61825-5076 USA

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Basketball

Skills & Drills

Preface vii Introduction iX KEY TO DIAGRAMS XVI

Chapter 1 Basic Body Control . . . . . . . . . . . . . . . . . . . . . . . 1

Chapter 2 Advanced Body Control . . . . . . . . . . . . . . . . . . . 23

Chapter 6 Inside Offensive Moves: Playing the Post . . . . . . . 133

Chapter 7 Individual Defense . . . . . . . . . . . . . . . . . . . . . 155

Chapter 8 Rebounding . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Chapter 9 Team Offense . . . . . . . . . . . . . . . . . . . . . . . . . 211

Chapter 10 Team Defense . . . . . . . . . . . . . . . . . . . . . . . . 233

Drill Finder 245 References 249

Better Basketball Basics (Leisure Press) was the original founda-

Players and coaches need to develop lifetime habits of learning,

Basketball Skills and Drills

General Tips on Teaching and Learning

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

“Success is peace of mind which is a direct result

CONDITION SKILL TEAM SPIRIT

Player with ball

Basic Body Control

“Footwork and balance are necessary every moment of a game

Head and Trunk Position

Arms and Legs

Coaching Points for Quick Stance

Quick Starts, Steps, Turns, and Stops

shows that a player is rising out of the stance instead of using

Coaching Points for Live-Ball Moves

Coaching Points for Quick Starts

Change of Pace and Change of Direction. Change-of-pace steps, including run-

Quick Turns and Pivots

Coaching Points for Quick Turns

Coaching Points for Quick Stops

Two-Foot Power Jumps

Coaching Points for Jumps

Basic Body-Control Drills

Purpose: To self-evaluate variations in stance by recognizing the look of a correct

Mass Quick Moves Drill

Coaching Points for Live-Ball Direct and Crossover Moves

Coaching Points for Quick Stops

Coaching Points for Quick Turns

• Rear turn—lead with an elbow.

Purpose: To develop skill in starting, turning, and stopping.

Coaches may hold players in

Line Drill: Quick Jumps

Purpose: To develop basic jumping skills for rebounding and shooting.

Line Drill: Rebound Jumping and Turns

Purpose: To develop jumping skills for rebounding situations.

Line Drill: Quick Stance,

Line Drill: Starts, Stops, and Turns

“Basic basketball (the fundamental skills) is critical to success—

Concepts of Moving Without the Ball

and to see the whole floor), post (look inside

heads. Most defenders have their backs to

anticipate moves. This technique is especially

Basic Moves or Steps Without the Ball

the shot inside going to the basket.

Coaching Points for Moving

Drills for Moving Without the Ball

Line Drill: Move Without the Ball

Use bounce passes only when passing to players who are