Dan Keller’S Blend of Baseball Knowledge, Training Techniques, Communication Skill and Love of Teaching Kids Is Captured in This Well-Designed Book

Home , Balk, Bob File, Captain (baseball), Chris Tillman, Curveball, Fastball

TESTIMONIALS

“Dan Keller’s blend of baseball knowledge, training techniques, communication skill and love of teaching kids is captured in this well-designed book. T is book teaches the art of pitching from fundamentals to complexities in a manner that coaches, novice to expert, can grasp and use ef ectively.” ~ Abe Key, President & CEO, PONY Baseball & Sof ball Inc.

“I’m very impressed with Dan’s ability to break down and orga- nize pitching instruction. Arm care and pitcher development are hot-button topics taken very seriously at Babe Ruth League. Our organization believes that Coaching the Beginning Pitcher provides a solid training plan to follow.” ~ Steven Tellefsen, President & CEO, Babe Ruth League, Inc.

“Keller has a great baseball mind, a terrif c understanding of the pitching motion, and an un- matched ability to communicate clearly. If you are trying to learn how to coach pitching, this book can provide the foundation you need.” ~ James Keller, Special Assistant to the GM, Toronto Blue Jays

“Dan’s ability to break down pitching is unbelievable. With the detail involved in major league pitching, it’s refreshing to break the information down into common language. Keller’s experience and guidance were a huge asset during the long MLB season.” ~ Troy Glaus, 4-time MLB All-Star “T is book embodies positive youth coaching and the development of today’s athletes. Dan’s understanding of the mechanics of pitching is impressive, and he communicates in a fashion that is understandable for all. Coaching takes a plan, and Dan helps to provide that plan.” ~ Gary Adams, Retired UCLA Baseball & Hall of Fame Head Coach

“As I move further in my career, it’s easy to be overwhelmed by the mechanics of pitching.. Dan has helped me to turn that around, develop a true understanding of my motion, and use it as a tool towards success. I’m able to make adjustments and build conf dence through the knowledge of ‘how’ and ‘why’!” ~ Chris Tillman, MLB Pitcher, Baltimore Orioles

“As a volunteer coach, there is nothing more frustrating than knowing that your kids are athletically capable of doing anything you can teach, but not knowing exactly how to recognize and communicate what they need. Dan Keller’s Coaching the Beginning Pitcher has a unique structure that explains the what and the why of pitching mechanics and then breaks down Dan’s teaching techniques into simple steps. T e book has given me a concise method not only to understand pitching mechanics but, more importantly, to observe and communicate with my kids. Now, my kids and I have a familiar language and routine that allows me to recognize why they are missing their target and tell them exactly what to change to f x it. T anks, Dan— your book has earned some of that very limited real-estate on my nightstand.” ~ John Macchiaroli, Parent/coach/board member, Trabuco Canyon Little League COACHING THE BEGINNING PITCHER

THIRD EDITION

TEACH PITCHING SAFELY AND EFFECTIVELY

b y Dan Keller COACHING THE BEGINNING PITCHER (T ird Edition) Teach Pitching Safely and Ef ectively

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without written permission from the author, except for the inclusion of brief quotations in a review.

First Edition 2003 Second Edition: 2008 T ird Edition: First Printing 2016

Edition ISBNs Sof cover 978-0-9818895-9-7 PDF/Ebook 978-0-9818895-8-0

Library of Congress Control Number: 2016906268

Editing by Kathy Berger Typesetting & Layout by Andrea Reider Cover art by Kris Brown Unattributed quotations are by Dan Keller

Printed in the United States of America

ii Contents

About the Author ix Acknowledgments xi Preface – Note To T e Reader xiii

Chapter 1. Pitch Types and Theory 1 Fastball 1 Fastball, 4-Seam 2 Fastball, 2-Seam 3 Change Up 5 Knuckleball 14 Curveball 17 Slider 27

Chapter 2. Fundamentals of Proper Pitching Mechanics 31 Wind-Up Stance 33 Balance Point 37

iii CONTENTS

Breaking From the Balance Point - Load 41 Landing 47 Release Point 53 Finish 60

Chapter 3. Coaching Beginning Pitchers 65 Dan Keller’s 7-Step Plan to Teaching Pitching 66

Step 1 - Catch Play 66

Step 2 - Teach Positions - Stance (#0), Balance (#1), Power (#2), & Finish (#3) 69

Step 3 - Add Rules - Break Down Each Position (1-3-2) 74

Step 4 - Distance & Direction 83

Step 5 - Implement Specif c Fixes 88

Step 6 - Add the Wind Up 89

Step 7 - Teach the Change Up 91

Helpful Keys 91

Sample Pitching Lesson Plans 94

Chapter 4. Training and Taking Care of the Arm 113 Ultimate Pitching Goals 113 Training Arm Action 115

iv CONTENTS

Preseason T rowing, Plans 122 In-Season T rowing, Plans 127 Of -Season T rowing 134 Rest 135 Guidelines 137

Chapter 5. Fundamental Drills 139 T rowing Drills 139 Homework, Mirror Work 142 Freeze Drills 144 Chair Drill 157 Slow Motion 159 Eyes Closed 159

Chapter 6. Common Mistakes and Remedies 161 Drif ing 161 Hands Breaking Late 165 Pie T rowing 166 Natural Slider 168 Over Rotation 171 Leaning Back 173 Floppy Wrist 176 Incorrect Grip 177 Flying Open - Lead Leg 178 Flying Open - Front Shoulder 181 Slowing Down the Change Up 184 Short-Arming 187 Load 190

v CONTENTS

Chapter 7. Mound Presence 195

Progression 195 Coaching Progression 200 Slide Step 206 Delivery Times 209

Chapter 8. Picks 211 First Base Pick (RHP) 212 First Base Pick (LHP) 219 Step Of Pick (LHP) 223 Second Base Picks 226 T ird-to-First Move 236

Chapter 9. Stretching, Warm Up and Long Toss 243

Dynamic Stretching 244 Youth Warm Up Routine 245 Playing Catch / Long Toss 250

Chapter 10. Conditioning 253 Sprint Work 254 Agility Drills 261 Leads & Breaks 268 Baserunning 269

vi CONTENTS

Chapter 11. Coaching the Pitching Mind 271

Perspective 271 Coaching For Conf dence 276 Building Athlete Equity 279 Handling Adversity 280 Attitude Molding 282 Modeling Behavior – Act As If 286 T e Mental Game 288 Characteristics of a Champion 290

Chapter 12. Charts - Pitch Counts and Rest Times 293

Learning Ages 293 Recommended Pitch Counts 294 Rest Times 295 Mound Distances 296

vii

ABOUT THE AUTHOR

Dan Keller is President and owner of Dugout Captain Sports, based in Huntington Beach, California. A lifelong student of the game of baseball, and pitching in particular, Keller started Dugout Captain in 2015 in an ef ort to broaden his reach to the youth baseball community. Dugout Captain provides coaching tools, instructional content and a proprietary virtual practice planning tool that is revolutionizing the volunteer coach role. Prior to Dugout Captain, Keller built, ran, and sold Lifeletics Baseball. Lifeletics provides world-class fundamental baseball training with an important emphasis on positive character development and the life lessons learned through athletics. T e company name Lifeletics—where LIFE meets ATHLETICS— represents the powerful life lessons that can be learned through competition and sports in general. Keller experienced athletic success from youth baseball through the collegiate ranks and was draf ed in 1995 by the Baltimore Orioles. Af er several years in business and technology, Keller started Lifeletics Baseball in 2001. Af er 15 years of coaching and operating Lifeletics, Keller returned to sports technology by starting Dugout Captain Incorporated. Dan grew up in Fountain Valley, California, and played on many championship teams. He was part of a national title team as a 14-year-old (Pony League), a World Series title team as a 16-year-old (Pony League, Colt Division), and two Califor- nia Interscholastic Federation (CIF) championship teams as a junior and senior in high school. He was draf ed in 1995 by the Baltimore Orioles, but chose instead to accept a full scholarship

ix ABOUT THE AUTHOR to pitch for UCLA. Af er earning Freshman All-American hon- ors in 1996, he reached the College World Series as a sopho- more in 1997. Keller was twice voted all-star alternate in the prestigious Cape Cod Summer League (1996, 1997). A weight room injury ended his playing career in 1999. T ese experiences provided Keller the opportunity to study the art of pitching from the f eld of play, the dugout, and the stands. Professionally, Keller has built upon that foundation to develop successful teaching methods and instructional road- maps for learning and understanding pitching mechanics as well as the responsibilities of the pitcher position. Dan Keller has worked since 2000 as a private pitching instructor for youth league and professional athletes alike. His team-coaching resume includes work with competitive youth teams, high school teams at all levels, and community college teams, and one summer he coached the nation’s f nest Division I pitchers in the Cape Cod Baseball League. Keller’s Dugout Captain product of ering includes a development curriculum to guide coaches from start to f nish, tem- plate-based practice plans, and a proprietary online clipboard to easily create, save, and share practice plans. Keller is author of another baseball book (Survival Guide to Coaching Youth Baseball - Human Kinetics), and he has written numerous arti- cles published in newspapers, magazines, and online media. He is a frequent guest speaker at baseball functions and holds a Master’s Degree in Physical Education from Azusa Pacif c Uni- versity. Living in Huntington Beach, California, Keller is mar- ried to his wife, Erin, and has two kids—a son named Kobe and a daughter named Mackenzie.

x ACKNOWLEDGMENTS

T e techniques associated with coaching pitchers have been developed over more than a century and come from all corners of the world. T is book is dedicated to those players, coaches, authors, professors, and scientists who have worked tirelessly to advance the art of pitching and the methods associated with teaching it. I’m proud to add this book as part of that study and hope to assist as many people in the game as possible. Special thanks to James Keller, the best pitching coach I ever worked with, as well as to Scott Pickler, Bill Pinkham, Alan Jaeger, Eric Cressey, Clif Ritter, Ron Laruf a, Tim Leary, Dave Serrano, Gary Adams, and Abe Key, from whom I’ve learned continually throughout my career in baseball. A hearty thank you to the Lifeletics training family: the coaches, instructors, and the athletes I’ve been fortunate to work with. Special thanks to Brian Johnson for his inspiration, support and repeated kicks in the pants, Gorden Gates for his guidance and expertise as both friend and mentor, and Brent Erickson for the motivation, friendship and continued support. Finally, thank you to Bruce Chapman and family for continued support on this and other projects. Most importantly, I send my deepest and most sincere grat- itude to my son Kobe, daughter Mackenzie, and my amazing wife Erin. T e unending love, understanding, and tolerance from my family (including my parents Bob and Kathy) have been critical to this project. With the support of loving family anything is possible!

PREFACE – NOTE TO THE READER

Since the previous edition of Coaching the Beginning Pitcher, I’ve spent an additional eight years as a professional instructor conducting more than 8,000 pitching lessons, driven deeper into advanced mechanics associated with velocity and power production, and earned a Master’s Degree in Physical Education. With expanded write-ups on the coaching plan (Chapter 3), drills (Chapter 5), and recognizing and correcting challenges (Chapter 6), along with a completely updated and enhanced section on training the pitcher’s mind (Chapter 11), Coaching the Beginning Pitcher, T ird Edition, is complete! Although it may seem that the mechanics of pitching have not changed for the last hundred years, the nuances of instructing young pitchers are constantly evolving. T is book contains the most ef ective methods known for working with young athletes, complete with tips and drills, throwing loads and quantities, common mistakes and remedies, and valuable sample lesson plans. T is book is written with the right-handed pitcher in mind. However, all examples and pictures can be easily reversed and applied to the lef -handed athlete. Coaching pitchers requires much more than knowledge of the physical motion of pitching. Ef ective pitching instruction also incorporates a structured, ef cient plan and communication methods ef ective with—and of en unique to—youth

xiii PREFACE – NOTE TO THE READER baseball players. T is book provides that plan, outlining the steps to follow when working with a pitcher, and helps the coach place a pitcher in the best possible position to experience pitching success with a healthy arm. Finally, this book helps baseball coaches and parents maximize their own enjoyment and fulf llment while working to improve the technique, performance, and abilities of the youth pitcher!

xiv CHAPTER 1

Pitch Types and Theory

his chapter describes the grip, movement, and purpose Tof f ve dif erent types of pitches—the fastball, change-up, knuckleball, curve ball, and slider. A section on each pitch describes the mechanics and strategy behind throwing the pitch and identif es the appropriate age at which a pitcher can physically handle the stress associated with that specif c pitch.

FASTBALL T e fastball is the most basic—yet most important—pitch that an athlete will learn. It is the f rst pitch that an athlete is taught to throw and remains the number one pitch in his arsenal. T e fastball should be thrown 70 to 80 percent of the time and must be mastered before any other type of pitch can be ef ective. Not

1 CHAPTER 1 only is the fastball the easiest pitch for a young hurler to throw, it also helps to strengthen and develop the young arm. T ere are two basic types of fastballs, the four-seam fastball and the two-seam fastball. While both are categorized as power pitches, the four-seam fastball travels straighter and slightly faster than the two-seam, which has more movement.

The Four-Seam Fastball Also known as the riding fastball (or rising fastball, although no pitch actually rises), the four-seam fastball tends to move less and have more velocity than a two-seam fastball. Many pitchers, especially young ones, throw only the four-seam fastball because placing it ef ectively is typically easier. More advanced pitchers throw the four-seam fastball to the lef side of home plate (inside to a lef -handed hitter, outside to a right- handed hitter), because it will not move as much as the two- seamer. Holding its path, the four-seam fastball remains away from the heart of the strike zone and over the corner of the plate (again, inside to a lef -hander and away to a right-handed hitter). T ere is a much greater chance that a two-seam fastball will run back over the plate (and into a hitter’s wheelhouse) when thrown to the lef -hand side of the strike zone.

Four-Seam Grip and Release T e four-seam fastball grip is formed using the index and middle f ngers, the thumb, and the inside of the bent ring f nger. T e ball is gripped across two of the wide seams (“the horseshoe” or “smile”), and the index and middle f nger rest on top of the stitches, approximately a half-inch apart, as though “giving the smile braces.” T e thumb is tucked below the ball, resting on or near a bottom seam, and the ring f nger and pinkie are

2 PITCH TYPES AND THEORY

The four-seam grip curled on the side of the ball. As the size of a pitcher’s hand increases, there should be enough space between the palm and the baseball to move a f nger in and out of the gap between the thumb and the index f nger. T e four-seam fastball is released in front of the body, with the f ngers on top of the ball driving toward the target. T e arm reaches to full extension, with the wrist f rm and the f ngers behind the ball, maximizing the rotation and velocity of the baseball. Proper four-seam rotation should have all four seams rotating directly away from home plate (with backspin). T e four-seam fastball is a hard, power pitch that can be located on either side of the plate. It can be thrown ef ectively in any count. T e four-seam fastball is of en thrown inside to lef - handed hitters (away to right-handers) and in situations where a pitcher needs a strike.

The Two-Seam Fastball Also referred to as a sinker, the two-seam fastball moves more than a four-seam fastball. T e desired movement is down and

3 CHAPTER 1

in to the arm-side (inside on a right-handed batter for a right- handed pitcher), with a varying amount of movement depending on the pitcher’s unique arm angle and release point. A properly thrown two-seam fastball induces a large number of ground balls because hitters tend to hit the top half of its sinking action.

Two-Seam Grip and Release Just as it sounds, the two-seam fastball is gripped along the two narrow seams (“on the railroad tracks”). Again, the thumb rests directly below the ball, with the inside of the pad resting on an underseam. T e ring and pinkie f ngers are curled on the side of the ball. On all fastball grips, an athlete should comfortably f nd three points of contact with the seams: index f nger, middle f n- ger, and thumb. T e release is the same as with the four-seamer: on top and out in front. T e two-seam fastball should move both horizontally (to the right) and vertically (down). T erefore, it is commonly thrown to the right-hand side of home plate. T e late-breaking action should move down and in to a right-handed batter, and down and away from a lef -hander. Commonly called sinkerballs, two- seam fastballs frequently jam right- hand batters and induce lots of ground balls. T erefore, the two-seam fastball is thrown in run-scoring situations or when a double play is in order.

Teaching the Fastball

It is more ef ective to teach the four- seam fastball f rst. T is pitch is easier to control, and throwing it helps to build The two-seam grip

4 PITCH TYPES AND THEORY arm strength. It is not necessary to spend too much time breaking down the dif erences between the two-seam or four-seam fastball to the f rst-time pitcher, but as he matures and develops, he will become much more in tune with his arm, his body, and his pitches. As the pitcher matures, be aware of which grip he is more comfortable with, explain the thought and action behind both pitches, and allow him to develop. Af er a pitcher has matured, he may experiment with dif erent grips and with varying points and amounts of f nger pressure. T e idea of throwing a two-seam fastball to the right side of the plate (inside to a right-handed hitter) and a four-seam fastball to the lef side of the plate is “pitching by the book.” Once a young pitcher understands the reasoning behind such locations, emphasize the importance of accuracy. Regardless of two-seam or four-seam grip, the most critical component to an ef ective fastball is location.

CHANGE-UP As a pitcher advances into more competitive baseball, high school, and beyond, the ability to change speeds is necessary for success. T e change-up, thrown with the release and man- nerisms of delivering a fastball, is the f rst of -speed pitch to teach. It is a deception pitch intended to disrupt a hitter’s timing and rhythm, and the unique grip of the change-up results in less velocity and subsequently more movement than with a fastball. Because the palm faces home plate and there is little wrist movement, the change-up is safe and can be taught at an early age. T e purpose of the change-up is to make the batter think that he sees a fastball. As the batter times his swing to the pace of a fastball, he will swing before the pitch has entered the strike zone. Now out in front of the pitch, a batter will either

5 CHAPTER 1

slow his bat down to make contact or swing and miss altogether. T e most important point to emphasize when teaching the change-up is to maintain full arm speed. T e ef ective deception of a change-up is achieved by throwing the pitch with the arm speed, delivery, and release nearly identical to those for a fastball. Pitchers should not slow down their arms when throwing a change-up. Instead, they should have con- f dence that the change-up grip will cause the pitch to come out with less velocity than a fastball (of speed!). In addition, young pitchers should be steered away from accelerating their wind-up in an ef ort to deceive the batter. While this will work for 8-year olds, it’s a sure give-away for batters 10 years and older. T e change-up is an ef ective complement to the fastball because of the similar arm action and speed. A good fastball is necessary for a change-up to work, while a solid change-up can help a fastball appear faster. While the most important ingredient in the success of a change-up is speed, movement may become a factor in the change-up of a more advanced pitcher as well. T e desired action of a change-up is similar to that of a two-seam fastball: down and in on to the arm-side (away from a lef -handed batter, for a right-handed pitcher.) Young pitchers, however, should focus f rst on the speed and location of the change-up and allow the movement to happen naturally.

Change-Up Grip and Release

Teach the athlete to understand the concept of taking power of of the baseball by moving the fastball f ngers inside the baseball. T e f ngers can be changed from the two-f nger fastball grip, to the three-f nger change-up grip, to the four-f nger or circle change grip. T e baseball can be viewed as a power knob,

6 PITCH TYPES AND THEORY and the f ngers move inside the baseball in a movement called “turning down the power.” Af er the fastball grip is mastered, the f rst and most basic change-up grip to teach is the three-f n- ger grip. T is is the easiest grip to control, especially for athletes with smaller hands and shorter f ngers. T e four-f nger grip (“circle change”) is reached by continuing to turn down the power. T e index f nger moves even farther inside the ball, so that it can connect with the thumb and form a circle. T e rest of the f ngers move “one click” farther inside the baseball as well. Another helpful concept is to count the number of f ngers throwing the pitch. A fastball uses two f ngers, a three-f nger uses three, and a circle-change uses four. When the time comes to teach the circle-change, the name four-f nger change is recommended. Problems arise when pitchers with small hands become enamored with the circle. Of en, the athlete f rst forms a circle with the index f nger and thumb, and then tries to grip the baseball. When small hands try to grip the ball while maintaining a circle, the inevitable result is a palm full of baseball. T is grip will make it dif cult to consistently control the change-up.

Three-Finger Change-Up Grip T e three-f nger grip is the easiest change-up grip to control, regardless of the size of a pitcher’s hand. T e f rst three f n- gers (index, middle and ring) are placed on top of the ball and spread out evenly. Both the thumb and the pinkie are in contact with the ball, tucked underneath. T e ball is held farther back in the hand—away from the f ngertips—than for the fastball grip, in a position called “choking” the ball. T e ball is pressed f rmly back into the pads of the open hand, with care taken to avoid pressing the ball directly against the palm. (T e pads help

7 CHAPTER 1

The three-ﬁ nger change-up grip

maintain touch with the of -speed pitch.) T ere should be space between the bottom of the palm and the baseball, and the f n- gers on top of the ball should be well spread out.

The change-up grip If the pitcher starts with a fastball grip, the fastball f ngers (“power f ngers”) move to the inside of the ball, taking velocity of of the pitch. T e index f nger moves to the inside of the baseball, the middle f nger moves to the top of the baseball, and the ring f nger moves to the outside of the baseball (up from underneath the baseball). T e three-f nger change-up grip is an easy adjustment from either the four-seam or two-seam fastball position. When the change-up is thrown on a four- seam ball position, the three-f nger change has a long seam (the side of the “horseshoe”) pressing directly into the pads of the hand, and the three power f ngers all reach across the opposite seam. T e index, middle, and ring f ngers are slightly

8 PITCH TYPES AND THEORY

wedged apart, evenly distributed across the baseball. When the ball is thrown of of a two-seam ball position, the f ngers are evenly distributed around the “railroad tracks.” Looking down at the three-f nger change on a two-seam ball position, the pitcher should see, from right to lef , the ring f nger, seam, middle f nger, seam, and index f nger. T e baseball should be pushed back into the pads and the f ngers spread out—but not to the point of pain!

Four-Finger Change-Up As a pitcher matures and his hand becomes larger, it may be necessary to take more velocity of of his three-f nger change-up. T e four-f nger change (commonly called the circle-change) is a natural next step. T e grip is reached by moving the power f ngers even farther inside the baseball. To review, on a three-f nger change the index and middle f ngers move inside the baseball so that the index f nger is on the inside of the ball and the middle f nger is directly behind and on top. T e ring f nger moves up from underneath the baseball and lies on the outside of the ball. In essence, the power f ngers have moved inside the baseball one “click” in an ef ort to turn down the velocity of the pitch. T e four-f nger change-up grip is reached by moving inside the baseball another click inside, or by “turning down the power” once again. It is called a circle change because the index f nger moves completely to the inside of the baseball and may form a circle by connecting to the thumb. T e middle f nger moves to a top-inside position, while the ring f nger moves up near the top-outside of the baseball. Even the pinkie adjusts, moving up along the baseball so that it now rests on the outside of the baseball.

9 CHAPTER 1

T e coach’s verbal cue to help the pitcher with this grip is, “Inside, seam, seam, outside.” For example, when the pitcher looks down at the four-f nger change grip, he sees that:

• T e index f nger is inside the baseball, or closest to the body or head during release. • T e middle f nger rests along the inside seam. • T e ring f nger rests along The four-ﬁ nger the other seam. change-up grip • T e pinkie is outside the baseball. T e position of the pinkie is directly related to size of pitcher’s hand.

Because the power f ngers are so far inside the baseball, the velocity of the four-f nger change should be less than that of a three-f nger, and the movement should increase down-and- away from a lef -handed hitter.

Teaching the Change-Up

T e f rst goal in teaching young athletes the change-up is to achieve a decrease in speed. When the ball is thrown with full ef ort, there is a noticeable dif erence in speed. It is important to have keywords serving as verbal cues to quickly communicate instruction and reminders to the young athlete; the keyword for the change-up is, “Speed.” Make this point clear to your athlete,

10 PITCH TYPES AND THEORY

and be clear that you are talking specif cally about a decrease in speed. How is this change of speed obtained? T e two main variables are the grip and release, and understanding the changes in grip and release are key to teaching the change-up.

Grip If adjusted correctly, the grip alone should slow the baseball down. Move from 2 → 3 → 4 f ngers…and from behind the baseball → to inside the baseball (three-f nger grip) → to farther inside the baseball (four-f nger change). Challenge the athlete to achieve a dif erence in pitch speed with only an adjustment to the grip.

Release If a pitcher has a hard time slowing down the change-up, he can be taught to vary his release. Essentially, the term release describes the way the f ngers work “inside” the baseball at the release point. T is movement is similar, but more subtle, to the motion of the screwball we threw while playing on the sandlot! T e hand turns in, working the inside and top-half of the baseball at release. Older athletes can focus on the “release” as a secondary variable to the grip as needed and appropriate.

Achieving a change in speed solely by adjusting the grip is a great way to keep the full arm-speed consistent. (Consis- tency is a principle of sound pitching.) A key to throwing an ef ective change-up is keeping the arm motion, arm angle, and release as similar as possible to those of the fastball delivery. “Set the change-up grip, and think fastball!” is good advice. Because the ball is choked into the pads of the pitcher’s hands, there is naturally much less of a wrist/f nger snap than there is with a fastball. As a result, a change-up will have less rotation

11 CHAPTER 1

and less velocity, and a young pitcher will not have to overthink the delivery. Encourage the athlete to throw his change-up—as much as possible—the way he throws his fastball. Trust the grip to slow the ball down, and instruct the pitcher with encouragement such as, “Don’t think, just throw it!” Specif c actions for the release point can be incorporated later in the pitcher’s career. Change-ups are thrown to of set the hitter’s vision of a fastball. A common sequence involving a change-up is (for a right-handed pitcher facing lef -handed hitter) f rst a fastball inside, then a change-up outside. T e coach’s verbal cue for this is, “Hard in...sof away.” T is sequence opens the hitter’s eyes to high velocity inside and makes the change-up on the outside corner a very dif cult pitch to hit because both the location and speed of the pitch have been altered. Change-ups are also tremendously ef ective in fastball counts. For example, if the batter is expecting a fastball and is thrown a change-up, he will probably be out in front of the pitch. T is is because of the similarities between the arm speed and delivery of the fastball with those of the change-up. T e change-up is partic- ularly ef ective with counts of 1-0, 2-1, and 3-2, especially af er the pitcher has just missed with the fastball. Start by teaching the three-f nger grip and move to the circle-change for either increased movement or decreased velocity. Make it clear that the keyword or cue is “Speed,” and work to obtain the initial goal of a decrease in velocity. Once the decreased speed is consistent, the athlete will learn over time what it takes to locate this pitch ef ectively. As described above, the two coaching tools used to achieve this decrease of speed are grip and release. Because the arm action of a change-up is very similar to that of a fastball, there are no real age restrictions on when to learn and throw the pitch. T rowing a change-up does not increase the chance for physical

12 PITCH TYPES AND THEORY injury. However, a young pitcher’s f rst goal is to develop and master the fastball. Even though this may come at the expense of some hits and runs, it is very important that a pitcher is comfortable with the fastball before learning and incorporating a change-up. A pitcher can learn a change-up as early as age 8 or 9, depending on the size of his hands. Once instructed, a pitcher should involve change-up repetitions into regular catch play. Any warm-up game of catch means a minimum of f ve change-ups.

The Change-Up Grip Test T e initial goal of an athlete learning to throw an ef ective change-up is to decrease the speed of the pitch by adjusting his grip. For this to happen, the f ngers must truly be inside the baseball at the release point. However, many young athletes try to adjust their grip but end up with the power f ngers (index and middle f ngers) still behind the ball incorrectly. T e result is too much speed! Use the grip test described below to check an athlete’s grip and determine if the f ngers are correctly positioned. Af er the athlete has come set, call “time” or “freeze,” and walk out to the bullpen mound. Have the athlete take the baseball and throwing hand out of his glove. Next, instruct the pitcher to pin the throwing elbow next to his body and hold the ball out in front of him (with a 90-degree bend in the elbow). Turn the athlete’s palm over so that the baseball faces up and the hand is underneath the ball; in this position the f ngers gripping the baseball can be seen clearly. Hold the wrist so that there is no bend or cocking action to it and check the position of the f ngers. What should be seen is a nice, clean, symmetrical ball position. Specif - cally, the seams of a two-seam ball position should run parallel to the forearm. T e seams of a four-seam ball position should run perpendicular to the hand, palm, and forearm.

13 CHAPTER 1

Athletes of en have a “crooked” baseball when tested. T is means that, while they may have adjusted their grip and f ngers, they have then curled the baseball to the thumb, thus placing their power f ngers behind the ball once again. T eir change-up grip hasn’t ef ectively moved the power inside the ball. Use this visual test when athletes are having a hard time slowing down the change-up. Chances are good that a “crooked” baseball will show itself and the athlete can learn to truly move the f ngers inside the ball with help.

KNUCKLEBALL Although not as popular as the fastball or straight change-up, the knuckleball can also be used as an of -speed pitch. A pitcher should f rst and foremost try to master the straight change-up, learning the importance of changing speeds rather than changing the break of the ball. A change-up pitch will remain with a pitcher throughout his career, while a knuckleball will likely not. However, because the knuckleball can serve as a pitcher’s change-up, or in select cases become a pitcher’s number one pitch later in his career, this chapter covers the basics of the knuckleball. I’ve yet to encounter a youth pitcher who threw the knuckleball as his primary pitch, and for that reason the characteristics of the knuckleball are covered as a change-of-speed pitch. T e knuckleball is an of -speed pitch designed to disrupt a hitter’s timing. T e unique characteristic of a knuckleball is the unpredictable movement caused by the lack of rotation on the baseball. Not only will the knuckleball be considerably slower than the fastball, it can also have signif cant movement. T e lack of rotation causes the ball to “dance,” or dart, as the seams hit dif erent pockets of air on the way to the plate. T e unpredictable movement should make the pitch hard to hit squarely,

14 PITCH TYPES AND THEORY

thus giving the pitcher the advantage. However, because the movement associated with a knuckleball is somewhat unpredictable, it may also be dif cult for the catcher to receive cleanly. Further- more, the unpredictable movement can turn out to be no movement, giving the batter a great pitch to The knuckleball grip hit.

Knuckleball Grip and Release Interestingly enough, no knuckles are used in the grip of a proper knuckleball. Instead, the f ngernails of the index and middle f ngers dig into the baseball. Young pitchers with small hands may also incorporate nails of the ring f nger. T e rest of the f ngers are in a position similar to that for the fastball: the thumb rests on a seam below the baseball, and the ring f nger and pinkie curl along the side of the ball. However, the ring f nger and pinkie naturally move up, closer to the middle of the ball, because the middle and index f ngers are gripping the baseball with their nails. T e nails of the index and middle f nger, dug into the leather of the baseball or into one of the wide seams, are used to throw the ball with little or no spin. T e wrist is kept stif through release, and the f ngers quickly extend to push the ball forward. T e knuckleball uses less arm speed than used for the fastball, but the actual speed of the ball varies from pitcher to pitcher. Note: Most young athletes have an easy time digging their nails into the crease in the center of

15 CHAPTER 1 a baseball’s seam. Although many big-league knuckleball pitchers place their f ngernails directly on the baseball’s leather skin, avoiding the seam altogether, this grip requires larger hands. T ere is some degree of personal preference when it comes to comfortably and conf dently throwing a knuckleball. Avoiding the seams altogether is a more dif cult knuckleball grip and may be more appropriate only for an advanced pitcher.

Teaching the Knuckleball

T e key to throwing a good knuckleball is the lack of rotation, and pitcher must be able to make adjustments by looking at the way the ball is spinning to eliminate rotation. T e most dif - cult action to learn is the degree of force with which the f n- gers extend as the ball is released. Some pitchers aggressively f ick their f ngers forward, while others only slightly push the ball out of the hand. T is is a very subtle motion that needs to be learned through repetition. As a pitcher experiments with throwing the knuckleball, pay close attention to the amount and direction of spin on the ball. If the ball is coming out with topspin (from top to bottom, like a curveball), instruct the athlete to decrease the amount of force he is using to extend his f ngers at release. Conversely, if the ball heads toward the target with backspin, the pitcher may need to push more with his f ngers at release or work on extending and releasing the ball out in front. As with all other of -speed pitches, the knuckleball is most ef ective when thrown low in the strike zone. Keeping the ball down will also limit damage done on a knuckleball that simply doesn’t knuckle. It can be thrown in situations requiring a change-of-speed pitch, such as in fastball counts of 1-0 and 2-1. Also, remember the sequence “Hard in...sof away,” and combine the knuckleball with a well-located fastball. Because of its crazy movement, a properly thrown knuckleball can be

16 PITCH TYPES AND THEORY ef ective in almost any count, but you must take into consid- eration runners on base because excess movement can result in wild pitches or passed balls.

Knuckleball as a Curveball Substitute In recent years, the pressure to throw curveballs at young ages has increased. In order to appease aggressive parents, I’ve developed a method for teaching a tumbling knuckleball. In an ef ort to create downward action, athletes are taught to throw a knuckleball with an emphasis on creating topspin. By pushing out more forcefully with the index and middle f ngers at release, the ball exits with topspin and naturally tumbles from top to bottom toward the plate. T e downward movement can be an ef ective substitute for the curveball, especially for pitchers 8 to 12 years old.

CURVEBALL (Ages 13 and Over) Before teaching the curveball and slider, coaches need to understand the role of breaking pitches relative to the fastball. A pitcher’s primary pitch is the fastball. Breaking balls are used as complements to that fastball, not as replacement pitches. While breaking pitches are required to become a complete pitcher, they must not be overused in the early development of a pitcher. T e fastball is a young pitcher’s best friend, as it builds arm strength, conf dence, and maturity. To have any sort of success in competitive baseball, a pitcher must be able to command the fastball. Doing so takes time, and that takes practice—many young athletes never accomplish true command of the fastball. T erefore, coaches should encourage youth pitchers to throw a majority of fastballs. Teach the breaking pitch only af er the fastball, and change-up, have responsibly been introduced.

17 CHAPTER 1

Most medical pro- fessionals recommend a starting age of 13 or 14 years old for throwing curveballs. Delaying the curveball to this age allows the arm to physically mature in preparation for the excess stresses caused by the dif cult release and delivery of the curveball. I recommend that a pitcher The Curveball Grip not throw the curveball before the age of 13 years, or sixth grade. Some coaches will argue that throwing the curveball puts no more additional stress on the arm than throwing a fastball or other pitches—but this is true only if the curve is thrown correctly! T e curveball is a dif cult pitch to master, and the risk of injury is high if it is thrown incorrectly. T erefore, a pitcher should learn the proper fundamentals of the curveball under the watchful eye of a knowledgeable pitching coach, and this activity should occur only when the athlete is mature enough as a pitcher to control his body and handle any increased stress loads. T at being said, a properly thrown curveball has a tremendous upside, and pitchers over the age of 13 should be encouraged to incorporate one. Regardless of how hard a pitcher throws, batters will inevitably catch up to a fastball. T erefore, it is necessary to have a pitch with movement and dif erent speed to disrupt the hitter’s timing. T e curveball is considered an of -speed pitch, because the pitcher puts rotation, not force, on the ball. As with a change-up, the deception associated with a curveball relies on the batter believing that he sees a fastball. As the pitch breaks

18 PITCH TYPES AND THEORY downward approaching the hitting zone, the hitter is caught of guard because he was expecting a harder pitch in a higher plane. T e remaining, more obvious, deception comes from the curveball’s movement. Remember the keys: Break the hitter’s timing and create the illusion of a fastball upon release. An ef ective curveball should be released with a trajectory similar to that of a fastball or a change-up. T e goal of a pitcher, therefore, is to minimize the initial upward trajectory. If the trajectory of the ball rises af er the ball is released from the pitcher’s hand, a good hitter will recognize the pitch as a curveball (or a fastball that will stay high) and will wait back on the breaking ball, eliminating any advantage that the break of the pitch may have had. Avoiding a “hump” in the trajectory is the goal for all of -speed pitches, but it can be especially dif cult for the athlete throwing a curveball for the f rst time. T e dif culty is even greater when the pitcher f rst makes the jump to a mound that is 60 feet from home.

Curveball Grip and Release As with the change-up, there are several ways to grip a curveball. Each pitcher needs to experiment to determine which grip is most comfortable for him. When a pitcher is in the beginning stages of learning, I recommend a standard grip along the horseshoe of the baseball. T e ball should be gripped like a four-seam fastball, then rotated 90 degrees so that the middle f nger rests along the inside of one of the four big seams. T e thumb runs along the seam at the opposite end of the baseball, with the inside of the thumb pad applying pressure to the seam. T e ring f nger and pinkie are curled at the side of the ball. T e pressure points for this curveball should be the outside of the middle f nger and the inside of the thumb, with the middle f nger doing most of the work.

19 CHAPTER 1

When the pitcher releases a curveball, his hand and palm should be turned toward his head. T e turning of the wrist so that it faces the head is called supination, resulting in the elbow, forearm, and wrist forming a karate chop. At the release point, the arm snaps straight to a full extension, with a f rm wrist. As with all other pitches, the elbow should be at or above the shoulder and the f ngers should be on top of the ball. T e ball leaves the f ngers like a waterfall rolling over the index f nger and rotates with all four wide seams moving to the plate (a topspin motion, opposite of the backspin associated with a four-seam fastball). Make sure that the release is out in front of the athlete, as opposed to near the back of the head, to avoid any looping action.

Teaching the Curveball

T e f rst goal of teaching the curveball to young athletes is to achieve the correct spin. Accuracy takes a back seat while the athlete learns to release the baseball with the palm turned in and the f ngers on top of the ball. Af er the proper spin is consistent, focus the athlete on locating the pitch, which means paying greater attention to the release. T e keyword for the curveball is, “Spin.” specif cally, topspin. T e goal is for the athlete to achieve proper spin f rst, then maintain it as he learns to locate the pitch. T e curveball is unlike anything a young pitcher has ever experienced. Instead of pushing the ball to impart speed, the pitcher is now allowing the ball to roll over the f ngers, impart- ing spin. When you are playing curveball catch with a pitcher, the baseball should be spinning “at you.” Whether the spin is directly over the top or completely sideways, the most signif - cant key to movement is that the spin rotates forward. T e tilt of that spin will be directly related to a pitcher’s arm slot. If an athlete’s arm is directly over the top (near impossible),

20 PITCH TYPES AND THEORY the baseball would spin with perfect topspin. T e baseball world would call that a 12-6 curveball (on a clock, the ball’s spin is rotating from 12 o’clock down to 6 o’clock). As the arm slot creeps lower, the tilt of the baseball tilt does as well. A curveball thrown from a 3/4 arm slot would spin from 11:00 to 5:00 or 10:00 to 4:00 on the clock (when looking directly at a right-handed pitcher). A curveball thrown from a sidearm delivery could Curveball bucket toss spin, hypothetically, from 9:00 to 3:00. Regardless, the key to achieving proper spin, and maximizing break, is to achieve forward spin. T e more the baseball spins toward the position of the catcher the more friction is created by the seams and the more break a curveball will have. Challenge: Given that spin is the f rst goal, how is proper spin achieved? T ere are two primary variables to throwing the curveball, and understanding both is essential to teaching the pitch.

Palm Turned In At release, the palm should be turned in, so that it faces the athlete’s head. Turning the palm in allows the athlete’s f ngers to move to the outside of the baseball (away from the head). T e resulting f nger position allows the ball to be released with the desired forward spin. If the palm is not turned, the f ngers creep back behind the ball. T e more the

21 CHAPTER 1 f ngers are behind the ball, the greater the backspin (less forward spin), which results in more velocity (and less break). T e following explanations provide visual descriptions to help both athletes and parents truly understand the breaking ball concept:

• Fastball Fingers are directly behind the ball with a balance between the index and middle f ngers. • Cutter Fingers are behind the ball with an of set grip (the index f nger and middle f nger are brought together, closer to the “outside” of the ball). T e f ngers stay behind the baseball, while the of set grip causes them to cut the outer half of the ball naturally at release. T e result is a crooked spin—technically a backspin, but with the ball slightly turned. T is throwing motion results in slight movement, with the majority of velocity maintained. • Slider An of set grip with a quarter-turn of the palm is used. Because the palm is starting to turn, the baseball will begin to travel with a bit more forward spin. T us, a slider shows more depth and some break. T e more the hand turns at release, the bigger the break. • Slurve An of set grip with a greater turn of the palm (somewhere between the quarter-turn of a slider and the full palm turn of a curveball) is used. I believe that no coach sets out to teach the slurve. However, as a result of how dif - cult it is to learn a curveball, slurves happen! Every pitcher’s understanding and physiology are dif erent, and sometimes a full-palm turn is extremely dif cult to execute. • Curveball An of set grip with a full turn of the palm (palm-to-head) is used. With the palm turned in, the baseball “spills” over the power f ngers instead of being pushed by them. T is results in forward spin, with the angle of

22 PITCH TYPES AND THEORY

that spin (and resulting break) determined by the pitcher’s arm slot. An arm slot that is higher, closer to the head, or more “over the top,” results in more of a top-to-bottom break. A “three-quarters” release results in more of an angled, two-plane Palm facing the head break (top-to-bottom at curveball release and side-to-side).

Fingers on Top T e other key variable to understand is the position of the index and middle f ngers—the power f ngers. T ese two should work to stay on top of the baseball through release. When the wrist hinges back and the f ngers slide underneath the baseball, the resulting spin is more horizontal (from 11-5…10-4…to 9-to-3). The spin f attens out, and movement is more horizontal. A curveball thrown with the f ngers underneath the ball will lack depth (top-to-bottom break), even though the spin may be technically correct. It is important for a pitcher to keep the wrist relatively straight. With the palm facing the head, a f rm wrist helps keep the f ngers more on top of the ball when throwing a curveball. Athletes with smaller hands may even hinge the wrist forward slightly to avoid slipping “underneath” the baseball at release. T e pitcher should not twist the wrist, as youngsters of en do, thinking that they need to spin the ball to make it curve. T e palm and f nger position result in forward topspin when the ball is released correctly. Keeping the wrist straight and the f ngers

23 CHAPTER 1 on top through release enables the middle f nger to impart the maximum amount of rotation on the ball. Four rules govern arm action for the curveball:

1. T e elbow is at, or above, the shoulder. 2. T e hand is at, or outside, the elbow. 3. T e palm is turned in, facing the head. 4. T e f ngers are on top of the baseball without hooking the wrist.

Learning a curveball is awkward compared to mastering any pitches previously learned. Having a pitch leave the side of the index f nger last feels strange when the pitcher is more accus- tomed to the ball leaving the tips of the index and middle f n- gers last. Up to this point, all pitches (the fastball, change-up, and knuckleball) have involved releasing the baseball with the palm facing home plate. Naturally, there will be a learning process associated with throwing the curveball, as the palm now faces the head at release. Be patient and give the pitcher ample time and repetitions to get used to the new release action. Remember that the keyword and verbal cue is, “Spin!” With practice, the palm moves from behind the baseball to the side of the baseball. As the athlete grows comfortable keeping his hand on the side of the ball with the f ngers on top, an instructor should the see the spin move from a fastball rotation toward a slider rotation (football spiral) and, f nally, to the top-to-bottom rotation of a curveball. Begin curveball training by having the pitcher throw short distances. Focus entirely on release by letting the pitcher sit down and throw half-motion tosses. T is position takes away the legs and limits upper body movement, thus allowing the athlete to focus completely on obtaining the proper spin. While the athlete sits on a bucket or stool, instruct him to f rst show his curveball release position.

24 PITCH TYPES AND THEORY

Looking at the athlete, you should see four checkpoints: the elbow is at or above the shoulder; the hand is at or outside the elbow; the palm is turned in; and the f ngers are on top of the ball. Once all points have been checked, have the athlete reach back slightly and toss the ball with the proper release. Repeat this action until the athlete has grown comfortable with the palm facing his head at release while keeping an eye out for top-to-bottom, topspin rotation. Proper spin is priority number one!

Common Problem 1 – Palm Not Turned In Early in this process, the athlete may incorrectly release the curveball without turning the palm completely toward his head. T is results in a spiral rotation similar to that of a football and is caused by twisting the wrist (as one would turn a doorknob). Remember, releasing a baseball with the hand facing the head is very awkward at f rst, and athletes will try to spin the baseball in an ef ort to create movement. Teach the athlete to recognize this spiral spin and slider-like movement and then associate that spin with the specif c feeling at release. When the athlete does twist the wrist and cause the baseball to spiral, the index f nger will of en be pointing straight out when f nishing. T is is a sign that the athlete has not kept his palm facing the head at release.

Common Problem 2 – Fingers Underneath the Ball The second most common challenge when teaching the curveball is having the athlete keep his fingers on top of the baseball. Many athletes allow the fingers to slip underneath

25 CHAPTER 1 the baseball at release. This positioning results in a good spin, but the ball is rotating incorrectly from side-to-side instead of rotating more top-to-bottom as desired. A proper curveball spin is actually somewhere between side-to-side and top-to-bottom, but maintaining a top-to-bottom rotation should be emphasized early in the learning process. Once an athlete can consistently achieve good topspin, gradually increase the throwing distance and have him stand up. Move to the full mound distance when the pitcher is ready, but know that as the distance increases, so do the chances of an athlete’s f ngers moving back behind the baseball. As the pitcher needs to throw the ball farther and harder, the palm naturally moves away from the head and faces more toward the target at release. Allow the athlete to initially throw the ball with a loop, emphasizing proper spin and getting comfortable with the touch that releasing the curveball requires. By maintaining the four fundamental keys to throwing the curveball (elbow above shoulder; hand outside elbow; palm facing the head; f ngers on top), the athlete can pay attention to spin and the associated movement and feeling of the f n- gers at release. With the proper spin held constant, locating the curveball becomes a matter of learning the specif c release point necessary to throw strikes.

Coaching Challenge: T e young pitcher needs to hold the variables associated with proper spin constant and learn to locate the pitch.

Even af er it is learned, the curveball can be an inconsistent pitch. “Paralysis by analysis” is the result of thinking too much about the new delivery. When a pitcher has trouble throwing or locating the curveball, the best way to get the feel back is to remove the overactive brain as much as possible and throw the

26 PITCH TYPES AND THEORY

curveball with authority. Have your pitcher throw it with force, full arm speed, and less conscious thought. Encourage him by instructing, “Don’t think, just throw it!” Overanalyzing and aiming the ball will cause the pitch to have a slow, recognizable break and therefore lose its ef ectiveness. T is aggressive approach is highlighted in Chapter 11, Coaching the Pitching Mind.

SLIDER (Ages 16 and Older) T e purpose of this section is to provide supplemental information for a coach and is not intended as guidance for teaching a 10-year-old pitcher how to throw a slider. T e slider should not be thrown until the pitcher is at least 17 years old, because pitching the slider can easily put a heavy stress on the elbow, making it a dangerous pitch if not properly thrown. Nevertheless, knowledge of the pitch is valuable both for player and coach alike. T rown harder than a curveball but slower than a fastball, the slider is more of a power pitch than the of -speed curveball. It breaks away, or down and away, from the right-handed batter (from a right-handed pitcher), and the action takes place late in the ball’s f ight path. T e late break of the slider confuses hitters, leaving them little time to react to the sudden movement. It should be thrown with full arm speed.

Slider Grip and Release T e slider grip is the most dif cult to explain in words (look closely at the picture below). T e grip is slightly of the center of the baseball, and the index and middle f ngers lie along the inside of a long seam (the f ngers wrap from the outside to the inside of one of the wide seams, or horseshoe). T e pitcher starts by holding the ball with a four-seam fastball grip, with the index and middle f ngers lying across two of the wide seams and the curve of the horseshoe

27 CHAPTER 1 extending out to the right side of the hand (for a right- handed pitcher). Next, the middle f nger moves to the right, and slightly back, so that it lies along the curve of the horseshoe. T e index f nger lies beside the middle f nger, and the thumb rests on a seam below the ball. T e pinkie and ring f nger are curled along the side of The slider grip the ball. At release, the wrist is straight with a slight supination. T e extent that the wrist is turned toward the head of the pitcher is between the full supination of the curveball (palm turned completely toward the head) and that of the fastball (palm aimed directly at the target). T e arm releases to full extension, and the middle f nger cuts through the outer half of the baseball (the middle f nger is the pressure point for the slider). T e “cutting” action of the slider is a dif cult motion to master for the f rst-time learner and becomes one of the most important challenges in successfully coaching this pitch.

Teaching the Slider When teaching the slider, be very careful to avoid a full twist of the wrist at release. A properly thrown slider comes from a release angle equal to that of half a karate chop. T e key from that position is to drive the middle f nger straight down, essentially cutting through the outer half of the baseball. Also, the release point should be well out in front of a pitcher’s body to stay on top of the ball and get the necessary action and velocity.

28 PITCH TYPES AND THEORY

Releasing the slider behind the head will lead to “f at” pitches that don’t slide or break. Sliders, like change-ups, curves, and sliders, are most successful when thrown low in the strike zone. T is pitch placement should be constantly repeated to the young pitcher. T e slider is most Slider release of en thrown down and away to right-handed hitters, but it can also be ef ective against a lef - handed batter. However, avoid throwing the slider down and in to a lef -handed batter, as that seems to be a natural sweet spot for most lef ies. A slider thrown down and away to a lef - handed batter is called a backdoor slider.

CHAPTER 2

Fundamentals of Proper Pitching Mechanics

his chapter covers the entire pitching motion from start to Tf nish, describing the physical actions as well as providing the keys for teaching young athletes how to learn these movements. Very early in development, a beginning pitcher cannot, and does not need to, comprehend the complex ways the body moves while throwing a baseball. Instead, the athlete needs to process easily understood requests and thoughts to move into the desired position or to perform the required action. As an example, for the f nish position, the pitcher’s hips must rotate and his legs must work through the release of the baseball. However, it is much easier for a young pitcher to be aware of the position of his body af er releasing the ball, than it is for

31 CHAPTER 2 him to consciously work on a good hip and trunk turn late in his delivery. T is concept is covered extensively in Chapter 3, Coaching Beginning Pitchers. In this chapter, the pitching motion is broken into six dif erent positions:

1. T e wind-up stance 2. T e balance point 3. Breaking from the balance point 4. Landing 5. T e release point 6. T e f nish

Each position is described in a section below. T e f rst part of each section contains a detailed description of the action required of the pitcher in the position. T ese details are designed to help the coach thoroughly understand how the entire body works together to gather energy and impart maximum force through the baseball. However, the information must be taught to young pitchers in a much simpler format. T erefore, this detailed account is followed by a “How to Teach” write-up, with the information broken into a small number of teachable and understandable parts. Keys for teaching that specif c portion of the pitching motion are provided. Chapter 3 provides an out- line to follow when teaching a pitcher for the f rst time. T is chapter takes a reader through the entire pitching motion and therefore covers the mechanics of a full wind-up. Beginning pitchers, however, should use the simplicity of the stretch position as a starting point. It is much easier to learn pitching from the stretch; understand the importance of strength, balance, and control; and then work up to the full wind-up.

32 FUNDAMENTALS OF PROPER PITCHING MECHANICS

WIND-UP STANCE (To Balance Point)

T e wind-up stance (set position) should be comfortable and athletic. A pitcher’s weight should be balanced, with his feet roughly shoulder width apart. T e coach’s verbal cue for this is, “Feet under armpits.” T e toes touch the dirt in front of the rubber, positioned on the far right side of the rubber (right- handed pitcher). T e hands are held together, comfortably, in front of the chest, with the back of the glove facing the batter and f ngers pointing to the sky. T e throwing hand rests within the glove, holding the baseball with the f ngers on top and a neutral grip (enabling the pitcher to easily move to fastball and change-up grips). T is hand position prevents the opposi- tion from guessing which pitch is being thrown. T e pitcher’s eyes are focused intently on home plate and the target that the catcher is giving. T e coach’s keywords for the stance: “Feet, hands, eyes.”

Position and Action of the Pitcher

Baby step T e lef leg takes a baby step back, at an angle. T is step is short to maintain balance and keep the majority of the body weight over the rubber. On the step, the lef foot makes a 45-degree angle with the toes pointing at the right leg. T e upper body remains “quiet,” and there is limited movement (no swaying back or side to side).

Lift and pivot T e plant foot (right foot) then lif s and piv- ots, moving parallel to the inside of the rubber. It’s important to move slowly and under control, and this movement becomes more comfortable with practice. T e foot is lif ed into position to avoid a slide or drug.

33 CHAPTER 2

Leg lift T e lef leg rises, with the lif foot (lef foot) underneath the knee and the toe pointing down! (T is foot is also called a “dead foot” when the foot is relaxed and the toe points toward the ground). Doing this keeps the body upright and the head square and helps avoid leaning back. Keeping the toe down also ensures that the lead leg lands on the ball of the foot, not on the heel.

Hands to chest T e hands move back to the body. Some pitchers choose to move their hands over their head when they take their baby step back. Whether or not a pitcher does this, his hands must be in front of his chest at the peak of the leg lif . T is is the balance point, and if the hands have moved, they must be returned at this time!

How To Teach the Wind-Up Stance 1. Begin by describing the physical position before movement. Start by describing the actual wind-up stance position, covering f rst the pitcher’s feet (shoulder width apart and balanced) and working all the way up to the head and eyes (on the target). T e coach’s verbal checklist for this stance is, “Feet, hands, eyes.” Remember to The wind-up stance position

34 FUNDAMENTALS OF PROPER PITCHING MECHANICS

teach that the glove is placed in front of the chest with the back of the glove facing the batter to avoid showing the batter, or either of the base coaches, any clue about what pitch is coming. Advanced pitchers should use a neutral grip so they can get to any pitch without a noticeable or recognizable movement of the wrist or hand. A neutral grip is somewhere between the two- seam, four-seam, and of -speed grips, with the f ngers on top of the ball. 2. Teach a short baby-step back. T e easiest way to teach the step back is to instruct pitchers to point their stepping toe at their plant foot. T e purpose of the step back is not to gear up and gain momentum. Instead, it is designed to give the pitcher a chance to free his opposite foot for planting. So, keep the step back short! In addition, avoid any swaying or an exces- sive shif in weight backward, which can cause the pitcher to rush back through the balance point and into release. Instruct the pitcher to keep his head over or in front of the rubber during the step back to keep any weight from swaying behind the rubber. Baby step back with T e pitcher should be the left foot

35 CHAPTER 2

instructed to keep his upper body “quiet,” with little or no movement through the balance point. 3. Don’t let the pitcher rush the rotation of the plant foot. Instruct the pitcher to be patient and not rush his foot placement as he is learning the wind-up. It is more important to train the body to become comfortable with planting the foot accurately in front of the rubber, than it is to rush through the delivery at a constant speed. Keep the pitcher from sliding into position, because when the hole in front of the rubber is well dug out, a slide will be inef ective. Remind the pitcher to lif and pivot! 4. Teach a leg lif rather than a swing. T e leg lif needs to be straight up, with the foot underneath the knee, and executed at a controlled pace. Power will truly be generated and gath- ered starting when the lif leg starts down and out. So, be careful that the pitcher lif s the leg under control Lift and pivot the right foot rather than swinging it up. In addition, the pitcher must avoid leaning back or kicking out the lif leg. T e coach’s verbal reminder for the leg lif is, “Like an elevator.” Smooth and controlled.

36 FUNDAMENTALS OF PROPER PITCHING MECHANICS

5. Emphasize keeping a quiet upper body. As the feet and legs move from the wind-up stance to the balance point, it’s important that the upper body has very little movement. T is stillness keeps the head f xed and the pitcher’s eyes on the target. Teach a young pitcher to avoid coiling, or wrapping back toward second base, and stop him from leaning back toward second or third base. Excess movement in any direction Leg lift – foot under knee, can cause the body to toe points down rush back in the opposite direction later in the delivery. Coiling can become a part of power production for the advanced pitcher. 6. Coaching Keywords: “Baby step at an angle…lif and pivot.”

BALANCE POINT

T e balance point should be just that: balanced! T e body should be square to third base with a raised lif leg, preparing to move forward, break the hands, and build power for the release of the ball. When practicing, it is important for the pitcher to have both the strength and balance to be able to stop his motion at this point.

37 CHAPTER 2

However, a pitcher should never come to a complete stop at his balance point in a game. While stopping the pitching motion in practice can help work on body control and balance, stopping the pitching motion completely breaks the natural momentum that the body is gaining before launching each pitch and, therefore, is not a good idea when throwing in competition.

Position and Action of the Pitcher

• T e shoulders are lined up between home and second base (to avoid over-rotation or coiling). • T e lif leg is positioned with the foot under the knee and the toe pointed down. T is pointing of the toe ensures landing on the ball of the foot. • T e hands are held comfortably in front of the chest, 4 to 6 inches away from the body. • T e head is focused on the target. • T e back leg is slightly f exed, yet strong enough to help the pitcher maintain balance, keep his weight back, and lead with his lower body and front hip.

How To Teach the Balance Point

While there are a few simple steps to teaching the wind-up stance and moving to the balance point, there isn’t a lot to teach regarding the balance point. Instead, be aware of key things to look for and provide reminders to the pitcher. Most importantly, understand (as a coach) why the pitcher is in the position that he is in.

1. Make sure the hands have moved back in front of the chest. If the pitcher’s hands have moved over his head,

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it is important that they rest high and comfortably in front of the chest at the balance point. T e pitcher’s next move will be to get into the throwing position, loading the back leg, extending the glove, and reaching down then out with the throwing arm. All of these movements must be done in rhythm as the lead leg moves toward home. A pitcher’s goal is to get into the throwing position with the hand held high and The balance point the weight back, loaded into the back leg. Both hands and the lead leg travel down and out. 2. Teach the pitcher to keep his back leg slightly f exed. T e back leg should have a slight bend in the knee to help the athlete keep his balance. Contrary to popular belief, pitchers are athletes...and incorporating a slight bend in the back knee can help to create a much more sta- ble, athletic stance. T is bend is not a lowering of the knee—or a pronounced “dip and drive” movement. In fact, the back leg will bend only as necessary to keep the weight back once the pitcher leaves the balance point and begins to load into the power position. An athletic back leg at the balance point helps a pitcher to execute correctly—leading with the side of the front foot and

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maintaining his center of gravity over the plant foot! Ironically enough, if an athlete is mightily struggling with plain and simple balance at this position… instruct the athlete to straighten the back leg. Locking the post leg out can make balancing much easier. Here’s the catch: that athlete must engage the back leg and bend appropriately when leaving the balance point. As the pitcher leaves the balance point, the back knee must bend to keep the weight back. 3. Check that the head is over the toes of the plant foot. Don’t let the athlete lean back (toward f rst base)! Lean- ing back at the balance point will cause him to also lean at delivery (with the body stretched to his lef , or toward f rst base), af ecting balance and arm angle. If the pitcher is leaning back at the balance point, one remedy is to instruct him to hunch his upper body slightly forward at the balance point, bending slightly at the waist to keep his head and chin in front of (or over) his plant knee. T e goal is to maintain a consistent posture from stance to the balance point. T is lean-forward adjustment is the f rst of many similar f xes following the logic of an exaggerated opposite. 4. Focus on right angles. In an ef ort to keep a quiet upper body, teach right angles at the balance point. T is means that the lif leg moves directly in front of the body (toward third base), the foot hangs directly underneath the knee, and the shoulders stay square to third base (lined up directly between home plate and second base.) Keeping this in mind, allow the athlete to deviate slightly from right angles as he begins to pitch. 5. Coaching Keywords: “Knee up, foot out, toe down.” Especially when working through freeze drills at the balance point (position #1) or assigning homework for

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mirror training at home, use the keywords, “Knee up, foot out, toe down.”

BREAKING FROM BALANCE POINT - LOAD When leaving the balance point position, the pitcher concen- trates on loading the back leg. T is means that the lead leg moves forward while the body weight remains back over, and on, the plant leg (weight surge and torso rotation are discussed later). To repeat, instruct the pitcher to lead the raised foot forward toward extension before shif ing any weight toward the plate. Simplify movements and the timing of this load movement by using this reminder: “Leg down and arms up.” As the lif leg starts down and out, the throwing arm moves down, back, and

Breaking from the balance point

41 CHAPTER 2 up, while the glove arm moves down and out toward the target. T ese movements occur simultaneously, while the body weight remains over the back leg. T is back-leg-load movement is the most important part of a pitcher’s delivery. It is the f rst step toward generating power and works to keep the weight back. Keeping the weight back (af er balance point) provides the throwing arm the time it needs to travel into a higher position for when the body does explode forward. T is helps a pitcher to stay on top of, and get out in front of, all pitches at release. T rowing with top-to-bottom tilt starts with a back leg load!

“Stay tall, stay strong, stay back” Let’s dive deeper into the load movement of the back leg. T e post leg must bend in order to keep the weight back over the rubber as the body breaks from balance point. However, this is not a conscious bend or dip. T e back leg will bend only enough to keep the weight back. T e visual of staying “strong” and/or “tall” of en helps a young pitcher to f nd that delicate balance. Engage the back leg with strength and power. Stay back, but don’t collapse: Stay tall! T is movement is how a pitcher engages the drive leg to build power. T ere will be an explosion next, what is commonly referred to as the “push of .” However, the plant leg must f rst bend and remain strong in order to successfully hold back the body. If the leg does not bend, the pitcher’s body will drif toward the plate. It is impossible to lead with the lif leg and keep the weight back with a straight plant leg.

Load then explode Don’t let the pitcher push of ! Not pushing of allows the body weight to stay back, engaging the plant leg and generating power. T erefore, it is helpful to instruct the athlete to load f rst (keep his weight back early)…and explode late. T e lead leg should move down and out toward home plate, with

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the weight staying back as long as possible. T e body will naturally explode forward when it can no longer hold the weight back. An advanced, physically mature pitcher, can and should work on producing power and being more explosive. When working with young pitchers, however, limit use of the term push of . Finally, the front foot should lead closed (with the outside of the shoe facing the target) as long as possible. T is position ensures that the hips are held closed until they f re in conjunction with the body landing and exploding forward. (Hips, shoulders, or the body is considered “closed” relative to home plate when the hip and front shoulder point directly to the target, while the chest and trunk point toward third base, for a right- handed pitcher). T e foot of the lead leg opens up just before landing, and the foot lands with the toes pointing toward home plate. T is motion begins the body’s rotation from the feet all the way up through the hips, shoulders, and throwing arm.

Position and Action of the Pitcher From the balance point, the pitcher moves into the loaded-power position. At this position, there are four coaching points working around the body: (1) T e hand is extended high and away from the body; (2) the glove is extended toward home plate; (3) the lead leg is extended toward the target; and, (4) the weight is back. One of the most important body positions in baseball, the loaded-power position is consistently used whether f elding a ground ball, catching a f y ball, or generating maximum force to deliver a fastball.

Lead leg T e lead leg moves smoothly down, then out. It should not swing, and it should not be rushed; it should be led by the side of the shoe. T is keeps the hips and shoulders closed before exploding of of the back leg.

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Throwing arm T e throwing arm moves down and out before moving up. If your eyes follow the ball, you should see a semi- circle with the arm ending up high and away from the body.

• T e f ngers are on top of the ball, facing away from the body. T e ball is knocking on an imaginary wall behind the pitcher. • T e throwing arm is extended toward second base, high and away from the body, near—but never to—full extension. Locking the elbow in full extension can promote a negative windmill ef ect, dragging the arm through release.

Glove arm T e glove arm moves in sync with the throwing arm, down and out! T e side of the glove (f ngers) should face home plate. • T e glove arm extends (reaches), with the elbow in line with target. T e glove may reach slightly across the body, but the elbow and front shoulder consistently point toward home plate. • T e front shoulder is closed. And, it remains closed even af er the body explodes forward and the front foot touches down.

How To Teach the Break from Balance Point - Load 1. Teach the pitcher to break in rhythm. Pitching is an athletic movement and should be smooth and comfortable. Be sure that the athlete breaks from the balance point in rhythm. T is means that the throwing arm and glove arm, break when the lif leg starts its down and out movement. T is happens while the body stays back and loads, of course!

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2. Make sure that the glove arm gets to extension before the pitcher moves his weight forward. Many times this f x can help an athlete to stay back and load the rear leg. Does the glove have ample time to reach out and get to extension? Or is it a short reach and a quick pull across the body? Two coaching points are relevant to this key: First, a “short” glove arm is of en a sign that the athlete is rushing or drif ing. Second, using the glove as a point of focus can help some athletes to stay back better. To implement this point, instruct the athlete that he must stay back until the glove gets to full extension…then explode. 3. Hold the pitcher’s hips back to teach the concept of “loading.” Have the pitcher go through several movements from balance point out to the loaded-power position. Do these repetitive “leg down and elbows up” movements with your lef hand physically holding his weight over his plant leg. Apply pressure at the lef hip, holding the pitcher back as he moves from balance point to the loaded-power position without a baseball. Help him recognize the dif erence in feeling when his weight is kept back. T is is the load! He should feel a burn in the back leg, letting him know he is forcing his leg to work. Af er several assisted movements, instruct the pitcher to stride forward (leading with the side of the shoe) and—on his own—break his hands without allowing his weight to shif forward. T e athlete should successfully get to a proper throwing position while keeping his center of gravity over his plant foot. Coaching Note: If an athlete executes this correctly, a straight line could be drawn from the back foot, up through the back hip, and into throwing shoulder. Next, challenge the pitcher to extend from the balance point (position #1) to the throwing position

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Coach holding weight back at throwing position

(position #2), touch his landing toe to the ground, and immediately return to his original balance point (position #1). He should be able to do this without pushing of of his landing foot! A pitcher can get back to the balance point without a big push-of of the front foot only if he has not transferred his body weight forward. T is movement is dif cult, so be patient and allow several attempts for the athlete to truly experience the feeling of loading. When a pitcher becomes comfortable with the feeling of keeping his weight back, he should be able to stride out, touch his toe to the ground, return to the balance point, and repeat the movement several times. When he is ready, involve throwing and the extension of the glove arm as well. T is movement, which can be referred to simply as 1-2-1-3 (with 1

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referring to the balance point, 2 referring to the throwing position, and 3 referring to the f n- ish), is highlighted in Chapter 5. In bullpen sessions, it can be done with or without f nishing the pitch. 4. Make sure that the ball points back toward second base with the f ngers on top. Young athletes have a tendency to twist their wrists at full separation, so their f ngers may point toward third base, or the ball may Athlete with baseball point toward second incorrectly pointing base with the f ngers toward third base incorrectly underneath the ball. T is incorrect grip or wrist position can carry over to the release, preventing consistent control and providing a risk of injury.

LANDING

T e goal of a proper landing is to comfortably and consistently get to the launch position. Except for the landing foot (which now points to home plate), the body should be closed. T is detailed portion of the delivery is of en observed, rather than taught, to young pitchers. T e primary f aw that will be observed in and around landing is “f ying open.” T is incorrect

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movement occurs when the front shoulder pulls open toward f rst base before, or immediately following, the front foot landing. T ere are two signif cant issues relative to f ying open at the landing position. First, the action is fundamentally incorrect, and, second, it is typically executed at the wrong time.

Action As we will cover in the next chapter, a pitcher’s goal is to maintain forward momentum at all times. Although the glove arm will tuck to the chest, the body should always be moving toward home plate. Tucking, or pulling the glove, therefore, cannot cause the body to rotate open and kill forward momentum. T e compromise between glove-action and body direction is called a “chest-to-glove” movement. T e glove arm will tuck as the chest moves toward it! An issue occurs when the glove shoulder pulls open aggressively: the body stops forward momentum and rotates. Sometimes this can even pull the upper body backward as the glove arm yanks and the body pulls the arm through.

Timing Flying open typically means that the rotational portion of the delivery is happening early. T e f rst thing a pitcher does af er landing with the front foot is pull open with the glove shoulder. T is shoulder pull can of en happen before the front foot even touches down. When the front shoulder pulls, the head goes with it, and the entire body can spin or fall of the mound. To maximize power, a pitcher should stay closed as long as possible with the goal of achieving a late…torso…rotation. More helpful information about the glove arm and front shoulder follow in Chapter 3.

Four main parts def ne the body at the landing position: (1) landing leg, (2) glove arm, (3) throwing arm, and (4) plant or trail leg.

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Moving clockwise around the body, the lead foot lands on or near a straight line measured from the middle of the plant shoe to home plate. T e lead or glove elbow is up near shoulder height with the front shoulder closed. T e glove hand is located as close as possible to directly over the landing foot, extended toward home plate. T e throwing arm extends in an L-position behind the pitcher, with the ball facing back toward second base (ball to the wall). T e back foot has pulled of of the rubber, with a toe drag in the direction of home plate. Foot-Strike: The moment the front foot lands Position and Action of the Pitcher (Moving Clockwise around the Body)

Landing leg T e landing leg lands on the ball of the foot (hence “toe down” at balance point), on or near the midline (the line measured from the middle of the plant foot to home plate).

• T e front foot opens up just before landing, so that the toes point toward the target at foot-strike. T e front foot should open naturally, triggering the body’s delivery explosion. Specif cally, the movement of the foot is the beginning of the rotational delivery. T e foot opens up just before landing. T en the front leg f exes, before f rm-

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ing up as the body explodes forward. With the front foot now open, the body rotates—hips f rst, then shoulders, followed by the throwing arm. Opening up happens as the pitcher moves through the landing knee and leg, in the direction of the glove arm. He must always be careful not to pull or f y open, especially not early! T e coaching verbal for this is, “Closed, closed, closed…open!” • T e landing leg is planted f rmly and remains strong but not stif . T e movement of the lead-leg stopping forward can be called a “front-side f rm-up” and is similar to the action during the hitting swing. Described more technically, af er the front leg lands, the knee f exes to “catch” the body’s forward momentum. T e leg then f rms up to transfer that energy up the kinetic chain (through the body) and into the throwing arm. T ere is almost a cat- apult ef ect between the front leg and the upper body. In summary, the lead leg should be strong at the landing position. It lands, f exes, and then f rms up as the body moves over and “through” it to release the ball.

Glove arm T e glove arm is near shoulder level with the front shoulder pointing at the target (“closed”). Reminder: T e chest moves to the glove next, as the upper body opens to release the baseball.

Head T e head is level and holds still, with the eyes focused on home plate.

Throwing arm T e throwing arm is up at an extended L-position, with the ball facing second base. T e hand can’t be late getting to this position. If so, the arm will drag and put extreme stresses on the arm and throwing elbow—both bad news!

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The landing position

How To Teach the Landing Position 1. Remind the pitcher to stay back and reach. T e athlete must lead with the lif leg and keep his weight back. T e keyword is, “Load!” 2. Make sure the front foot “leads” closed. T e front foot should remain closed as the athlete leads down and out to the target. If an athlete opens early, over-exaggerate that f x and lead with the heel of the lead foot. 3. Teach the pitcher to open the front foot just before landing. From the balance point into the loaded-power position, the body is closed to the target (the shoulder, hip, and side of the foot all face home plate). Just before the stride foot lands, it explodes open so that the toes face the target. To release the baseball, the body explodes open as energy is transferred from the back leg, to the front leg,

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and into the throwing arm. T is explosion process starts with the front foot and follows with the hips and then the upper body (shoulders and throwing arm). 4. Make sure that the stride foot lands on the ball of the foot, not the heel. Landing on the ball of the landing foot ensures that the front leg will post f rmly and provide an axis with which the upper body will eventually rotate over and through. Landing on the heel causes the pitcher to spin of of his landing leg, turning toward f rst base, or causes the landing leg to stif en and bull- whip the arm. It is important that the toe be pointed down during the leg lif to put the pitcher in position to land on the ball of his foot. 5. Measure stride length - distance and direction. Land on or near the midline (see #6), at a distance equal to or greater than the athlete’s height. 6. Focus on keeping the landing foot in line with the plant foot and the target. Draw a straight line on the mound from the middle of the pitcher’s back foot to the landing area. Step back behind the rubber and look at the target to ver- ify that the line is straight. T e pitcher should land on or near that line. When talking to the pitcher, use the image of a balance beam to convey the importance of landing on that straight line: Don’t fall of the balance beam! A pitcher should lead with the side of the shoe when striding forward along and above the line. T is holds the body and hips closed. Do not let him lead with the toes! 7. Make sure the arms are extended. T e elbow of the glove arm or the side of the glove should be pointed at the target, while the throwing arm extends high and behind with the ball toward second base. T is positioning ensures that the front shoulder is closed at landing! Finally, the pitcher should keep his glove hand over his landing foot. T e coaching verbal for

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the front side is, “Glove arm reach, glove arm chest.”

RELEASE POINT Af er the body surges forward from the landing position, it moves into the release point. T e most important characteristics of the release point are that a pitcher works to stay on top of the baseball and that he gets extension out in front of the body. Regardless of arm slot, pitchers are encouraged to throw with tilt, or downward trajectory. T is means The release point keeping the f ngers on top of the baseball through release. Getting on top of the baseball maximizes the depth of all pitchers and increases the dif culty of the batter to square up the bat on ball. Release should be specif c to, and comfortable for, each individual pitcher. For the most part, athletes—especially young, beginning pitchers—should be encouraged to throw in a way that feels natural and ef ective. T e release point is where the pitcher puts the most stress on his arm. T us, having the hand too far in one direction (in front, behind, or close to the ear, for example, or away from the body) can drastically af ect performance and overall arm health. At this point in the coaching process, it’s important to understand the overall transfer of energy through the body during the pitching motion. From the stance to balance point and through the

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loaded power position, the athlete is encouraged to keep his weight back, building energy and loading power in the back leg. Af er the body explodes forward and the stride foot lands (from the loaded-power position to the release point), this energy is transferred from the back leg to the front leg. T e front leg has landed, f exes slightly as if to receive that energy, and then posts f rmly with the toes pointed toward home plate. T e front knee bends and then f rms up (as if to transfer energy to the upper body), as the arm moves from the cocked L-position to a release point out in front of the body. All energy is transferred from the back leg, to the landing leg, and then up through the body and into the throwing arm (and thus the baseball). In summary, the energy of the pitch has moved from back leg…to front leg…to throwing arm. Advanced pitchers working on power production should train extensively to achieve (1) the load of the back leg, (2) explosion of of the back leg, and (3) the f rm-up of the front side and to realize the ef ects of these moving into the release point and follow-through. One ef ective exercise is the towel drill, where a player moves from the throwing position to f n- ish, trying to snap a towel on a bench well in front of him. While it is understood that this drill helps to teach extension at delivery, what isn’t known about this exercise is its importance in teaching late torso rotation. T is is a dif cult concept and is more applicable to advanced pitchers, but we’ll cover the basics so coaches understand. It is most easily taught by asking the pitcher to simply stay back as long as possible (which will keep him closed), before striding forward and releasing the baseball. As the body moves forward from throwing position into release point, the torso twists (foot! hips! shoulders! throwing arm), generating maximum torque and velocity. T e release point of ers the opportunity to check that several throwing absolutes are followed: T e throwing elbow should be above the shoulder, and the throwing hand should be outside the

54 FUNDAMENTALS OF PROPER PITCHING MECHANICS elbow. When these two requirements are met, release should be out in front of the body and on top of the baseball.

Position and Action of the Pitcher

• T e front leg is strong but not straight, helping to keep the f nish strong and balanced. T e knee f rms up as the body moves forward and the ball is delivered. • T e release point happens out in front of the body. Staying back and loading help to ensure that the arm stays in front of the body and stays on top through release. T is maximizes downward trajectory (tilt) regardless of arm slot/angle. • T e glove is over the front foot and is kept there through delivery!

T is is an important concept. For years, coaches have taught pitchers to pull their glove-side elbow to their hip, thinking that this was a power movement to increase velocity and arm speed. However, recent research of successful and healthy pitchers has shown that keeping the glove-side arm in line with or over the landing foot increases ef ciency and strength. By keeping the front elbow and glove f xed (and in front of the center of gravity), the pitcher directs all force and energy to the throwing hand at delivery. If the front elbow moves away from the target at delivery (even with perfect timing), energy is split and misdirected away from home plate. For maximum force with minimal stress, nothing should move away from home plate. A f xed glove arm takes stress of the shoulder and elbow and helps maintain a consistent release point. As a bonus, this front arm position keeps the glove in front of the body—which is ideal for getting the pitcher into the f elding position and becoming the f f h inf elder af er he has released the ball.

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Glove arm over front foot at release

An advanced pitcher can extend his glove arm out over his front foot. He can then simply leave the glove there through delivery, f ipping it over and bringing his chest to the glove...instead of bringing the glove to his chest. T is movement is called “chest- to-glove” and ensures that the upper body stays closed as long as possible. It also stops the pitcher from pulling his glove shoulder open (f ying open). Finally, it will help the pitcher drive his front shoulder forward af er the front foot lands, a key component in producing power and maximizing torque.

• T e weight transfers forward, the hips explode as the torso rotates, and the hand releases out in front. T ese are natural movements that one can focus on in more advanced training. Just let them happen and be aware of any early opening! • T e throwing arm accelerates through, from a position pointing at second base, to the release of the baseball, and ultimately to a follow-through position beyond the lef knee. • At the release point, the throwing arm should follow two simple rules: T e elbow is at, or above, the shoulder, and the hand is outside the elbow. Keeping the hand outside the elbow (away from the ear) avoids

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unwanted stress on the elbow. A proper release resembles the letter L. • T e extension follows out in front of the body. T is accomplishes three things: • Getting the throwing arm as close as possible to the target. • Increasing the whip action and hand speed. • Achieving a downward trajectory for the path of the baseball. • T e f ngers are on top of the baseball. T e coach’s verbal cue for this is, “Fingernails to target.” • T e arm should naturally pronate (turn inward) into the f nish.

How To Teach the Release Point

When teaching an athlete under the age of 10 or 11 years with limited experience, stick with the basics before going into detail about the angle of his elbow or the position of his glove arm. A considerable amount of practice will be needed for the young athlete to become familiar with the basic pitching motion from set position to f nish, and it is most important that his muscle memory retain these core fundamentals. Experienced pitchers, or older athletes, are more apt to understand and handle an advanced level of detail regarding release point positioning. With novice pitchers, however, stick to simple throwing basics to ensure a solid release point.

1. Remind the pitcher to avoid a weak wrist at release. Whether a pitcher is throwing a fastball, change-up, or curveball, the wrist should be straight at release and should snap through the ball af er delivery. T e palm

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may vary from facing the pitcher’s head on a curveball to facing the catcher on a fastball, but the wrist always remains strong. T e pitcher must avoid a f oppy wrist that aims back behind his head and then whips all the way forward. T is mistake, of en called “pie throwing,” is common in 8- or 9-year-old beginning throwers. An easy way to correct a f oppy wrist is to direct the pitcher to squeeze the ball slightly harder. T is squeezing motion should f rm up the back of the hand and wrist, eliminating the “f op.” 2. Make sure that the elbow angle of the throwing arm is at, or beyond, 45 degrees at the release point. T is position is important for all pitchers to avoid stress on the elbow. Make sure that the ball is not coming through the release point extremely close to the pitcher’s head. 3. Make sure that the elbow of the throwing arm is at, or above, the shoulder of the throwing arm, with the hand well out in front toward the target. Keeping the elbow above the shoulder maintains a powerful and sup- ported release. T e release motion is led by the hand, continues with the arm, and f nishes with the body (similar to the order of motion for a freestyle swimmer slicing through the water). T is hand-f rst sequence helps to avoid leading with the elbow, which also places unwanted stress on the elbow. T e coach’s verbal cue for this is, “Hand-arm-body.” 4. Emphasize letting the front foot open naturally. Just before landing, the body surges forward and the front foot opens. T is action should happen naturally so that the toes point directly to home plate. Teach the athlete to keep his body closed to home plate as long as possible (leading with the side of the shoe) and allow the front foot to open naturally.

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5. Stress a f rm front knee. Af er landing, the stride leg bends or f exes as the body surges forward. Dif erent athletes bend the front knee dif erent amounts. Regard- less, the front knee should be f rm in a near full extension during release. T is position transfers energy from the front leg into the throwing arm. 6. Move chest-to-glove! Make sure the glove is kept over the landing foot until the baseball is released. Research has shown that successful, healthy pitchers keep both elbows in front of their head and center of gravity at release. Do not teach a pull with the glove arm through delivery. Instead, teach the athlete to get the glove extended during the load phase, with the side of the glove facing the target (over the front foot). During release, the glove is f ipped over and the chest is brought to it. T is action ensures that the upper body follows through, that no momentum pulls away from the target, and that the stress on the throwing shoulder is min- imized. In the f nish position, the glove should end up above the belt, in front of the chest, with a little space between the glove and the chest. T e coach’s verbal cue for the glove arm is, “Get extended, f ip, and bring the chest to it!” Or, more simply put: “Chest-to-glove.”

Teaching the “chest-to-glove” method still provides a signif- icant tuck, but one that occurs as the body is moving forward toward the target. An athlete should concentrate on staying closed long, keeping the f ngers on top of the baseball through release, and following through with the upper body (thus supporting the arm and shoulder); all these are achieved when the glove arm remains over the landing foot through delivery. Teaching a beginning pitcher to tuck the glove into his chest can promote “f ying open” (when the glove shoulder quickly moves

59 CHAPTER 2 sideways, pulling away from the plate), and this movement can cause the pitcher to f nish without following through. T e result can pull the release point farther up and away from the target. T e ball will be thrown on a f atter trajectory, leaving it in the hitting zone longer. Misses are of en arm-side-high (up and in from a right-handed pitcher to a right-handed hitter).

FINISH Af er the ball has been released, the f nish position is important to prevent arm damage and to get the body into a good f elding position. Working backwards, execution of a proper f nish position helps teach the athlete to keep his weight back (load) and throw through a f rm landing knee. In turn, keeping the weight back and landing on a strong base prevents rushing forward, dragging the arm, and over-rotating, thus increasing strength and velocity on all pitches. When working with beginning pitchers, teaching the f nish position does a lot more than just ensure a good-looking follow-through. A proper f n- ish means the pitcher has executed many dif erent principles of proper fundamentals, many of which don’t require a lot of conscious thought. For example, The ﬁ nish position

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the follow-through of the trail leg and the f nish position ensure that the hips have rotated properly. However, the pitcher needs only to think of f nishing with the dragging leg parallel to the landing foot, with the toe down and the knee pointed in! T ese keys are very ef ective in successfully teaching a young, f rst-time pitcher. T e coach’s verbal cue is, “Feet straight across, knee in, toe down.”

Position and Action of the Pitcher

• T e throwing hand f nishes on the far side of the landing leg, between the ankle and knee of that leg. T e throwing shoulder faces the hitter. • In the f at back position, the back is virtually parallel to ground (bending at the waist, not at the knees), and the head is up. T is position helps the pitcher get to full extension and helps support and decelerate the arm. • T e head is kept still and level as much as possible. • T e stride or landing leg is strong but not stif , supporting a majority of the body’s weight. • T e f nish leg follows to a spot directly across or slightly beyond the landing foot. T e knee is turned inward, and the toes point down to the ground to ensure full trunk rotation.

How To Teach the Finish Position

1. Teach the pitcher to move his throwing arm to the opposite knee and bend at the waist (f at back), with his knee in and toe down. Memorize these words and use them of en. Instruct the athlete to hold the f nish position af er every throw. If he cannot, he is rushing and over-rotating. Constantly remind him to, “Bend at the waist (get down there)...point trail-knee

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in...and move that trail leg so that the feet are straight across.” Repe- tition will teach muscle memory, and once the muscles are familiar with where they should be, they will contin- uously correct themselves. Creating muscle memory of the f nish position is the second main coaching point in the developmental process. Balance point (#1) f rst…followed by the f nish position (#3). The ready position 2. Make sure the pitcher understands the f nish position. T e details are important. Having the trail leg in the f nish position described above ensures that the pitcher properly rotates his hips and trunk. T is rotation generates torque and power, and it is a great habit to establish early on. Finishing with the glove (1) above the belt, (2) in front of the chest, and (3) with space…ensures that glove arm has not f own open and will allow for more detailed glove instruction when the time is right. In addition, this detail for the glove in the f nish position puts the pitcher in an optimal f elding position with the ability to protect the head and face. T e toe-down position of the trail leg (1) shows that the hips have rotated and (2) makes it hard to place the body weight on it. T us, body weight will be held over the lead leg, which teaches a front-side-f rm-up. Finally, being

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straight across with the feet at the f nish ensures that the legs have worked hard to transfer explosive energy into the throwing arm. T e lef leg must stop the surging body and redirect that kinetic energy into the arm and out the baseball. It’s very easy to roll through the landing leg and continue with the trail leg toward home plate, but doing this avoids using the legs and places the entire workload on the throwing arm. Simply put—f nishing teaches the athlete to use his legs. 3. Stress throwing f rst, then checking the f nish. It’s important that an athlete maintains an aggressive release and throws the ball hard, even when working on a f nish position. Instruct the athlete to throw the ball f rst, and check the f nish second. Af er each pitch, work with the athlete to get into a perfect f nish position. T at f nish position will become muscle memory, and the athlete will gradually and naturally move closer and closer to it. 4. Make sure the body weight is transferred through the landing leg. T e toe-down position of the trail leg helps keep the body weight of of that leg. If the delivery is correct, the body weight moves directly from the back leg through to the landing leg on release. All momentum and force are moved directly toward the target, as if inside a tunnel. Doing this correctly leaves the body weight on and over the front (lef ) knee. In order to properly get to the toe-down position, the weight must stay (or shif ) over the landing leg.

Over the long run, a pitcher will quickly move from this f nish position into a traditional f elding position with his body weight centered. During practice in the bullpen, teach a proper f nish position. However, realize that in a game an athlete will move to a f elding position very quickly and naturally.

CHAPTER 3

Coaching Beginning Pitchers

n Chapter 2, the pitching motion was divided into six posi- Itions to build a foundation for understanding the mechanics of pitching. Specif c points of focus for coaches and potential problems along with corresponding quick f xes were provided for each position. When the coach uses these focus points, a beginning pitcher can learn the most important movements without being required to fully comprehend what the body is physically doing. It is dif cult enough for a youngster to absorb all the new information he is hearing, let alone be aware of the f ne details of the way in which his body is moving. Teaching pitching is entirely dif erent from knowing how to pitch. Beginning pitchers are unique in their approach and response to new and dif cult material; working with them can be a frustrating and overwhelming task. T is chapter gives an instructional overview of teaching a pitcher—where to start

65 CHAPTER 3 and how to progress from day one. T is is the plan to follow to become an ef ective pitching coach! And, more importantly, this plan will place the pitcher in an environment where he is most likely to succeed. T e chapter concludes with four sample pitching lesson outlines. Essentially, this is How-to-Coach Pitching 101. T e lessons provide an example of what a professional coach would likely cover when working with a young pitcher for the f rst four sessions. T ey also provide a proven structure to the teaching process of a pitching lesson (discussion, dry-work, catch-play, and a progression of mound pitch repetitions). Teaching pitching is a delicate process. As a pitching coach, you must be keenly aware of when to focus on the basics and when to push your athletes with detail. T e following guidelines will help you achieve positive results with your pitchers, while maintaining a focus on rhythm, comfort, and understanding.

Dan Keller’s 7-Step Plan to Teaching Pitching Step 1 - Catch play Step 2 - Teach positions: stance (#0), balance (#1), power (#2), f nish (#3) Step 3 - Add rules - break down each position (1-3-2) Step 4 - Distance & direction (load & explode) Step 5 - Implement specif c f xes Step 6 - Add the wind-up Step 7 - Teach the change-up

STEP 1 - CATCH PLAY

Before beginning any formal pitching instruction, teach or review three basic principles of throwing. T ese apply to all facets of baseball and assist in pitching-specif c development.

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Three Basics of Throwing

Use the four-seam grip. T e easiest grip to learn and control is the four-seam fastball. Have the athlete locate the “horseshoe” or “happy face” on the ball, then place his f ngers across it. See Chapter 1, Pitch Types and T eory, for a full description of the four-seam grip.

Teach a LOAD. After using the four-seam grip to warm up, have the athlete square off sideways in the stretch position (as if his partner is the target). Without using a baseball, have the athlete simply step forward with his lift leg, and then return back to his original stance. At the same time, have the athlete break his hands and move them up toward the throwing position. Take the time to explain the importance of properly getting into the “loaded/power position,” a position used by every player in baseball. Whether field- ing a ground ball, catching a fly ball, or delivering a pitch, the body will use the throwing position. Feel the burn in the back leg! With the athlete paused (frozen) in the loaded-power position, check to make sure that his weight remains back as he steps and breaks his hands. T e athlete should feel a burn in his back leg as he learns to load his weight over the back foot. Also, check that the ball is pointing away from the body and that the glove has extended out toward the target. Learning to keep the weight back and load it on the back leg is a fundamental part of throwing. Ninety percent of youth baseball players need help in truly understanding the value of keeping the weight back and supporting the arm. T e ability to load is directly connected to waiting back in the pitching motion and can also be related to staying balanced and loaded during a hitter’s stride.

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Check the Finish. Incorporate the lower body portion of the finish. The trail leg should follow through to a point where it is at least straight across from where the athlete’s step leg has landed (with the knee turned in and the toe pointed down). See Chapter 2, Fundamentals of Proper Pitching Mechanics, for a full description of the trail leg in the finish position. An athlete should not worry about the f nish until af er the throw. T e f rst goal is for the athlete to rotate the trunk and hips. T is is accomplished by introducing the knee-in, toe-down position of the trail leg. T e second goal is for the landing leg to f rm up and bear the body’s weight. However, this instruction cannot af ect a pitcher’s ability to deliver the baseball. Instruct the athlete to simply check the trail leg af er throwing and make any necessary adjustments. If an athlete seems overwhelmed by an emphasis on the f nish, back of and simply focus on the grip and throwing position.

Broken Throwing With these three basics, pair up beginning athletes and add baseballs. Begin by having the athletes throw in two steps:

(1) Stride and load (2) T row and f nish

T is way, the athletes learn to keep their weight back while they step and stride into the throwing position. T en, they can rock back and throw the baseball. Af er throwing, simply check the f nish!

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Broken throwing

Full Throwing Next, have the athletes throw without stopping. Check that their weight stays back when they step and that all pieces are moving – the leg reaches out, the glove extends, the throwing hand is back, pointing the baseball away from the body, etc. With a basic understanding of throwing, the athletes are now ready for pitching instruction.

STEP 2 - TEACH POSITIONS: STANCE (#0), BALANCE (#1), POWER (#2), & FINISH (#3) For Step #2, move to the mound and begin instruction from the stretch position. T e stretch position is the core movement of the full wind-up. Both the stretch and the wind-up get the

69 CHAPTER 3 pitcher to the balance point. In the wind-up, a pitcher goes through the baby step (lef foot), lif and pivot (right foot), and leg lif to get to the balance point. From the stretch, all the athlete needs to do is lif his leg to get to the balance point. T ere are fewer variables in play with the stretch position and therefore fewer potential dif culties with the movement. An athlete can focus on getting to the balance point under control, waiting back, and loading to the power position before adding the extra variables of the wind-up. It is a simple fact: T e stretch position is easier to learn for beginning pitchers. From the stretch stance, f rst break the pitching motion into three positions:

Position #0: Stretch stance Position #1: Balance - Leg lif Position #2: Power - Loaded/power Position #3: Finish - Follow-through

Associate each number with a specif c position and use the keywords balance, power, and f nish. Explain to the athlete that this information will be the foundation not only for instruction, but also for communication as well! Provide an overview of the pitching motion from stance to f nish and establish an understanding of these three positions. Specif c rules will be added next. In Step 4, pitching instruction advances to the movement between these numbers. T e stretch stance (Position #0) has the plant foot directly in front of, and parallel to, the rubber. T e feet are shoulder width apart, and the knees are slightly bent. T e hands are held comfortably in front of the chest, and the eyes are focused on the target. From this position, the pitching motion can be broken down into three parts:

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Position #1 – leg lift or balance point

Position #2 – loaded/power position

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Position #3 – throw and ﬁ nish

Dry Work Move through these positions, without a ball, stopping at each point to discuss. Take turns doing them: f rst demonstrate the movements on the mound, then observe the pitcher doing them. T e next step is to drill the pitcher with number commands, still without a ball (“dry work”). With the pitcher starting in the stance, call out numbers to work forward and backward through the delivery:

“Stance!” “Number 1!” “Number 2!” “Back to number 1.” “Number 2.” “Number 3.”

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Mix up the numbers to force the pitcher to become familiar with the motion. Next, have the pitcher go through the entire motion without stopping. Finally, add a baseball and allow the athlete several repetitions to get comfortable with the motion. We want the athlete to realize (for the f rst time) that THIS is exactly what they already do when they pitch:

Lif the leg, reach back, and let it rip. Follow through and there you have it. You’re pitching!

Live Pitching After discussing the numbers of the pitching movements, be sure to allow an athlete to move all the way through his motion when he begins to throw from the mound. While your goal is to educate the athlete, it is also important that he maintain a true rhythm and comfort level with the pitching motion. Work toward smoothly executing the #1, #2, and #3 positions from the stretch motion, then move on to detailed rules. Again, consistently use these numbers to refer to the positions essential to early pitching instruction. Each number is associated with the position the pitcher is in as a result of the movement:

• Position #1– Balance (lif the leg) • Position #2 – Power (load and reach) • Position #3 – Finish (follow through, then f eld)

Before moving on with further throws, establish a commitment to the Number1—the most important—rule:

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THROW HARD

Make one thing clear to the beginning pitcher: No matter what details are added, no matter how challenging this process gets, you must…throw…hard! Take the overactive mind out of the process and get af er it. We must learn how to be aggressive while pitching. T is ability is dif erent than throwing fast, as one athlete might be able to throw much faster than another athlete. Both athletes, however, must throw physically, aggressively, and without fear!

STEP 3 - BREAK DOWN EACH POSITION (1-3-2) AND ADD RULES

Teach the pitching motion in bite-sized chunks, in the following order: #1 Balance → #3 Finish→ #2 Power

T e f rst goal is for a pitcher to learn the rhythm of the combined 1-2-3 motion in its entirety, smoothly and aggressively executing pitches. Af er the pitcher becomes comfortable with these movements, break down each movement and add rules. Add details through specif c rules that put the athlete in an optimal athletic position for success and do so following this order. T is progression establishes a common language as well as a base of understanding and prepares the athlete to receive future (more detailed) instruction. One step builds upon the next, so follow this plan! Work through the rules of movement #1 (the leg lif ), while maintaining proper execution of the overall 1-2-3 rhythm. Intro- duce freeze drills for the Position #1 Balance; work on maintaining strength and balance as well as introducing the idea of breaking in rhythm. Next, add rules to Position #3 and involve freeze

74 COACHING BEGINNING PITCHERS

drills for the f nish. Finally, add rules to Position #2 Power. Notice the 1-3-2 order for applying rules. Af er thousands of individual pitching lessons, I’ve found that the power position (#2) is the most dif cult area of the delivery and rules applying to it should be added last. A pitcher needs two anchor points in the delivery before adding power: strength and balance at the leg lif (#1) and strength and balance at the f nish position (#3). Once these are achieved, work in and around Position #2 to add power to the motion. Pour gas on the f re now that the foundation has been laid! For example, a pitcher needs to learn, and be able to execute, the principles of the f nish position before mastering the details of the power position. Once a lesson moves on to Power (#2), instruction shif s to movements and specif cally the load (movement between #1 to #2) and explode (movement between #2 and #3) surrounding the power position. Essentially, there will now be a lot more power coming down that hill because the lower half is starting to work! T us, the athlete’s ability and understanding of the f nish position is vital to handling that power, controlling the body, and maintaining command. T e rules for each movement follow below in order of application. It is important to note that the opportunity to learn more is earned. T is means that instruction can’t continue until the coach sees proper execution. First the pitcher must understand the basic principles of throwing along with the overall number system (1, 2, 3) and must be throwing aggressively without fear. Once the coach observes that the pitcher knows and does these things, it is time to add some rules.

Rules for Position #0 - the Stance Establish and communicate that it’s go-time! Start with the following rules for the stance (Position #0):

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• Feet - T e feet are shoulder width apart (feet under the armpits), and there is a slight bend in the knees (athletic stance). • Hands - T e glove is held comfortably in front of the chest with the f ngers pointing up (hiding the baseball). • Eyes - T e eyes are f xed on the target. • Keywords - “Feet, hands, eyes”

Going forward, continue to reinforce proper stance fundamentals with this simple phrase: “Feet, hands, eyes.” Af er coming set, instruct the athlete to physically look down and check the feet, move the hands and check the glove, then lock the eyes onto the target. Instruction and execution follow from there.

Rules for Position #1 - Balance

• Knee Up - T e leg lif s smoothly, almost slowly, to execute with balance and a tall posture. • Foot Out - T e foot is under the knee. It is not kicked out and is not tucked next to the post leg (f amingo). • Toe Down - T e toe is pointed (or hanging) down. • Keywords - “Knee up, foot out, toe down”

Going forward, continue to reinforce both the proper stance fundamentals and the rules to Position #1: “Knee up, foot out, toe down.” Keep in mind that the upper body should be tall and “quiet,” that is, there is not a lot of movement. Use freeze drills so the athlete can feel and build muscle memory for this position.

Freeze Drill for Position #1 Have the athlete throw several pitches, freezing at his balance point before releasing an aggressive fastball. Verbally instruct

76 COACHING BEGINNING PITCHERS the athlete to move up to the balance point while, acting as catcher, you keep your glove pointing down to the ground. Pro- vide any necessary instruction if the pitcher needs to adjust his posture or leg position, and be sure that the pitcher holds this balance point for several seconds. T en, f ash the glove to the athlete and give him a target. T is is an easy way to let the athlete know that you are ready for him to throw. Freezing at the balance point trains the athlete in two important ways. First, it helps an athlete work on balance and strength, traits that must be developed if a pitcher wants to have success. Second, it forces an athlete to break in rhythm when leaving the balance point. Breaking in rhythm means moving the throwing arm, glove arm, and lead leg down and out at the same time. As an example of advanced instruction, you can ask, “When do the hands break?” T e answer you are looking for is, “When the lif leg starts moving down and out.” Because the athlete is freezing at the balance point, his arms and lead leg are naturally forced to break in rhythm. You will be amazed at how much this simple freeze drill will help an athlete f nd rhythm. It is recommended that you explain this fundamental goal to the athlete, so he understands that the hands and lif leg must break in rhythm when moving from the balance point to the power position. Finish the work on the balance point by allowing the athlete to throw without stopping while properly executing a correct leg lif on his own.

Rules for Position #3 - Finish At this point, the pitcher is taking the mound with the proper stance, reaching the balance point smoothly and under control, and unleashing aggressive fastballs without fear. Continue with the rules of the f nish position:

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• Point - T e lef leg points directly to target. T e majority of the body weight is centered on or over a strong (but not stif ) lead leg. Instruct the athlete to shif that weight over the lef leg and hold it! • Click - T e trail (right) foot f nishes straight across from the big toe of the lef foot. T at foot is turned in, so that the knee is in and the hips have turned. T e toe is down so that the foot rests lightly and athletically on the ball of the foot. T is shif s the body weight over to the lef leg. T is action teaches that lef leg to land f rmly and post! • Shield - T e glove f nishes in front of the chest with a little space between the glove and chest. T e glove elbow should be relaxed so that it hangs down comfortably while the glove is out in front of the chest. • Sword - T e throwing hand moves to the opposite knee with the arm hanging down toward the ground (this should happen naturally, and the arm should be relaxed). Ensure that the back is f at and the pitcher is bent at the waist. • Keywords - Point, click, shield, sword. You may insert “drop” instead of “sword” as the arm follows through naturally but the body sometimes does not.

When you move into Position #3, the real magic of this teaching system starts to take hold. Instruction will move backwards from the proper f nish position. To explain how the f nish position sets the athlete up for further instruction, additional coaching information on each of the f nish components follows.

Point T e lef foot is f nishing with the toe pointing to the target. T is will lead to a discussion of the front foot and opening

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up just before landing. T e body weight is centered over this post leg, which will lead into the front-side f rm-up and power- producing move of the front leg.

Click T e right foot is following through to a spot directly across from the lef foot to ensure three things. One, the body doesn’t roll through that lef leg (or NOT post f rmly). At the same time, if the body isn’t exploding of the back side, then the trail leg will be short of the post leg. In that case, the athlete will have to adjust by pulling the trail leg forward to the instructed spot. Two, the knee-turned-in position of this “click” keyword ensures that the hips f re and the trunk rotates fully. T ree, the up-on-toe (or ball of the foot) position ensures that the body weight moves over to, or stays over, that lef leg (the one we’re teaching how to land f rmly and transfer energy to the arm).

Shield By having the athlete hold the glove arm in the f n- ish position and build muscle memory, we’re establishing the ending anchor point for more advanced instruction relative to the glove arm. When instruction moves into Power (#2), and specif cally the execution of the glove arm in and around that position, the athlete will already be comfortable with, and have memorized, the f nish position. All this will be accomplished without the young athlete realizing all that is going on! And, he’s now in a position to protect the face and f eld his position.

Sword T e athlete f nishes with a f at back! T e f at back ensures a complete follow-through. T e throwing shoulder f n- ishes over the landing leg, so that the coach (as catcher) sees a nice straight line from the lef foot up to the right shoulder. T e pitcher has used his big, upper body to decelerate the throwing arm, which is hanging, relaxed and loose. It looks like a sword that could be stuck into the ground.

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Freeze Drill for Position #3

Af er working through the rules of Position #1, responsibly coaching and practicing Freeze Drill #1, and then incorporating those fundamentals into a smooth and f uid delivery, practice a freeze at the f nish position (#3). As mentioned before, holding a finish position ensures strength and balance at the end of the delivery – two key traits that are imperative to any successful pitcher. Be sure that the athlete throws the ball aggressively first, and then holds his finish afterward - no overthinking! Regardless of where the body ends up after the follow-through, adjust the athlete to the proper finish position in the order provided here. The foot of the landing leg (the left foot for a right- handed pitcher) is the anchor point for this adjustment, so keep this foot wherever it ended up, and move the athlete into a proper finish position over that landing leg. Use the following order:

• Point - Point the foot of the post leg toward home plate and center the weight over it. • Click - Bring the trail leg to a f nish position directly across the lef leg (perpendicular to home plate). Shif the weight of the body over the lef foot (the athlete up moves up onto his right toe). • Shield - Bring the glove to a f nish position directly in front of the chest, with space, and the glove-elbow hanging down. • Sword - Ensure a f at back, with a bend at the waist and the arm to the opposite knee. Show the back of the shoulder to the target; from home plate it appears that the throwing shoulder rests above the landing leg.

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Adjust the athlete to this perfect f nish position af er each pitch, being sure that he is still throwing hard. If you like, explain that the lef leg must stop this avalanche of energy bar- reling down the mound toward home plate. All of that energy is going to be transferred into the throwing arm when the lead leg lands, bends to close to 90 degrees, and then f rms up to near full extension. If you think it’s too much, just teach the f nish and explain the details later. One f nal, and important, detail. T e athlete needs to hold the lif leg and/or plant foot wherever it naturally lands. It is important to f rst teach an athlete to execute a proper f nish before correcting any issues with direction or distance—including f ying open or stepping across the body. Later, there will be time to work on aligning the proper f nish so that the body is moving straight down the midline connecting the pitching rubber and home plate. In other words, f rst adjust how the athlete f nishes, then adjust where the athlete f nishes.

Rules for Position #2 – Power Instruction for Position #2 focuses on engaging the legs more fully and increasing the physicality of the motion. First things f rst, here are the fundamentals of the loaded/power position (#2):

• T rowing Hand - T e throwing hand is extended high behind the body, with the f ngers on top of the ball, and the ball facing away from pitcher (“ball to the wall”). • Glove - T e glove arm is extended toward home plate. T e elbow points directly at the plate, with the side of the glove pointed toward the target (closed). • Front Leg - T e lif leg is extended toward home, with the outside of the shoe pointed toward the target (closed).

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T e front foot should be up on the ball of the foot, so that the body weight is shif ed to the back leg. • Back Leg - T e weight is back, and a straight line is maintained from the plant foot up to the throwing shoulder. • Keywords - “Stay back and reach.”

Freeze Drill for Position #2 Freezing at the loaded/power position can be practiced during an athlete’s third session, or it can be practiced later, at the f f h or sixth session. T e drill should be used af er the athlete has shown the physical strength and ability to execute freeze drills at both Positions #1 and #3. Now, as the instruction turns to the more detailed Position #2, the primary goal is engaging the back leg to take over the delivery af er breaking from the balance point. It’s time to get physical! At this point it may make sense to dedicate an individual session to each piece of the throwing position (throwing arm, glove arm, lead leg, weight back). To begin the freeze drill for Posi- tion #2, instruct the athlete to start from the stretch position and move through his balance point into the throwing position. Once he is frozen at the #2 position, check how much he is adhering to the four rules and help him adjust to a proper throwing position.

• T rowing Hand - Adjust the throwing hand so that the ball points away. Typically, pitchers need encouragement to extend the arm, rather than shorten the reach. • Glove - Extend the glove toward home plate, with a slight bend. T e glove may point slightly toward the third base side of home plate, but the front elbow should be in line with the target. Check the degree of bend in the glove elbow; it should match that of the throwing angle.

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• Front Foot - Make sure that the front foot is closed, and have the pitcher come up on his toes to show that the weight is back. At this point, the stride distance should be comfortable and reasonable, allowing the weight to stay over the backside. • Loaded Backside - Ensure that the back leg is loaded — f exed and supporting a majority of the weight. If necessary, physically push the front hip back to engage the back leg and force it to support the pitcher’s body weight.

One important note for ending a session: af er focusing on a specif c area of the delivery and especially when executing freeze drills, be sure to f nish instruction with the athlete throwing through the entire motion with an aggressive and full arm motion.

STEP 4 – DISTANCE & DIRECTION T e next two instruction points expand upon the instruction of the loaded-power position, the freeze drills at Position #2, and the concept of producing and utilizing power. T e focus is now on engaging the legs and growing comfortable being more physical. T ese two instruction points, both relating to measurable characteristics, are distance and direction. As discussed for Step #3, instruction at the f nish position involves f rst learning the body’s physical position before wor- rying about how far, or in which direction, the front foot has landed. Only when the athlete can consistently execute (or adjust to) a proper f nish, can you focus on the goals of stepping directly toward the target (direction) and doing so with force and power (distance). Af er the athlete has consistently executed a proper f nish in Step #4, shif the coaching emphasis to where the front foot lands.

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Distance

To most ef ectively teach the concepts of distance and direction, use the freeze drill for Position #2. Review the mechanics to reach that point responsibly in the following order:

Freeze drill at Position #1 Freeze drill at Position #3 Freeze drill at Position #2

Af er several repetitions of the freeze drill at Position #2 with a focus on (1) loading and exploding through the back leg and (2) executing, or correcting to, a proper f nish position, add the concept of distance. Distance is the length of a pitcher’s stride. How far down the mound is the athlete getting? Measured from the front edge of the pitching rubber, to the farthest point of the landing foot (lef foot for the right-handed pitcher), more length means more power. Oversimplif ed, if a pitcher explodes of of the back leg, that power will transfer into the distance travelled down the mound and increased velocity on the baseball. Distance instruction operates on a stride=height goal. T e distance of the stride should be the same as the pitcher’s height. In theory, longer, leaner pitchers might stride to a length equal to, or greater than, 100% of athlete height. Stockier, athletes more compact, body types might stride to 90-100% of their height. Regardless, the goal is to engage leg drive and increase stride length distance. While executing a freeze drill at Positions #2 and #3, f rst work with the athlete to correct the f nish with the point, click, shield, and sword steps. T en, with the front foot pointing directly to home plate, mark the forward distance reached with a cone (or other item). Place the cone on the ground,

84 COACHING BEGINNING PITCHERS immediately to the side of the foot, with the front of the cone marking the front of the shoe. Next, leave the f rst cone on the mound (marking the stride just reached), and place a second cone—indicating a goal—at a distance equal to athlete height. A stride-length distance goal can always be determined using a tape measure and then drawn with a horizontal line in the dirt or indicated with a marker on the mound just of of the landing area. However, without a tape measure, the following equation is a tried and true method for determining and marking stride length distance ef ectively without anything more than a cone (or distance marker). Heck, even a leaf or rock could work!

Athlete height = 5.5 footsteps

When the athlete steps heel-to-toe from the front of the pitching rubber, f ve and one-half of his own footsteps is roughly equal to his height. For experienced pitchers of any age, six steps is a great goal. Instruct the pitcher to connect the back of one heel directly to the front of the pitching rubber and walk, heel-to- toe, down the mound. Af er the sixth step, freeze the athlete, and place the cone so that the front of it (closest to home plate) reaches a distance equal to the middle of that foot. Boom! You have successfully marked a stride-length distance of 5.5 steps, which is equal to the height of the athlete you are working with. Time to coach! Chances are good (very, very good) that the cone marked as actual distance of the previous pitch is well short of the goal (which was set at 100% of height). T is means that there is much more velocity to be achieved by the young hurler. If the pitcher is striving to throw harder? Stride farther! Continue to execute the freeze drills at Position #2 with the goal of extending the length of the stride until the distance is closer and closer to the front of the goal cone. Feel free to

85 CHAPTER 3 use the visuals of “loading” and “exploding” around Position #2. Instruct the athlete to load into the Power Position…and explode out of it. Many athletes pick up more than 6 inches of stride distance—as well as considerable extra velocity—in four to f ve pitches. T is initial increase may result in a bit of inaccu- racy, but that’s f ne. Stick with the concept of increasing stride aggressively, and give the athlete time to get comfortable with the extra power. Be sure to celebrate the louder “pop” of the extra velocity hitting the glove. T e 5.5 Steps Method was developed over 15,000 individual pitching lessons. If you want to test it, mark 5.5 steps and then have the athlete lie down. Compare the distance marked with the athlete’s actual height (now lying down). It is remarkably accurate! Finally, be sure to wrap up any lesson on distance with full speed, no-stopping repetitions.

Direction Also use the freeze drill at Position #2 when introducing the concept of direction. And, again, be sure to f nish with no-stopping pitches, full aggression and the application of both distance and direction into the delivery. Direction is where the stride foot lands relevant to the midline, a straight line taken from the middle of the back foot directly to home plate. At this point in instruction, focus on where the foot is landing and correct any misdirected alignment. To achieve the desired direction, draw a line down the mound to serve as the target landing toward the catcher. For simplicity, this example assumes that the pitcher is placing his post foot directly in front of the middle of the rubber. T us, a discussion on direction requires a piece of tape, spray paint, or line in the dirt drawn straight down the mound. T is “midline”

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The distance and direction “T” becomes the tool to gauge the athlete’s alignment. Combined with a horizontal line to mark distance, these two form a “t” when looking down from the pitching rubber. Af er each repetition, whether a freeze drill at Position #2 or a pitch executed at full speed with no stopping, adjust the athlete to a perfect f nish position (point/click/shield/sword) and then evaluate:

• How is the distance? Look down and compare with the cone or distance line. • How is the direction? Look down and check.

Use the answers to the questions to provide feedback, guidance, and encouragement to the athlete for the next pitch. A pitcher’s goal is to land on the midline, past the distance line.

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Any landing of the line in either direction is worthy of a f x. Specif c f xes to directional alignment problems are covered in Chapter 6, Common Mistakes and Remedies.

STEP 5 - IMPLEMENT SPECIFIC FIXES Every young pitcher will benef t from working through and understanding the numbered pitching movements in the order previously described. From this point forward instruction will vary for each athlete. Following the “ground up” philosophy, an athlete at this stage has learned the fundamentals associated with his legs f rst. He is now able to maintain strength and balance throughout an entire delivery and hold a proper f nish af er release. Areas of instruction that may come next are suggested below:

Power Position (#2) Specifics An entire lesson can be dedicated to any single component of the loaded/power Position (#2): glove, arm, front foot, weight back. Eventually, a pitcher will work through instruction focused specif cally on the lead leg (where and how alignment occurs), the glove arm (extension during the load phase #1-2, chest-to-glove during the explode phase), the throwing hand (held high and away from the head) and continued instruction on loading and exploding with the legs.

Movement - Load and Explode

Over time pitching instruction progresses beautifully from positions to movements. Beyond balance, power, and f nish… the coaching keywords and def nitions of the two primary movement phases are:

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Load T e movement from balance point (#1) to the loaded power position (#2).

Explode T e movement from the power position (#2) to the f nish position (#3).

Athletes moving into movement-based instruction should be coached to execute the load and explode phases correctly, even while still using freeze drills.

Alignment - How With sessions on distance and direction, the coach and pitcher have covered where the front foot lands. T e next focus point associated with the lead leg is how the front foot travels. T is movement is from leg lif , through the load and explode phases, and ultimately into landing and f nish. Fact: Young pitchers tend to open their front foot, and thus their hips, early. T e f x is an exaggerated adjustment (such as leading with the side, or even heel, of the lead shoe) to hold the front foot closed. Using a freeze drill at Positions #2 and #3, show the athlete how the front foot is closed early (#2) and explodes open late (#3). T is means that at the power position the front foot is held closed. Just before landing, however, the lead foot explodes open and starts the rotational part of the pitching motion. At the f nish position, therefore, the front foot has opened so that the toes now point toward home plate.

STEP 6 - ADD THE WIND-UP An athlete must f rst learn to keep his weight back and get into a good loaded/power position before he can handle the excess movement and forward momentum of the wind-up. However,

89 CHAPTER 3 once an athlete has shown discipline in both the rhythm and rules of Positions #1, 2, and #3, add two simple movements to complete the full wind-up delivery.

Rules for the Wind-Up Use the numbering system to remind the athlete of positions #1 (balance), #2 (power) and #3 (f nish). T e wind-up has only two additional components, added simply as “Lef ” and “Right.” T e wind-up execution now follows this order:

• Lef /Baby Step - Take a baby step at an angle. Step behind the rubber at a 45-degree angle to open up the hips before moving to the balance point. T e toes point to the opposite foot. • Right/Pivot - Lif and pivot the plant foot to place it directly in front of the pitching rubber. • #1 – Lif the leg. • #2 – “Step and load” to the loaded power position. • #3 – T row and f nish.

Instruction for all movements mentioned above can be reviewed by rereading Chapter 2, Fundamentals of Proper Pitching Mechanics. It is important to clearly communicate the importance of being under control. Essentially, the wind-up contains the stretch. T e wind-up should get the athlete to the leg lif as easily as possible, balanced and under control. T e athlete needs to keep his body weight centered over the pitching rubber and avoid large steps and body turns, as these can com- plicate the delivery during the all-important load-phase (breaking from the balance point #1).

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STEP 7 - TEACH THE CHANGE-UP

Always preach that fastball command is the key to getting outs. T at being said, your young protégé needs to learn a change-up about now. Instruction for teaching the change-up can be found in Chapter 1, Pitch Types and T eory.

OTHER HELPFUL KEYS

“Ground Up” Experience has shown that pitching instruction works best when coached from the ground up. In other words, start with lessons about the legs and move up the body. T is is the reason for starting with the rules to the leg lif (#1) and then moving to the rules of the f nish (#3) before addressing the power position (#2). An athlete must be able to aggressively throw from the stretch position through to the f nish position and not fall over. If he can maintain strength and balance throughout the motion, there is a very good chance the athlete will be around the strike zone, and f ner instruction for Position #2 can ef ectively be incorporated.

Be Patient

Pitching is dif cult, and ef ective instruction should follow a structured plan. Follow these eight steps systematically and with patience. Progress slowly, focusing on one key at a time. T is focus may at times require overlooking certain mechanical f aws while working on other, more fundamental keys. T e entire delivery will be covered in time, but it must be communi- cated in an order and format understood by a novice. Dif erent

91 CHAPTER 3 levels of athleticism require dif erent levels of intensity in the instruction. Both the pace and sequence of instruction will vary depending on an athlete’s specif c abilities. Sample lesson plans follow to serve as a coaching blueprint.

Maintain a Positive Attitude and Fun Atmosphere Learning a new skill is always frustrating and dif cult. Under- stand that pitching is an art form practiced by many, but per- fected by few. Remember what it was like to learn a foreign movement, and then be patient and understanding. A novice pitcher is going to struggle at f rst, and thus will naturally become impatient and distracted. Coaches must encourage beginning pitchers to grind through the challenges with a smile. A coach must not become frustrated or irritated with an athlete’s lack of performance: a struggling youngster will not react well when additional pressures are thrust upon his existing frustrations. Expect a dif cult task, and help the athlete recognize the challenge and fulf llment that comes with learning how to pitch.

Keep It Simple T e guidelines for coaching pitchers mentioned in this chapter and in Chapter 2 keep the learning process simple. Maintain this simplicity, and keep the number of thoughts in the pitcher’s head to a minimum. If, for example, you are working with the athlete to execute a proper f nish, don’t bombard him with details about his glove arm. Do your best to focus on only one or two key steps at a time! Use the 1-2-3 rhythm of the stretch motion, break down each section, move to the wind-up, and then execute the more dif cult actions.

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Break Information into Several Sessions

Schedule numerous workouts or lessons so you can break the learning process into manageable sections and provide an adequate amount of supervised repetition. T is ensures that the pitcher leaves each workout motivated by positive results, rather than feeling overwhelmed by detail, failure, or criticism. In the f rst lesson, cover basic throwing points on f at ground and follow with the top-level fundamentals of the (1) leg lif , (2) step and break, and (3) f nish on the mound. Recognize strengths and weaknesses, and develop the plan, or order of attack, for establishing proper fundamentals.

Establish an Order of Attack T e most dif cult part of teaching pitching is f rst identifying what a particular athlete needs and then establishing a specif c plan and process of instruction. In this book, we have laid out a suggested order for the beginning pitcher. Next, you will f nd specif c itineraries for lessons #1 through #4. Regardless, you must follow a plan with an understandable progression of steps laid out as single lessons. You must make sure that one movement is understood and that the athlete is able to execute it before moving on. In addition, you must control the order in which you add rules, of en allowing one movement to be executed incorrectly while working to f x another. Gener- ally speaking, instruction moves from the legs up to the arms, starting with positions and then continuing into movements. Work on strength and balance in the legs before discussing arm action. With that said, the specif c order of instruction can vary greatly from athlete to athlete; age, body type, and coordination all af ect the order of instruction. Simply put, these challenges help to keep pitching coaches in business.

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SAMPLE PITCHING LESSON PLANS In a professional setting, an individual lesson is typically 30 minutes long. However, at a team practice, a coach might only have 10 to 15 minutes to get through a pitching lesson with an athlete. T ese sample plans are intended for one-on-one instruction, carried out over 30-minute sessions. Do your best to adjust material and timing as appropriate for your coaching situation.

LESSON #1 T is lesson explains and trains the Stretch Stance and Position #1 - Balance. T e goal is to build an overall understanding of the pitching motion, and then put the athlete in a position of success at the balance point - half-way through the delivery. Establish the #1 most important rule – throw hard!

A. COACH’S INSTRUCTION AND PITCHER’S EXECUTION

1. Review of Fundamentals Begin by “getting hot.” Let the young athlete get loose by playing catch and then pitching several fastballs. (If you are working with a group, let them get loose by f ring at throw nets.) T en review the numbered steps to the pitching delivery. Without a baseball, work through these four positions over several repetitions. Don’t worry about detailed specif cs, but ensure familiarity with the coaching keywords stance, balance, power and f nish. Details follow.

Position #0 - Stretch Stance T e athlete comes set while in the stretch position. Use these keywords: feet, hands, eyes.

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Position #1 - Balance In this position the balance point, or leg lif , is achieved. Use the keywords knee up, foot out, and toe down.

Position #2 - Power T e loaded/power position involves four parts: glove out, hand high, front foot closed, and weight back.

Position #3 - Finish T e f nish position also has four parts. Use the keywords point (front foot), click (trail leg/foot), shield (glove), and sword (arm).

Stretch Stance T row several fastballs, explaining and coaching the stretch stance position. Use the following coaching specif cs to establish a proper stance on each pitch. T e coaching verbal cue is, “Check feet, hands, and eyes.” T row 4 to 6 fastballs to ensure that the athlete is throwing hard and coming set correctly.

Feet – T e stance is athletic, with the feet under the armpits like a pair of skis. Hands - Hands are together, high, in front of the chest. Eyes - Eyes are up on the target.

Position #1 – Balance Point Next, add rules to Position #1 and work through freeze drills at Position #1 so the athlete can feel the proper balance point.

Knee Up T e athlete lif s with the knee to a 90-degree height (freezes at #1 are executed at 90 degrees, but without stopping; full leg lif s are of en higher than 90 degrees).

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Foot Out T e athlete creates space and a position of power, used when leaving the balance point and leading with the front foot.

Toe Down T e foot hangs or points down. T is position helps the lead leg to land on the ball of the foot (and thereby avoiding landing on the heel and spinning of ).

Repetitions

COACH LEAD, FREEZE @ #1 Have the athlete throw 6 to 8 fastballs while incorporating a freeze at the balance position (coaching verbal: “Freeze-1). While the athlete balances at the leg lif , help him work toward a position where the leg is bent with a right angle at the knee. Younger pitchers will struggle simply to balance on one leg, let along execute leg lif fundamentals. Regardless, get the knee up so the thigh is parallel to the ground...kick the foot out (under the knee) to stay away from the ‘f amingo’ leg lif ...and point the toe down. Keep in mind, the goal of this Pitching Lesson #1 is simple: Master the stance and balance point. During Freeze @ #1 repetitions, begin with the glove facing down to the ground. Use the coaching verbal “Up” as a cue for the athlete to take a leg lif . Work with the athlete to achieve a perfect balance point position. Once it is achieved, raise your glove to provide a target and use the coaching verbal “Drive.” Ensure that the athlete continues to throw with full ef ort.

ATHLETE LEAD, FREEZE @ #1 Next, allow the athlete to lead and make his own leg lif adjustments. Continue to force a freeze at the balance point, but allow the athlete to lead; jump in only as necessary to assist.

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ATHLETE LEAD, NO STOP T e f nal step in Lesson #1 is to allow the athlete to incorporate leg-lif fundamentals into a full- speed delivery. T e goal is for the athlete to successfully apply the fundamentals before f nishing the bullpen or drill. T e focus is on a proper stance and leg lif —so relax on arm action and throwing strikes at this point!

Ensure that every baseball is thrown with aggression at full arm speed. While working through fundamental instruction, details must never slow an athlete down. He must continue to be aggressive and pitch without fear!

B. HELPFUL COACHING KEYS

Chair or Letter ‘h’ Compare the body’s position to the visual of a chair, with a tall back and right-angled seat and legs. Sim- ilarly, a lower-case letter h helps to create a solid visual for the athlete.

Posture Tall When lif ing the leg, many athletes lean back with their upper body. Whether this is due to lack of core strength or because the athlete is aggressively swinging the leg up to a lif position, a common correction is keeping the “posture tall.” In fact, a slight shoulder-tilt forward at the stretch stance can be a great remedy to leaning back.

Straighten Back Leg Athletes who lack the coordination, or “learned strength,” of standing on one leg can benef t from locking out the back leg (post leg). As long as the back leg bends and engages when breaking from the balance point, locking out the back leg is not a big deal. T is is especially true for begin- ners f rst learning how to pitch. Feel free to use a f rm back leg to help the athlete learn how to balance and take control of the delivery!

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Glove Down, Glove Up During freeze drills, use the glove as a stoplight. Glove down = no throwing. Glove up = f re away. When an athlete takes a leg lif to practice and feel the balance point, keep your glove down. Af er 2 to 3 seconds and a satis- factory leg lif , f ash the glove to face the pitcher and use the coaching verbal “Drive” or “Fire.”

Homework Is Huge Learning a skill takes practice. Let the athlete know that if he wants results, he must practice...away from practice or training. Typically, 25 repetitions daily (done in front of a mirror without a baseball) is ideal.

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LESSON #2 T is is the second lesson in Dan Keller’s how-to-coach pitching series. Follow it as a coaching roadmap to train a single athlete or use it with your team to coach multiple players. Developed by working with thousands of young pitchers, this series follows a proprietary coaching path: #1 - Balance → #3 Finish→ #2 Power.

A. COACH’S INSTRUCTION AND PITCHER’S EXECUTION Lesson #2 f rst reviews the fundamental goals covered during Lesson #1: the stretch stance and Position #1 - Balance. T en, instruction moves to the end of the delivery and Position #3 - Finish. T e coaching goal of this lesson is to provide the athlete with two anchor points of strength and balance during the delivery: Position #1 - Balance and Position #3 - Finish. If a pitcher can get to the balance point under control, reach back and aggressively let a pitch rip, and then control the f nish position, then he has a great chance of throwing strikes. Look- ing ahead, in the third lesson the coach and athlete will work on Position #2 - Power, where the concept of building and producing power can be introduced. T is, in turn, leads instruction to more detailed areas like the glove arm, head, throwing arm action, etc. For this session, however, focus on introducing Position #3 and concluding with the ability to execute both leg lif and f nish fundamentals. Finally, keep in mind the big-picture perspective: #1 - Balance → #3 Finish → #2 Power.

1. Review – Dry Work Begin by “getting hot.” Let the young athlete get loose by playing catch and then pitching several fastballs. (If you are working

99 CHAPTER 3 with a group, let them get loose by f ring at throw nets.) Next, review the fundamentals learned during Lesson #1 without a baseball. T is is called “dry work” and provides the perfect opportunity to ask if the athlete has been doing his homework since the previous lesson!! Without a baseball, work through both the stretch stance (#0) and balance point (#1) together.

Stretch Stance T e athlete comes set while in the stretch position. Use these keywords: feet, hands, eyes.

Position #1 / Balance In this position the balance point, or leg lif , is achieved. Uses the keywords knee up, foot out, and toe down.

Af er a quick review of Positions #2 and #3, it’s time to get to work.

2. Review- Freeze #1 Have the athlete throw 6 to 8 fastballs with a coach-led freeze at the balance point. While sitting on a bucket with your glove facing down, guide the athlete into a solid stretch stance position (“Check feet, check hands, check eyes”). T en, use the verbal cue “Up” while holding up the number one with your throwing hand as a cue for the athlete to take a leg lif . Have the athlete hold the leg lif for 3 seconds and make any necessary adjustments to the knee (up), foot (out), or toe (down)...or to the posture (tall) and tempo (smooth lif ). T en, f ash the glove so that the pocket faces the pitcher as a cue for the athlete to f re! Ignore the f nish position at this point, but ensure that the athlete can execute both the stance and balance correctly and is thus ready to accept more instruction. Have the athlete throw another 3 to

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5 pitches with no stopping or freezing (athlete-led), and then continue on to the f nish.

3. Teach Position #3 - Finish When teaching the fundamentals of a proper f nish, start without warning. At the end of a seemingly random pitch, say, “On this next pitch, I want you to use your proper leg lif and let it rip...and then hold your f nish. Wherever you are, just freeze.” With the athlete holding the position at follow through, adjust (and teach) the step-by-step fundamentals of the f nish position using the keywords outlined below. Keep in mind, this is for a right-handed pitcher.

Point (Left Foot) T e lef foot stays wherever it is (anchored), but twists as needed so that the foot points directly to home plate.

Click (Right Foot) T e right foot moves (typically backwards) to a location straight across from the big toe of the lef foot. T e knee of the right leg should be turned in, and the right foot should be up on the toes. Moving the right foot up onto the toes shif s the majority of body weight over to the lef foot.

Shield (Glove) T e glove should be positioned in front of the chest: above the belt, in front of the chest, with a little separation or space between the chest and glove.

Sword (Arm) T e throwing arm follows through to a hanging position in front of, or slightly across, the lef knee. T e right (throwing) shoulder should f nish in a position over the lef knee.

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4. Teach Freeze #3

FREEZE @ #1 & #3 Have the athlete throw 6 to 8 fastballs while incorporating a freeze at the balance position and a freeze at the f nish position (verbal: “Freeze-1&3”). T ese repetitions allow additional work on the balance point f rst, but then a primary focus on adjusting to the perfect f nish af er each pitch. T e f nish can be dif cult, so be sure that the athlete does not slow down in an attempt to execute a proper f nish. Every baseball must be thrown with aggression and full arm speed. Tell him, “Lif your leg and let it rip...we’ll check f nish af er the pitch.” Let the athlete know that any reduction in physical ef ort or arm speed, or simply thinking too much about the f nish, will mean that he is not ready to work on the f nish.

FREEZE @ #3 Next, allow the athlete to throw without stopping and freeze only at the f nish position. Guide the athlete as he makes his own f nish adjustments, always following the order of Point → Click → Shield → Sword.

B. HELPFUL COACHING KEYS

Anchor the Left Foot On f nish, the lef foot can’t move; it is allowed only to twist so that the toes point to home plate. We are teaching that lef leg and foot to land and plant f rmly. Even if the glove arm is f ying open or lead foot landing across the body, instruct the athlete to leave the foot where it is and simply “point the toe to home plate.” T e next step is to move the trail leg to a position across from the big toe of the landing foot. Doing this helps to teach the lef leg to land, f ex, and f rm to bear the body’s weight through release.

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Right Foot Up on Toe Doing this “foot-up-on-toe” move (similar to “squishing a bug” in hitting instruction, but with the weight on the other foot) shif s the weight to the lef leg. T e “knee-in” position ensures that the hips have f red.

Throw First, Check Finish Second Adding details to the f nish position must not af ect the athlete’s ability to throw aggressively. Let the athlete know that instruction will continue only if instruction in the f nish position does not af ect his ability to let it rip.

Bite Your Tongue Hold of on adding additional instruction. Get through the balance point (#1) and the f nish (#3). Next is the power position (#2).

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LESSON #3 T e focus of this lesson is the power position (#2). Remember that this training series began with balance (Position #1), moved to f nish (Position #3) and now returns to power (Position #2). T e logic is that athletes best add “fuel to the f re” when strong and balanced endpoints are established early (#1) and late (#3) in the delivery. Lesson #3 should result in a more physical delivery and increased pitch velocity. T e goal is to engage the legs and teach the athlete to feel the body working. Coaching Note: Celebrate the challenge! Everything is going to become more dif cult now that there is more energy, force, and/or power coming down the hill. T is is to be cele- brated. It’s hard...to throw hard!!!

A. COACH’S INSTRUCTION AND PITCHER’S EXECUTION Follow these teaching activities. Refer to the notes, and use the coaching verbal cues with your pitcher.

Live Have the athlete get “hot” by throwing several fastballs at full speed with limited thought. When he is ready, move onto freeze drills.

Review Position #1 On your verbal “Up”, the athlete is to take a leg lif and freeze at the leg lif . Look for the knee up, foot out, and toe down position. T e posture should be tall and show good balance. When ready, f ip the glove up so that the pocket faces the athlete. T is means you (as catcher) are ready and the pitcher may f re! Ask for as few as three fastballs…or as many as required.

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Review Positions #1 & #3 Continue drills with a freeze at the balance point (#1), and add a freeze at the f nish position (#3). Look specif cally for the lead leg to f rm up and control the athlete’s body weight. A proper f nish position involves four keywords (orientations are for a right-handed pitcher): point (lef leg), click (right leg), shield (glove), and sword (throwing arm). Because this is review, the athlete must prove he is ready to accept more instruction by demonstrating both a solid leg lif and a fundamentally sound f nish position. He should throw as few as three fastballs, but as many as needed for you to feel comfortable that he is ready for more instruction.

Freeze at Position #2 Add rules to Position #2, the power position. T e athlete performs a leg lif , then strides and loads while keeping the weight back. T ere are four rules to Posi- tion #2:

Glove Arm T e glove arm is high and extended (with a gentle bend in the elbow).

Throwing Arm T e hand is high and away (the ball points to second base, or “ball to wall”).

Front Foot T is foot is closed (with the side of the shoe to home plate) and up on the toes.

Weight back!! Power is loaded power onto the back leg (feel the burn!!)

No Stopping Instruct the athlete to make aggressive pitches in an ef ort to apply instruction to a full delivery. Use the concept of loading f rst, before exploding.

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B. HELPFUL COACHING KEYS

Load T is is probably the word I’ve said the most in my career as a pitching coach/instructor. T e true goal is to build power and take control of the pitching motion. I believe this is accomplished during the movement leaving the balance point (movement between #1 and #2).

Rock Back and Fire When moving from the frozen position #2, the athlete rocks back to generate some momentum and rhythm. While we don’t want him to throw from a stopped position, we also don’t want him to give up the “loaded” power position of the back leg.

Load...then Explode It’s okay to exaggerate the feeling of loading into the back leg. Af er reviewing rules to Position #2 and moving into repetitions without stopping, challenge the athlete to feel a clear and distinct load before exploding forward toward home plate.

Distance & Direction An objective way to see if the athlete is being explosive is to check stride length, now referred to as distance. Direction will also be addressed during Lesson #4. For now, focus on adjusting to a proper f nish position (#3) wherever the athlete is...but expect to introduce distance and direction during Lesson #4.

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LESSON #4 In this lesson the rules learned during the f rst three lessons are applied athletically into a pitching motion. All areas of the pitching motion are carefully reviewed by working through a series of freeze drills. T e focus will then shif to two, new measurable characteristics: distance and direction. By the end of this lesson, all athletes should be familiar with these f ve keywords:

Balance Position #1, which is the leg lif or balance point.

Power Position #2, which is the loaded/power position.

Finish Position #3, which is the follow-through or f nish.

Distance How far the athlete strides down the mound.

Direction Where the athlete lands.

Coach’s Note - Pitching instruction begins with positions (#’s 1, 2, and 3) and soon moves into movements. You’ll hear two terms repeated frequently during pitching instruction from Dan Keller:

1 → 2 = LOAD T is refers to the movement between Positions #1 and #2, breaking from the balance point and working into the power position. T is is called the load phase.

2 → 3 = EXPLODE T is is the movement between Positions #2 and #3, from the power position through the f nish. Many coaches refer to this as “pushing of .” As long as the body loads f rst, you can call this whatever you want!

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Once the positions are understood and well-executed by the athlete, the focus of instruction moves to the load and explode actions. Power production starts and f nishes with the legs, specif cally the back leg. Encourage the athlete to get physical. And then measure the results!

A. COACH’S INSTRUCTION AND PITCHER’S EXECUTION Follow these teaching activities. Refer to the notes, and use the coaching verbal cues with your pitcher.

Live Get “hot” by throwing several fastballs at full speed with limited thought.

Review Positions #1 & #3 T e athlete must prove he is ready to accept more instruction by demonstrating both a solid leg lif and a fundamentally sound f nish position. Review all positions.

Review Position #2 Because Position #2 was covered in the previous lesson, it can be reviewed last in the review portion of this lesson. Have the athlete start to focus on the feeling of the back leg during the distinct load and explode phases.

Add Distance & Direction Discuss the concepts of distance and direction as measured relative to the front foot (landing foot). Start by asking the athlete to hold a follow-through or f n- ish. Catch the pitch, jog up to the mound, and mark the farthest point reached by the front foot (the toe). T is point becomes the objective measurable letting us know both distance and direction.

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Measure It Mark the front of the stride foot with a cone or footprint in the dirt.

Distance Have the athlete pace forward (heel-to-toe) from the pitching rubber to measure how far his current stride is. (T e goal is 5.5 to 6 athlete steps, roughly equal to the athlete’s height.)

Direction Where has the athlete landed relative to a midline? T e midline is drawn from the middle of the back foot, directly toward home plate. (T e goal is to land on or near the line.)

Draw It Erase the previous mark and establish the goal—a direction straight to the target, at a distance equal to 5.5 of the athlete’s paces. Draw a T down the mound with the vertical portion representing the midline (drawn from the middle of the back foot to home plate) and the horizontal portion representing the distance goal.

No Stopping Instruct the athlete to make aggressive pitches in an ef ort to apply instruction to a full delivery. T en, compare the results to the goals in distance and direction.

Once the athlete is performing repetitions at this step, place a cone or other marker at the athlete’s desired distance (5.5 steps). Expect some wild pitches as the athlete grows comfortable using the legs more and takes several pitches to extend the stride length. Use the concept of load f rst, then explode to get the athlete to engage the back leg and produce more power. Make sure that he f nishes this session without any sort of paralysis by analysis: “Don’t think, just throw it!”

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B. HELPFUL COACHING KEYS

Throw Hard Athletes may start to think too much when focus shif s to measurable characteristics such as distance and direction. Ensure that the pitcher stays aggressive and reviews his distance and direction only af er unleashing a full fastball.

5.5 Steps Stride length should be roughly equal to athlete height. Athlete height, on average, is 5.5 paces of the athlete’s own feet. Try it, it works.

1-2-1-3 T is is the best homework drill ever! T e sequence is: up to balance point (#1) → out to loaded power position (#2) → back to balance point (#1)→ aggressive throw and f nish (#3). T is dif cult and advanced movement should be practiced without a ball, in front of a mirror, for 25 repetitions each day.

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CLOSING

Individual instruction takes over from here. Undoubtedly, beginning pitchers will need time to grow comfortable being explosive. Extending distance and adjusting direction can be challenging, so take the appropriate time. Instruction in the glove arm, front side, and head movement...it is all coming. If you f nd yourself tinkering with these areas, it might be time for a pitching instructor to take a look at your athlete!

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CHAPTER 4

Training and Taking Care of the Arm

aking care of the young arm is a full-time job in itself. When Tworking with young pitchers, coaches must pay attention to several components of training the throwing arm and keeping it healthy. T is chapter f rst addresses the question of how much change an instructor should make to the throwing arm and then discusses the specif cs of training the throwing arm. T e topic of arm health is divided into four sections based on the calendar year or playing season of a baseball player. Each section highlights the special circumstances relative to that time of the year, with recommendations and tips to maintain strong and healthy arms.

ULTIMATE PITCHING GOALS

1. Control the fastball. Regardless of arm slot, mechanics, or anything else a pitching-blowhard like myself might

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say, the key to pitching is fastball command: the ability to locate the fastball, inside and outside, up and down. Add to that the ability to consistently stay on top of the fastball and create a downward trajectory, and we’ve got ourselves a pitcher that can compete at any level. 2. Pitch with tilt (downward angle). A ball traveling on a downward plane is much harder to square up on than a f at-plane fastball. Over time (many pitches, innings, and games), the well-located fastball, on a downward tilt, gives the team more chances for ground balls. Ground balls equal singles, maybe doubles. If pitchers are aggressively challenging hitters down in the zone, this means of ensive ball clubs must get three hits in an inning to score a run: Get ‘em on. Get ‘em over. Get ‘em in. T at is very hard to do more than a couple times per game, as long as pitchers are staying aggressive and limiting the amount of free passes (walks plus hit batters). On the other hand, f at fastballs are fat fastballs. T ese f atter trajectory pitches provide a better chance for opposing hitters to lif the ball, turning line drives into doubles, even home runs. T e chances of big innings (with 3+ runs) increases and the defense’s chance for success decreases. 3. Command the mound with presence, conﬁ dence, and aggression. Compete, challenge hitters, handle adversity and deal with adversity. Keep a big-picture perspective and work hard to focus on the process rather than the results. Give your best ef ort, on each pitch, and let the rest take care of itself.

Following are my favorite game-specif c goals:

4. Throw ﬁ rst-pitch strikes. T is rule is very straight-forward: Jumping ahead of hitters with a f rst-pitch strike

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drastically improves the success rate of the pitcher. 5. Pitch to contact (on-or-out in 4 pitches). Pitching to contact means throwing strikes. Work the middle of the plate and challenge hitters to beat you! To quantify this rule, clearly communicate that opposing hitters should be out or on-base within four pitches. Avoid deep counts and keep pitch counts low by following this rule and attacking hitters. 6. Limit walks (three per nine-inning game). A simple metric, the number of walks issued by pitchers in a game correlates directly with the win-loss outcome. At the college level, we used three walks as the goal of a nine-inning game. T is number will depend mightily on both the age and ability of your pitchers.

T e common theme with these rules is throwing strikes (f rst-pitch strikes; on-or-out; limit walks). If your pitcher can throw strikes, command the fastball with tilt, and do so with the mound presence of a champion, you’ve got yourself a pitcher with loads of potential for success.

TRAINING ARM ACTION In the world of pitching instruction, there’s an ongoing discussion about how and how much to train the throwing arm. To what degree should an instructor change a specif c athlete’s arm action? Is arm action predetermined, and, if so, should it be lef alone? Or, should every athlete be taught the same throwing mechanics? I recognize that each athlete is dif erent and there is no clear-cut angle that every athlete should throw from. How- ever, there are a number of throwing absolutes that I believe athletes and coaches should follow to develop positive habits and healthy arms, especially in young pitchers.

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T e term arm action describes the movement of the throwing arm during the pitching motion – its movements, angles, and tendencies. Arm action is typically described as short or long, slow or fast, live or dead. T ese are all baseball terms used to describe the way an athlete throws. However, there are two key phrases most frequently used to describe arm action:

Arm Angle: T e term arm Throwing absolutes – elbow angle refers to the angle above the shoulder; hand outside the elbow between the head and the upper arm when the pitcher’s body faces home plate and the throwing arm passes the side of the head.

Arm Slot: A pitcher’s arm slot is the lane through which the arm travels. When the pitcher is viewed from home plate, each degree the arm reaches away from the head represents a dif erent arm slot through which an athlete may bring his arm and hand. With young athletes, we call these arm slots “lanes” and describe the arm as choosing a lane to drive through. Coaches also compare these arm slots to the hours on a clock: T rowing from an arm-slot closest to the head, or directly “over the top,” is comparable to 12 o’clock, while throwing completely “side-arm”

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would be 9 o’clock. Most pitchers throw from an arm slot somewhere between 10 and 11 o’clock.

Keep these rules in mind when developing young pitchers. T ere are rules to follow and every athlete must start with a plan. However, as athletes grow older and advance into high school and above, I believe that pitchers must be allowed to be themselves as well.

Natural Arm Action Each athlete has a unique arm action. Some athletes are simply more comfortable throwing from a specif c arm slot than others, regardless of whether this arm slot is regarded as healthy. Every youth baseball coach has experience with an athlete who continually drops his hand lower and lower, closer to a side-arm delivery. Even though the coach corrects the movement, the athlete returns to that arm slot as soon as the reminders stop. It seems as though the athlete has been programmed to throw from a specif c arm angle, and—without thought —the arm returns to that comfortable angle. We must respect the fact that athletes are not robots and will not all throw with the same arm action.

Throwing Absolutes

While respecting that each athlete is unique and has his own most comfortable arm angle, a coach should incorporate into the throwing motion a number of throwing absolutes proven by fundamental research:

• At the release point, the throwing elbow should be at or above the throwing shoulder.

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• At the release point, the throwing hand should be located somewhere at or outside the elbow (arm angle). • At the release point, the f ngernails of the throwing hand should be facing home plate (at least with intention). Visually test this theory to see how this keeps the f ngers working the “top” of the baseball (on top = depth = tilt). • Athletes should try to lead with the hand, to avoid dropping the arm and leading with the elbow. • T rowing “over the top” or “top to bottom” helps to keep the f ngers on top of the baseball, thus achieving a downward plane with regard to the path of the baseball.

Athletes should be allowed to keep their natural arm action, while making necessary changes to give them the best chance of succeeding and staying healthy. While a group of pitchers may make the same adjustment of keeping the elbow up and the hand outside, each individual will do so to a dif erent extent. When instructing an athlete who loves to throw side-arm, for example, communicate the importance of throwing “top to bottom.” Encourage the athlete to move closer to a “three-quarters” delivery, ensuring that the throwing elbow passes the body above the throwing shoulder. Finally, teach the athlete to follow through consistently to avoid a heavy rotation-based delivery (side to-side). In the end, however, this athlete should be allowed to throw from a much lower arm slot relative to the hours on a clock. When instructing an athlete who brings the throwing arm extremely close to the side of the head (to the point that the hand cuts the outside of the ball), encourage the athlete to move his hand away from the head. Consistent with the throwing absolutes (hand outside the elbow), the goal is to ensure that the hand comes through the release farther away from the head than the throwing elbow.

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T ese two athletes may throw from signif cantly dif erent arm slots, but both are following the throwing absolutes to encourage health and consistency. As a profession, baseball is still searching for clear-cut answers as to the “best” way to throw (highest velocity, lowest injury rate, most accuracy). As the research continues, coaches must integrate the latest break- throughs with their own experience, views, and opinions, while following the established throwing absolutes.

When and How to Train Arm Action T ere is an appropriate time within the instruction process to address arm action and teach, modify, or change it. T is specif c instruction (which is f ne motor training) must take place af er working through the larger movements involving balance, alignment, weight control, etc., and when the athlete is ready. Typically, the instruction process works from the ground up, and athletes learn concepts specif c to their feet, legs, and hips before moving to the lessons about the arm. Only when an athlete can throw without losing balance, f ying open, falling over, and drif ing will he maximize his ability to ef ectively understand and apply throwing arm instruction. For younger athletes, I recommend discussing arm action during catch play. Lightly introduce instruction and allow the athlete to “feel” the dif erences of adjusting arm slot or angle. When instruction moves onto the mound and into pitching mechanics, back of the discussion of arm action to maintain focus on the body. As appropriate, sprinkle in reminders or comments regarding the arm and the connection to specif c action or pitch location. As an instructor, I am much more open to personal pref- erences with older pitchers. While it is never a goal to intentionally increase the stress load on an arm, an older athlete is

119 CHAPTER 4 much stronger and can better handle varying arm action. T e following examples of three pitchers are provided to show how varying degrees of arm action are appropriate for their individual circumstances. Athlete #1 is an 11-year old, right-handed athlete. Still growing, this athlete has the traditional side-arm delivery. His elbow consistently drops below the shoulder, and any correc- tions to that arm slot last only one or two pitches before he slips back to the side-arm delivery. Using training techniques involving the glove arm and body as well as the throwing arm, I would work to get the athlete comfortable with a slightly higher arm slot and more of a top-to-bottom delivery. T e goal is to keep the elbow above the shoulder and then allow the hand to extend away from the head. T is will allow the hand to pronate naturally, work through the top of the baseball, and take stress of of the elbow. T is athlete already developed some tenderness in the elbow during the previous season, and because his pain was signif cant enough to require time of from baseball, it’s important that we encourage his use of a more traditional arm angle now. Our goal is to help him reach a point where he has the opportunity to try out for a high school team if that is what he chooses to do. Athlete #2 is a high school freshman who is big and strong and has the most important years ahead of him. His arm slot is a clean, three-quarter delivery, but when throwing a curveball, he has a hard time getting the hand turned completely in (facing the head). Instead, the hand turns about halfway, and the resulting pitch is much closer to a slider. T is slider is much more comfortable to this athlete and happens to be a great pitch that will be an ef ective strikeout weapon in the future. However, because the slider can be a tough pitch on the elbow, I am strongly encouraging this athlete to continue training to achieve a traditional curveball. Our arm action training will focus on turning the palm

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in so it faces the head, keeping the hand outside the elbow, with the f ngers on top of the baseball. When the athlete is 15 or 16 years old, I’ll seriously look at the pros and cons of throwing a slider and explain the situation to the athlete honestly: “You have a hard time throwing a curveball...it’s as if your body wants to throw a slider. However, that pitch is dif cult on your elbow, so we’re going to continue working hard to develop the traditional curveball. When the time is right, we’ll go back to the slider and incorporate it into your arsenal. Down the road, you will have four pitches: fastball, change-up, curveball, and slider. With your discipline and hard work, you will end up better in the long run having both a curveball and a slider.” Athlete #3 is a college junior, a lef -handed pitcher of slight build. At the age of 21, this athlete is basically done growing. His velocity has plateaued, and his role on the team is established: middle relief (of en spot relief for one or two batters). In years past, we’ve encouraged this athlete to maintain a three-quarter delivery, avoiding the side-arm delivery that he had naturally gravitated toward. T e three-quarter delivery was ef ective enough for him to pitch through high school and onto a college team. However, reality suggests that this athlete’s career will be over in a year or two. So, we’ve allowed—even encouraged— him to experiment with an even lower arm slot to see if we can extend his career. Interestingly enough, he’s been very comfortable throwing almost underhand (where the hand releases the baseball very close to the ground), and the ef ect on his pitches has been nothing but positive. Our goal is to extend this pitcher’s career, and with an unconventional release and two pitches that have lots of movement, he may have the opportunity to face professional hitters. T ese three examples show the dif erent ways that arm action can be addressed. Making decisions about arm action and arm health is a huge responsibility that should be taken

121 CHAPTER 4 seriously. Each athlete is dif erent, so the results will vary for dif erent pitchers. T erefore, all arm action training should follow predetermined throwing absolutes, with adjustments made depending on age, size, and career status.

PRESEASON THROWING Spring baseball leagues typically hold tryouts near the middle of January and start games in early March. T is means that there are roughly six weeks of preseason between tryouts and the f rst game. Troublesome sore arms can be avoided during these six weeks by following two simple routines:

• A preseason throwing program. • A preseason bullpen schedule.

Preseason Throwing Program Two common questions in baseball are “How can my athlete throw harder?” and “What should a pitcher or player do to get his arm in shape for season?” One ef ective answer to both questions is to build arm strength by following a structured throwing program. T ere are many dif erent published throwing programs, and nearly all involve increasing two variables over a number of weeks: minutes spent throwing and distance thrown. By gradually increasing both variables in a structured plan, a throwing program is designed to build arm strength so pitchers are ready to begin mound training and position players are ready for two, three, or even four practice sessions a week. A throwing program should precede any mound throwing. A typical throwing program is provided below. T e chart shows how the program can be transferred onto a calendar to clarify expectations for each day. T e numbers recommended for

122 TRAINING AND TAKING CARE OF THE ARM throwing distances show gradual increases from one day to the next. All numbers are suggestions for an athlete around 10 to 11 years of age and can be modif ed for younger or older athletes. T is throwing program is not an injury recovery or rehab program, and any athlete with a sore or injured arm should consult a medical doctor for a professional opinion. T e concept to pass along to the athlete is the idea of building arm strength in preparation for mound training by throwing through a consistent and structured plan.

Sample Throwing Program Step 1: Play catch at a distance of 50 feet, throwing half-speed for 10 to 12 minutes per session. Do this every other day for one week (3 sessions). Distance – 50 f Ef ort – 50% Time – 10-12 minutes Dates – 3 sessions across 6 days (every other day)

Step 2: Perform long, easy throws of 65 to 90 feet. T is is to be performed for 10 to 15 minutes per session on 2 consecutive days, followed by 1 day of rest. Repeat the sequence, then rest for 2 days. Distance – 65, 73, 82, then 90 f Ef ort – 60-70% Time – 10-15 minutes Dates – 4 sessions in 7 days (throw, throw, rest, throw, throw, rest, rest)

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Step 3: Perform long, easy throws from 90 to 140 feet, with the ball getting back to a throwing partner on one or two bounces. T is is to be performed for 10 to 15 minutes per session on 2 consecutive days, followed by 1 day of rest. Repeat the sequence, then rest for 2 days. Distance – 90, 107, 123, then 140 f Ef ort – 70 to 80% Time – 10-15 minutes Dates – 4 sessions in 7 days (throw, throw, rest, throw, throw, rest, rest)

Step 4: Execute shorter throws from 75 to 100 feet, getting the ball back to a throwing partner with a slight arc. T is should be performed for 15 to 20 minutes per session on 2 consecutive days, followed by 1 day of rest. Repeat the sequence, then rest for 2 days. Distance – 75, 83, 92, then 100 f Ef ort – 80-90% Time – 15-20 minutes Dates – 4 sessions in 7 days (throw, throw, rest, throw, throw, rest, rest)

Step 5: Perform short, crisp throws from a distance of 70 to 80 feet, with a relatively straight trajectory and no bounces. T ese throws should be performed for 15 minutes per session on 2 consecutive days, followed by 1 day of rest. Repeat the sequence, then rest for 2 days. Distance – 70, 75, 80, and 80 f

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Ef ort – 90-100%

Time – 15 minutes

Dates – 4 sessions in 7 days (throw, throw, rest, throw, throw, rest, rest)

MON TUE WED THU FRI SAT SUN WEEK 1 Step 1 Rest Step 1 Rest Step 1 Rest Rest WEEK 2 Step 2 Step 2 Rest Step 2 Step 2 Rest Rest WEEK 3 Step 3 Step 3 Rest Step 3 Step 3 Rest Rest WEEK 4 Step 4 Step 4 Rest Step 4 Step 4 Rest Rest WEEK 5 Step 5 Step 5 Rest Step 5 Step 5 Rest Rest

Sample throwing program

T e concept of a throwing program is great for young pitchers. At an early age, these athletes are taught to work hard at keeping their arm strong and healthy, and they are faced with the responsibility of handling their assignment on a day-today basis. A throwing program teaches a young pitcher not to “baby” the arm, but to respect the work necessary to build up and maintain champion-level arm strength. Writing the throwing program on a calendar shows the athlete what plans and workout schedules at the high school level (and beyond) look like. At upper levels of play, the calendar might also include conditioning, strength training, and core workout schedules. T e program removes thinking from the process, as the athlete needs only to read the calendar and follow the day’s assignment. Want to ride bikes or go to the beach? Get your throwing and running done, and you can go! As a coach or instructor, a consistent throwing program will eliminate sore arms early

125 CHAPTER 4 in the season. When athletes implement the program several weeks before practices of cially begin, they are strong and ready to start mound training.

Preseason Bullpen Schedule When athletes are ready to move to the mound, the coach, parent, or instructor must now responsibly prepare them for mound throwing. A young pitcher is not bionic; he is not ready to throw six innings on opening day without building up his pitch count. His situation is similar to that of a weightlif er attempting to bench press hundreds of pounds af er taking several months of from working out. Mound intensity is dif erent from playing catch, and a preseason bullpen routine can systematically increase a pitcher’s readiness for game throwing. Imagine that a team has started practices and has 3 to 4 weeks to get ready for opening day. Realistically, this means the coach has 8 to 12 practices to work pitchers and throw in the bullpen. Using a simple plan, the coach can use these several weeks to gradually increase, or “ramp up,” the athletes’ pitch count levels. T e plan would rely on an increasing scale to bring arm strength from “out of shape,” to “baseball ready,” to “pitching ready” in this time. An example of appropriate pitch counts (thrown in practice bullpen sessions) is shown in the chart below. T e example uses a 3- to 4-week window and may involve sessions with pitchers and catchers only. Under this plan, an athlete would be ready to throw 55 pitches on opening day and could gradually increase game pitch counts af er that. Pitchers who prepare under a plan such as this will peak physically toward the middle of league play, at the same time that other arms are growing tired from the rigors of a 20- to 30-game schedule.

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MON TUE WED THU FRI SAT SUN Practice 1: Practice 2:

25 Pitches 28 Pitches Practice 3: Practice 4: Practice 5:

31 pitches 34 pitches 37 pitches

Practice 6: Practice 7:

40 pitches 43 pitches

Practice 8: OPENING DAY:

46 pitches 50 Pitches

Sample bullpen schedule

IN-SEASON THROWING

For the youth coach or instructor, in-season training involves a blend of fundamental instruction and maintaining and/or building arm strength. Long toss should take place before every practice and game for all athletes. T e type of work done with pitchers will be dictated by practice structure and the ability to work with the pitchers individually. If you can work individually with a pitcher, follow the instruction steps described in this book to develop proper pitching mechanics, work on trouble areas, and train the pitcher’s mental state. T e opportunity to dive into pitching mechanics at a team practice is of en limited. T e focus of such bullpen sessions should be practicing all pitches from the stretch and wind-up positions, as well as working on pitch combinations and sequences. Instruction can be of ered in bits and pieces during these bullpen sessions, while ensuring that each athlete throws the appropriate number of pitches. As athletes grow in their individual pitching styles, it becomes important to pay attention to how each responds to

127 CHAPTER 4 the throwing calendar. Many athletes do not like to throw a bullpen the day before starting on the mound. Instead, they prefer to throw two days before a start. Other athletes respond well to a short tune-up one day before. Much of this is personal preference, and a coach can help to identify when an athlete is sharp and his arm feels “live,” compared to when an athlete has trouble f nding command or has a “dead” arm.

Sample Bullpen Plan T e plan below lays out a sample bullpen session, with 25 to 30 pitches for an athlete under 12. T is plan ensures that both the fastball and change-up pitches are drilled ef ectively. (A pitcher at this age probably has only one of -speed pitch—referred to as “of -speed #1” below.) T e plan would be adjusted if fundamental drill work is required.

Stretch Position – 14 Pitches 3 fastballs down the middle 2 fastballs inside 2 fastballs outside 3 of -speed #1 down the middle 4 pitches thrown as a sequence: 1 fastball inside to a right-handed batter 1 of -speed #1 outside to a RH batter 1 fastball inside to a lef -handed batter 1 of -speed #1 outside to a LH batter

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Wind-Up Position – 13 Pitches 3 fastballs inside 3 fastballs outside 3 of -speed #1 (to spots) 4 pitches thrown as a sequence: 1 fastball inside to a right-handed batter 1 of -speed #1 outside to a RH batter 1 fastball inside to a lef -handed batter 1 of -speed #1 outside to a LH batter

Game Simulation – 4 to 5 Pitches 1 simulated batter

Pre-Game Bullpen Plan

In a pregame bullpen session, the primary objective is to warm the body for the pitching mound, prepare the arm for game- time accuracy, and prepare the mind to pitch aggressively and without fear. Be careful that the pitcher does not overthrow and tire out the arm (cutting down the pitch counts); a pregame routine should sharpen the pitcher’s touch on all available pitches. T e actual number of pitches thrown before a game can vary signif cantly from pitcher to pitcher. Start with a number around 25, and study performance at each start to recognize what works best for a specif c pitcher. Young pitchers of en respond well to working through a short checklist in addition to practicing their regular pitches

129 CHAPTER 4 from the stretch and wind-up positions. T e following plan includes a few of these fundamental review pitches:

Stretch Position – 14 Pitches 3 fastballs down the middle 2 freeze drills at movement #1 – fastballs down the middle 2 freeze drills at movement #2 – fastballs down the middle 2 freeze drills at movement #3 – fastballs down the middle 1 fastball inside 1 fastball outside 3 of -speed #1 down the middle

Wind-up Position – 7 Pitches 2 fastballs inside 2 fastballs outside 3 of -speed #1 to middle, inside, outside

Game Simulation – 4 Pitches 1 sequence facing a batter from the wind-up position

IN-SEASON MONITORING

Annual Pitch Counts Pitch counts have become a hot topic in recent years —and this is a great thing for all youth baseball players and coaches. As leagues adopt restrictive policies, coaches have to do less and less guesswork as they follow predetermined guidelines. T ese

130 TRAINING AND TAKING CARE OF THE ARM can be somewhat confusing, however; instead of limiting the number of innings an athlete can pitch, league rules limit the number of pitches and enforce protective rest times af er reaching certain pitch levels. Charts from various youth league orga- nizations can be found at the end of this manual. Discussions about pitch counts and their relationship to arm health have increased with the recent introduction of guidelines for game and week limitations. Sometimes lost in the discussion of protecting young arms is the idea of quan- tifying an annual pitch count for a specif c athlete. T is is the total number of game pitches thrown per year (not including practice or training throws), and this number should be mon- itored along with the number of pitches per game, week, and season. In a precursor to the recent league regulations, the USA Baseball Medical & Safety Advisory Committee issued its recommendations for annual pitch counts. T e committee’s goal is “to provide scientif cally-based information to its youth baseball members in an ef ort to reduce the risk of injury and maximize the younger player’s ability to perform and advance to higher levels.” Committee research came up with the following suggestions for annual pitch counts:

9- to 10-year-old pitchers – 2,000 pitches per year

11- to 12-year-old pitchers – 3,000 pitches per year

13- to 14-year-old pitchers – 3,000 pitchers per year

(with a higher limit per game)

Alone, these f gures are not terribly insightful. However, if the recent pitch count recommendations are taken into consid- eration, some interesting calculations can be made. According

131 CHAPTER 4 to published pitch limits, a 12-year-old pitcher can throw up to 85 pitches per game. With 3,000 pitches per year deemed as the healthy maximum by the nation’s governing body in baseball, this athlete may pitch in roughly 35 games over the course of a single calendar year. Let’s assume that this pitcher throws 85 pitches in half of the 30 games of the youth league season (15 games). T is means the athlete has used 15 of his 35 allowed outings in the spring season (roughly 4 months). T is also means he can pitch in 20 games for the remaining 8 months of the year. Initially, this seems like a very reasonable number. But let’s see how quickly and easily this number can be exceeded. Assume that the pitcher plays in one of the following supplemental leagues: summer, winter, or travel ball. With a shorter season of 20 games, the 12-year-old again pitches in half of the games (10 games). T e athlete’s total is now 25 games pitched, leaving the athlete with only 10 remaining games of pitching for any all-star or tournament play throughout the year. With this simple math, it’s easy to see how the annual 3,000-pitch limit can be reached and quickly passed. To keep track of pitch counts and avoid headaches and con- fusion, I’d suggest using a running spreadsheet complete with game, week, season, and yearly counts. With clearly established limits at each level, it will be much easier to make tough decisions about how many pitches, innings, or games an athlete should throw. Many things have changed with regard to the simple game of baseball, and this includes using technology to keep our kids safe on the baseball f eld. Check out Major League Baseball and USA Baseball for the pioneering work on keeping arms healthy and safe. MLB’s Play- Ball initiative provides free resources to stay up-to-date with the latest research and tools to pitch safely.

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Multiple-Position Throwing Loads

A f nal topic under in-season monitoring is the throwing load associated with playing multiple positions that require heavy amounts of throwing. A red f ag is most commonly raised when an athlete plays both catcher and pitcher. Because both positions are high-skill positions, the same athletes are of en asked to f ll those roles. And while monitoring the throwing load is relevant when a player who has already pitched in a particular game moves to any position, it’s especially important when an athlete who pitches also plays catcher. Without a measurable statistic like pitch counts, quanti- fying the throwing loads of position players is very dif cult. T ese throwing loads are cause for concern only when a position player is also a pitcher, but nevertheless it would be useful – though nearly impossible – to set up a chart dictating when a pitcher would (or would not) be able to play a second position like catcher. Remember, every pitch that a pitcher throws must be thrown back by the catcher. And while this is not necessarily a stressful return throw, the amount of throws can be signif - cant...especially when combined with 60 to 80 pitches of of the mound. Although I don’t think that the topic of multiple-position throwing loads should sit forefront in a manager’s mind as he makes out the lineup, I do think it is an important concept that youth coaches should be aware of. In certain games you may not be able to avoid using your “horse” both on the mound and behind home plate. However, understanding the throwing load associated with both positions should deter a manager from inking one athlete for pitcher and catcher…each inning… of every game. Understanding multiple-position throwing loads is another component of avoiding injuries from overuse. When an athlete

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pitches, the coach needs to be aware of what other positions he is playing and how they can af ect overall arm health. In a typical youth league season, games are separated by several days. With limitations in place to control the number of pitches a pitcher can throw, any additional throwing done in a single game should not be, in itself, damaging. However, throwing loads can become much more intense during a weekend tournament (when a team can play four or f ve games in a single weekend) or when looking at a season as a whole. In this case, use the idea of in-season and of -season intensity levels. During the of -season months, pitch counts should be limited to a developmental level. I’d extend those intensity limitations to an athlete’s total throwing load, regardless of position. With the concept of multiple-position throwing loads understood, common sense comes into play to make sure that no single athlete is asked to throw too much.

OFF-SEASON THROWING

Earlier, the topic of arm health was discussed relevant to a spring baseball season. A coach’s responsibility at that time is to guide pitchers through a structured throwing program, building arm strength, increasing pitch counts, and developing stamina over the course of a 4- to 5-month spring season. T ings are dif erent in the of -season months, when athletes should be allowed to rest and recuperate to ensure a healthy and strong arm for the following season. By signif cantly limiting of -season inning and pitch count levels, coaches can allow room for growth without requiring a young arm to maintain a full throwing load for an entire calendar year. T e of -season is a time for pitchers to work on mechanics and mound fundamentals. Focus on creating ef cient mound time developing an of -speed pitch, throwing inside to opposing

134 TRAINING AND TAKING CARE OF THE ARM batters, changing speeds and locations, etc. Outings should be limited to 35 to 55 pitches, enough to allow adequate mound practice time without wearing down the arm. It is useful to look at throwing load for a full year. A young athlete’s throwing load will increase signif cantly during the beginning months of the spring baseball season (January to March). Peak throwing loads are reached through the heart of the in-season months (April to June). A steady decline in workload follows during the summer and into the winter months. It is during these months when pitch counts should be held much lower than in the spring. Winter league games and practices provide the opportunity to sharpen skills in an environment fostering growth and progress. T ere is no need for an athlete to throw complete games in the winter or in an of -season tournament. Really, what good does it do? T e arm cannot physically maintain a full throwing load throughout the year...it’s simply too much stress on growing muscles and joints. Keep pitch counts low, and work mechanics. Leave the heavy throwing for the spring!

REST A f nal component to the pitcher’s year is rest. T e young arm needs complete and total breaks. Good times to f nd 4 to 8

Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec

Throwing Load

Annual throwing loads

135 CHAPTER 4 weeks for total rest are immediately following the spring season (or all-star season), as well as the end of the calendar year. T e concept of periodization is cited as a way to ensure that young athletes get necessary rest and manage annual pitch counts. T e USA Baseball’s Medical and Safety Advisory Com- mittee suggested and helped to def ne periodization in conjunction with its pitch count limitations in its position statement:

“In certain parts of warm-weather states (Florida, Texas, California, etc.) baseball leagues are available in all seasons. However, the principle of periodization states that an athlete should have dif erent periods and activities in his annual conditioning schedule. Specif cally, baseball pitchers need a period of “active rest” af er their season ends and before the next preseason begins. During active rest a pitcher is encouraged to participate in physical activities that do not include a great amount of over-hand throwing…. Baseball pitchers should compete in baseball no more than nine months in any given year, as periodization is needed to give the pitcher’s body time to rest and recover. For at least three months a year, a baseball pitcher should not play any baseball, participate in throwing drills, or participate in other stressful overhead activities (javelin throwing, football quarterback, sof ball, competitive swimming, etc.).”

Keeping an athlete under the annual pitch count limitations discussed earlier is much easier when applying the concept of periodization. Periodization says that an athlete should have periods with varied amounts of throwing loads (i.e., pitch counts) over the course of a calendar year:

In-Season Pitch Counts T ese are generally higher, allowing for complete games and extended outings, pushing the

136 TRAINING AND TAKING CARE OF THE ARM

physical limitations of the throwing muscles. T ey include the preseason.

Of -Season Pitch Counts T ese are lower by design, turning the focus of mound time to developing mechanics and fundamentals.

Rest T is is a period of no baseball and therefore no pitch count.

T e hyper-competitive state of baseball, with year-round play and the lack of an of -season, brings forth the need to insti- tute this practice of periodization. By using the suggestions in this chapter, a responsible pitching coach can combine the three periods listed above in a healthy way to keep a pitcher underneath the annual pitch count total and avoid dangerous throwing loads. Work to get the athlete in shape and help him prepare for spring in the preseason months. Train, develop, and help him build strength during the in-season months. Use quicker, crisper outings and involve a signif cant period of rest in the of -season months. Finally, track game, season, and annual pitch count numbers throughout the year to ensure a calendar of health, growth, and development for your young pitcher.

GUIDELINES FOR THE ATHLETE

Pitch once per day Know your pitch count limit. Command the mound. Pitch aggressively. Limit pitching to one outing, in one game.

Pitch once per weekend Once “hot,” stay “hot.” Avoid being used on back-to-back days, regardless of how short the outing of the f rst day outing is.

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Communicate to your coaches If playing on multiple teams, communicate availability both in advance and af er game competition.

GUIDELINES FOR THE COACH

Systems, Systems, Systems - Using the suggested pitch count limits of USA Baseball, your local league, or the recommendations at the back of this book, pick a system and stick with it. Take the emotion out of the decision of whether or not to pull a pitcher (especially your kid!). Systems provide black-and-white decision support: If a pitcher is over the limit, he is done!

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Fundamental Drills

hile there are hundreds of drills designed to train a Wparticular part of the pitching delivery, the following drills are most consistently used by instructors to teach proper pitching mechanics. T ese drills can be used in regular fundamental instruction, before game competition, or in specif c circumstances to correct a particular problem or incorrect habit. Because every athlete is dif erent, variations and adjustments to the drills may be appropriate.

THROWING DRILLS Structure during catch play is a good thing. Whether the athlete is engaged mentally or not, the following three drills are a simple way to start developing positive throwing habits. Athletes should be in throwing pairs, with one on the foul line and the other extended into the outf eld. Work through this throwing

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progression to warm up the arm before moving into catch play. Depending on the athlete’s age, this progression involves the two-knee catch, one-knee catch, and then “feet in concrete.”

Two-Knee Catch Two-knee catch is a throwing drill typically done as the f rst part of the throwing progression. It is also frequently combined with other throwing drills. T e focus is on the glove during the two-knee catch. Two-knee catch is executed with the thrower down on both knees. Begin with broken movements f rst, involving a freeze af er the body has turned and arms are extended. Athletes are instructed to throw only on a coach’s verbal cue and to then hold the f nish or follow-through position. At this point you can check that the glove is still in front of the body (“shield”) and that the throwing arm has followed through to tap the opposite thigh. Remember that the primary focus during two-knee catch is the glove:

Glove T e glove arm extends (“reach”) and then f nishes in front of the chest (“chest” or “shield”).

Throwing Arm T e throwing arm extends (“cobra,”) and then follows through to tap the opposite thigh.

Hold Finish Look for “shield” and have the athlete “tap, tap, tap” the opposite thigh.

One-Knee Catch One-knee catch is executed with the thrower down on his throwing-side knee (right-handed thrower down on right

140 F U N D A M E N TA L D R I L L S knee). T e focus in this catch is the arm. T e raised knee acts as a physical barrier for any side-to-side or sidearm throwing and forces the throwing arm path to go from top to bottom. If there is any sideward motion, the throwing hand will literally bump into the raised knee. Start this drill with broken movements f rst—meaning, the athlete turns the body, extends the arms, and freezes. He is instructed to throw only on a coach’s verbal and to then also hold the f nish. Here, you can check that the glove is still in front of the body (“chest”) and that the throwing arm has followed through so that the forearm is across the opposite (raised) knee. When working with a group, use coaching verbal cues for throwers and receivers to ensure that all are paying attention. Use the same bullet points provided for the two-knee catch for points of emphasis (glove, throwing arm, and f nish). But be careful! T e one-knee catch can be dangerous with beginning athletes. T e position is dif cult for some to hold, and it can limit an athlete’s ability to move out of the way of a poorly thrown baseball. T us, be careful with the order of throwing progression drills. If you are worried about safety, it may make more sense to start with a standing feet-in-concrete drill. T e feet-in-concrete drill limits the action of the legs as well, but the standing position allows an athlete to move or step out of the way of an errant throw.

Standing No-Stride (“Feet in Concrete”) “Feet in concrete” is a standing, no-stride drill that allows the athlete to focus on the mechanics of both the glove arm and throwing arm, in combination with a trunk twist. T e athlete is instructed to stand as if his feet are anchored in concrete and thus can’t move. T e emphasis is on getting good torso rotation,

141 CHAPTER 5 while keeping the glove in front of the body, and using top-to- bottom arm action. Run this drill with broken movements f rst: the athlete turns the body, extends the arms, and freezes! He is told to throw only on a coach’s verbal and then to also hold the f nish. At this point, you can check that the glove is still in front of the body (“chest”) and that the throwing arm has followed through to the opposite thigh (“tap, tap, tap”). Keep the feet-in-concrete drill short and focused. T rowing is one of the harder skills to teach, and it is accomplished best with consistent encouragement over many days, weeks, and months. So, keep the athletes focused and move quickly to the next drill when you can feel the group is ready. Here is a quick checklist for the proper positions:

Feet Outside the shoulders.

Knees Slightly bent.

Glove Extended (“reach”) and at the chest for f nish.

Arm Top-to-bottom. T e throwing arm follows through to the opposite thigh or knee (“tap, tap, tap”).

HOMEWORK, OR MIRROR WORK Pitching practice is a process involving learning and retention, and homework can be an ef ective tool to help an athlete retain the material covered during a lesson. Muscle memory is developed by doing a large number of repetitive movements and executing them correctly. Af er each session, provide homework—with written instructions—to be executed on a daily

142 F U N D A M E N TA L D R I L L S basis until the next lesson. Homework done away from a lesson or practice is paramount to progress and will accelerate the learning curve drastically! I assign homework to be done in front of a mirror. T e mirror is a great teaching tool, because it provides immediate feedback and the athlete can learn to associate what he feels with what he sees. Freeze drills are great for homework and can easily be assigned as a daily or Mirror work assists with retention every-other-day activity in and muscle memory front of the mirror. Typi- cally, pitchers are assigned to execute 25 repetitions of Freeze at Position #1’s each day (from the stretch position) af er their f rst lesson. Af er their second lesson, their homework is to freeze at both Positions #1 and #3 (3-second holds at each number). T ese assignments are to be done in front of a mirror, and a sheet for the athlete to initial af er completing each day’s homework is provided. When coaching a team or of ering private lessons, issuing homework clearly places the accountability for athlete improve- ment squarely into the hands of the parents. “You want your kid to get better? Get involved! Ensure he works at it daily, and we can do this together.” If an athlete does not do homework between lessons or practice, development will suf er.

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FREEZE DRILLS

Freeze drills are fundamental drills imposing a hold or freeze at certain points within the pitching motion. T e goal of a freeze drill is to engrain the physical pitching motion into an athlete’s muscle memory. By holding the body at a specif c position, the athlete shows complete and total control, using strength and balance. T is type of drill also allows an athlete to focus on a specif c portion of the motion, working on f ne movements by pausing and adjusting body positioning before f nishing the delivery. When executing freeze drills, athletes should always throw aggressively. During a throwing session, keep the catcher’s glove facing down until proper fundamentals are shown, then raise or f ash the glove to tell the pitcher that he is free to continue the motion. A round of freeze drills should always end with the athlete moving at full speed (not stopping). T is ensures that the athlete incorporates the lessons learned at each freeze point into the full delivery.

Freeze Drill #1 T is is the same freeze drill described in Chapter 3 for teaching and reinforcing Position #1. T e most basic of freeze drills, freezing at the #1 position (the balance point), teaches three signif cant pitching fundamentals:

• Strength and balance • Breaking in rhythm • Load (avoid the drif )

Begin a freeze drill at #1 with the catcher’s glove facing down toward the ground. T e athlete’s job is to lif his leg and hold

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at the balance point until you (as the catcher) show the glove. Once you are satisf ed with the leg lif fundamentals, f ash the glove. Raising and showing the glove signals the athlete that he may continue through the delivery and f nish the motion. Make sure that all deliveries are thrown with full arm speed.

Leg Strength and Balance: Simply put, the athlete must maintain balance and posture while freezing at the balance point. As the athlete holds at Position #1, check to see that the lif knee is up, the foot is out (underneath the knee), and the toes are hanging, or pointing, down. Encourage the athlete to show strength and balance, avoiding a twist or lean with the upper body. T is position takes considerable leg and core strength, but both can be developed quickly.

Breaking in Rhythm: While the most basic goal of freeze drill #1 is to teach strength and balance, it is also forces an athlete to break in rhythm. Breaking in rhythm from the balance point (#1) means to break the hands at the same time that the lif -leg starts down and out. Doing this keeps the hands moving consistently with the lead leg and allows the throwing arm to arrive at the same spot…at the same time…every pitch. With a freeze at Position #1, the pitcher is forced to break in rhythm because all body parts will start as soon as the catcher’s glove is shown. While helping the young athlete develop rhythm between the arms and the lead leg, freezing at Position #1 presents the opportunity to teach what breaking in rhythm means and why he is being taught to do so.

Load (Avoid Drifting): Drif ing—moving too quickly through the balance point—is one of the most common mechanical f aws of young pitchers. When the pitcher drif s, the back leg does not have the time or opportunity to engage or assume

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the body’s weight (load), and the throwing arm is of en caught lagging behind the body. With a release point then behind the body, a typical throw is high to the throwing-arm side of the target. A freeze drill at Position #1 slows down the athlete and allows him to dictate pace when leaving the balance point. At that point in the delivery, the back leg will load, maintaining “control” of the delivery until the athlete explodes of the rubber and transfers power to the front, landing leg. Even though instruction in and around the “load phase” might be weeks or months away, a freeze drill #1 starts the process of teaching the athlete to comfortably and properly engage the back leg, while keeping the weight back and breaking in rhythm. As explained in the previous chapter, this movement creates the necessary time for the throwing arm to get into a high throwing position at foot-strike (that is, the moment the front foot lands). T e break from balance point is of en referred to as the load phase, and it’s very important that an athlete dictate the pace during this part of the motion (from Positions #1 to #2). Falling vic- tim to momentum and gravity will disengage the legs and place more of the workload onto the throwing arm. Finish the freeze drill at Position #1 by having the athlete throw several pitches without stopping. Observe that the athlete maintains proper leg lif fundamentals and avoids rushing through the balance point before moving on to further instruction.

Advanced #1 - Focus Load. For an advanced variation on freeze drill #1, place the athlete’s focus on the movement made when leaving the balance point. Ensure that the athlete, when leaving the balance point, consciously loads the back leg in a conscious attempt to increase physicality and leg drive.

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Group executing freeze drill at #2

Freeze Drill #2 Freeze Drill #2 is a pause and hold at the loaded/power position. T ere are four areas to check while the athlete is in the throwing position:

• T e throwing hand • T e glove arm • T e front foot • T e weight back

When the catcher’s glove is f ashed, the athlete rocks back slightly, re-engages the back leg, and f nishes the delivery. In order to generate momentum, the pitcher lif s his front leg and reloads the back leg (moving slightly backward), before exploding

147 CHAPTER 5 toward the plate. T e isolated movement from Positions #2 to #3 is referred to as the explode phase and should be aggressive and physical. To get young athletes to push hard through the explode phase, I coined the phrase “velocity explosion.” T e reasons behind freezing at Position #2 are numerous. Each area listed above is a teaching point, but perhaps the most important is loading (keeping the weight back). Moving from the balance point (#1) to the throwing position (#2) is called the “load phase,” as the back leg must bend in an ef ort to hold back the body’s’ weight. Freezing at # Position 2 presents the teaching opportunity to show an athlete what it feels like to load the back leg and build momentum before exploding forward. Keep in mind that loading ef ectively provides the throwing arm time to travel. T e throwing arm reaches a better position at foot-strike and more consistently reaches a release point well in front of the body upon pitch delivery. Athletes throw with more velocity, and on more of a downward tilt, because of an ef ective load. T is concept is learned and trained around the Freeze at Position #2 drill.

Advanced #2 - Focus Explode. Place the distance marker down at 5.5 athlete paces. Next, set a goal marker for 6.0 steps. Focus on being explosive out of the loaded/power position, and take note of the ef ect on stride length. If working to produce power, do not place much focus on the f nish position or even pitch accuracy (if throwing live). Rather, encourage an explosive and physical drive of of the back leg with the goal of reaching 100%+ of athlete height as measured stride length.

Freeze Drill #3 T e ability to freeze at the f nish position (#3) ensures that the pitcher is throwing aggressively, yet under control. If a pitcher can begin his delivery with strength and balance and f nish with

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strength and balance, there is a good chance that he will throw strikes. T e f nish position specif cally is a great piece of feedback for the pitching instructor.

• Point T e distribution of weight over the landing leg ensures that the pitcher has driven through that leg instead of around it. • Click T e straight-across position of the feet ensures that the landing leg has in fact f rmed upon landing, driving all momentum and energy up into the throwing arm and out through the baseball. • Shield Keeping the glove in front of the chest means that the glove arm has worked correctly and now is in position to protect the face from a line drive. • Sword A f at back with the throwing arm across the body (and the throwing shoulder roughly over the landing knee) means that the correct combination of late rotation and top-to-bottom movements has occurred.

Finally, freezing at Position #3 allows the athlete to see how easily and ef ectively he can move into a balanced and ready defensive position af er the pitch. While getting into a defensive position would happen immediately in a game, it’s important that an athlete can hold an extended freeze at #3 for execution purposes in practice… and then move into the ready position.

Advanced #3 - “Put it together.” T e challenge to issue the advanced pitcher is pitching with aggression, while executing and controlling the body. We want both! To ef ectively pitch, as compared to throw, the body must be under control. T e head stays still, acting as the eye of the hurricane, as a violent, power-producing explosion travels down the mound.

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Freeze drill at #3 - an athlete moves ef ciently from the ﬁ nish position to the ready position

Combination Freeze Drills Freeze drills can be combined in a myriad of ways, from the stretch or the wind-up. Combine freezes at the #1, #2, and/or #3 positions to mix up a workout and increase or decrease the degree of dif iculty.

1-2-1-3 T e 1-2-1-3 drill is hands-down my favorite drill. It heavily works the back leg, allowing the athlete to feel the load phase while moving forward and backward. Use the 1-2-1-3 freeze sequence from the stretch or wind-up, to work on both the load and explode phases. Done with a baseball during live throwing, the 1-2-1-3 allows two repetitions of the load phase for each

150 F U N D A M E N TA L D R I L L S baseball thrown. In front of a mirror, the athlete can check all aspects of his delivery while f nishing each repetition with an aggressive surge toward the f nish position. Just don’t throw a baseball into the mirror!

The 1-2-1-3 Freeze Drill – Take time to check and correct each movement

Execution: From the stretch or wind-up position, the athlete lif s the leg to the balance point (#1) and then breaks to the power position (#2). He then moves backward to the balance point (#1) and then explodes forward, releasing the pitch and holding the f nish position (#3). Be sure to have the athlete hold at the balance point and wait for the f ash of the glove af er moving from #2 back to #1. When the glove is shown, the athlete explodes through delivery and holds the f nish position (#3).

#1 – Leg lift and extend to #2

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#2 – Return to Position #1

#3 – Finish and hold at Position #3

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Teaching Points: A 1-2-1-3 provides the opportunity to break up a single pitch into the load phase (1-2) and the explode phase (2-3). T is movement shows total physical control of the pitching motion and demonstrates strength and balance at each stage of the delivery. An overall understanding of the kinetic transfer of energy is made possible by working the 1-2-1-3:

Back leg →Front leg → T rowing arm

Athletes really feel the back leg working, especially when moving in reverse from #2 to #1. T ey can then identify how aggressively and explosively they leave the pitching rubber and transfer energy and power to the front leg at landing. Time and time again, I go back to the 1-2-1-3 to engage the legs and remind my pitchers to stay in control of the delivery. “You are in charge!”

Advanced 1-2-1-3 - Load & Explode Challenge older pitchers to feel the body load, move backward to balance point, and then explode through to f nish. My challenge here is to feel a distinct and deliberate load…followed by a distinct and deliberate explode. How physical can you be while working through a 1-2-1-3? If the pitcher is older and working to produce power, I want him to feel the back leg stay “connected to” the front leg. As the front foot touches down and catches the surging body, energy is transferred to it from the back leg’s explosion. T ere’s a connected transfer that I want my pitchers to feel.

1-2-1-0 Typically done without a ball, this drill teaches an athlete to get to a loaded power position with the weight back (load phase). When done in front of a mirror, this drill is a great way for an athlete to view his own mechanics.

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Execution: From the stretch position or 0 (zero), the pitcher lif s the leg to the balance point (#1). Next, he makes a break in rhythm and moves the front foot, glove arm, and throwing hand out while keeping the weight back (#2). From the power position, he moves directly back to the balance point (#1) and freezes once again. He f nishes by dropping the leg and returning to the stretch stance (#0).

Teaching Points: T is freeze drill teaches a number of things: breaking in rhythm, strength and balance, knee up–foot out– toe down, and a quiet upper body with consistent posture (tall). Execution of the 1-2-1-0 freeze drill in front of a mirror is shown in the photographs.

The 1-2-1-0 Freeze Drill executed in front of the mirror Working backward from #2 to #1 with control requires considerable leg strength, and this move will be dif cult for beginning pitchers. However, the movement can be learned quickly and executed without a lot of wiggle with 1 week of daily homework. Progress to the 1-2-1-3 drill and involve throwing baseballs as a next step.

Freeze Drills - Teaching Progression

Although athletes are not robots, following the suggested system to teach freeze drills increases their ef ectiveness. T e suggested order is the same #1-3-2 plan described in Chapter 3, Coaching Beginning Pitchers. Af er initially moving through the entire motion at full speed, athletes work through a series of freeze drills as a tune-up or workout to improve upon mechanics. Start with freeze drill #1 and instruct the athlete to show

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#1 – Lift the leg #2 – Extend to throwing position

#3 – Back to leg lift #4 – Down to stance

155 CHAPTER 5 strength and balance while executing a proper leg lif . Af er a number of freezes at #1, athletes are allowed to move directly through the balance point without freezing. However, the pitcher must then execute a proper leg lif with the knee up, foot out, and toe down, avoiding any signif cant rotation toward second base or lean-back toward f rst base, before continuing to the next freeze drill. Athletes are then asked to execute freeze drill #3 and control their f nish. As previously discussed, if a young pitcher can start and f nish a motion with strength and balance, the chances are high that this pitch will be around the strike zone. Freezing at Position #3 shows that the athlete can move through an entire pitching delivery while maintaining strength and balance. Once the leg lif (#1) and f nish (#3) are executed correctly, the athlete can move on to the more technical throwing position—the freeze drill at Position #2.

Freeze Drills – Tune-Up Even experienced pitchers benef t from working through the freeze drill routine. T ese drills can be an ef ective part of an individual training session or conducted as part of an athlete’s warm-up routine. In the case of a more experienced pitcher, use the following order:

1. Freeze at Position #1 2. Freeze at Position #2 3. Freeze at Positions #2-1-3 4. Freeze at Position #3

One benef t of a freeze drill tune-up routine is the placebo ef ect. An anxious or nervous pitcher feels better prepared

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having worked through a series of freeze drills. It’s as if he believes that he should be ready to pitch. Sometimes during a poor lesson, I will guide the athlete through a series of freeze drills without saying much. It has been my experience that by allowing a pitcher to work through a familiar set of movements, temporary problems of en times correct themselves—hence, the tune-up analogy.

CHAIR DRILL T e chair drill is used to teach an athlete to drive directly through the landing leg and knee during the explode phase. T e chair drill addresses weight distribution and leg strength at the f nish position and helps to show how the proper combination of rotational force and top-to-bottom execution results in the “Superman” f nish—f at back, out over the landing knee.

Execution: Place a chair directly over the pitching rubber, and ask the pitcher to place his back foot on the chair. He should rest the back foot so that the inside of the ankle faces down and the hips remain closed to home plate. T e front foot is extended to the landing area, with the toe pointing toward home plate (the pitcher can close the foot slightly if he needs help holding his balance). Holding a baseball with his hands together and in front of his chest, the athlete rocks back and f res toward the glove or catch net. T e back foot will turn over so that the laces face down, showing that the hips have exploded. However, the back foot must not leave the chair. T e throwing arm will f nish across the body so that the throwing shoulder lines up over the landing knee with the glove high and in front of the chest. T e athlete’s body weight is forced to f nish (correctly) centered over the landing leg as the hips rotate, and the back leg turns over but does not leave the chair.

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Throw the ball aggressively

Turn the front shoulder closed

Hold the “Superman ﬁ nish” position for 3 seconds

The Chair Drill

Teaching Points: Top-to-bottom delivery is ensured because the trail leg is taken away. (With a side-to-side delivery, the body weight naturally surges to land on the trail leg, so this delivery option is eliminated.) By taking away the trail leg, the chair drill encourages a pitcher to move directly through his landing leg. It also provides a number of teaching points with regard to the f nish position: weight distribution (through the

158 F U N D A M E N TA L D R I L L S landing leg), a f at back (“Superman” f nish), the glove arm in front of the chest, and the throwing shoulder over the landing knee. Finally, the drill helps build strength in the landing leg. In this drill young athletes realize just how important leg strength is to pitching successfully.

SLOW-MOTION DRILLS Slow-motion drills can be another ef ective teaching tool to develop strength and balance throughout the delivery. Place an emphasis on moving at a speed that allows the athlete to experience throwing with perfect mechanics. Many times, using slow motion can be an ef ective way to slow a hurried pitcher. Slow motion helps to slow breathing, calm excited nerves, and focus an athlete’s thoughts on the mechanics being executed. Slow motion can be combined with freeze drills to form an ef ective physical drill. In the full wind-up, athletes can use slow motion to move from the stance to the leg lif (#1) or even the throwing position (#2). From there, they can continue or rock back and explode with closer-to-full speed. T e combination of freeze drills and slow-motion training helps engrain positive throwing mechanics into an athlete’s muscle memory. T e concept of muscle memory simply means that if an athlete consciously executes a movement correctly for enough repetitions, that athlete will learn to properly execute the same movement without consciously thinking about it. T e focus can move to other areas of the delivery, with the proper adjustments incorporated into the delivery.

EYES CLOSED Closing the eyes is a challenging add-on to slow-motion training. Instruct your athlete to execute a full delivery with his eyes

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closed. T is drill is done f rst without a baseball, and frequently habits or problems become obvious when the athlete moves with his eyes closed. For example, pitchers who tend to f y open and land on the f rst base side of the midline (for a right-handed pitcher) will fall drastically in that direction when their eyes are closed. When opening their eyes and checking their alignment, they are very surprised to learn just how normal it feels to move in an incorrect direction. Moving at slow motion with the eyes closed is more dif cult than moving at full speed with the eyes closed. With an enclosed bullpen, cage, or throwing area, an athlete can close his eyes for live throwing. T is should be done at full speed to maintain good body rhythm and assist with balance. As long as pitchers are able to replicate their motion ef ectively, they should be able to come close to throwing strikes. Needless to say, throwing strikes with the eyes closed can be a huge con- f dence boost to an athlete of any age and is a fun, challenging drill.

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Common Mistakes and Remedies

DRIFTING Overeagerness is a common problem for the beginner pitcher. Drif ing, or rushing, can be caused by trying to throw too hard or simply by trying to execute a new, unfamiliar motion. Many excited or uncomfortable athletes simply want to get rid of the ball as quickly as possible. T ey hurry through the initial step back and carry a rushed delivery all the way through to release. With a rushed delivery, the throwing arm usually lags behind the body, and a young pitcher simply isn’t strong enough to catch up. T is can cause excess stress on the front of the throwing shoulder, as the upper body pulls the dragging arm along. T e pitch will be located high to the throwing arm side of the plate as a direct result of leaving the arm behind the body. Likewise, a pitcher can compensate for a drif by short-arming

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the ball. It’s as if the body recognizes it is late and that the arm is not going to catch up to release on time. So, the arm’s circular path is cut short, creating a short-armed release. Bluntly stated, drif - ing happens because staying back (loading) is hard. Engaging the back leg and maintaining control of the Drifting causes the arm to drag body is physically tough. behind the upper body T e fact is that it’s simply much easier for the body to drif and fall down the mound that it is to work hard, engage the back leg, and stay back when leaving the balance point. T e drif ing, falling pitcher exhibits a lack of physical involvement with the legs, thus more stress on the arm and a dragging arm motion with a late release.

Remedies

Band-Aid Fix - Break Hands Early

Let’s f rst address the common Band-Aid f x used by coaches: Break the hands early (see the next discussion, on hands breaking late, for more fun). T is f x sure seems as if it would make sense.

Problem: T e body is drif ing so that the arm is having a hard time keeping up with the body.

Remedy: Have the pitcher start the hands earlier and see if that puts him back in rhythm.

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Coaches of en have pitchers break the hands while the lif leg is still on the way up. However, I call this a Band-Aid f x because it only covers up the problem—it does not f x it! T e supposed remedy is easy, but it is shallow and does nothing to educate the pitcher about true pitching mechanics. T e real f x to drif ing or rushing is to stay back longer (that is, ‘”load” the back leg). Doing this ensures that the hands break in rhythm with the lif leg as it starts the path down from the balance point.

Load Drif ing is the most common mechanical f aw among youth pitchers. T e f x is to stay back longer during the load phase (#1 → 2), with the goal of providing the time necessary to get the arm down, out, and up into the launch position. As discussed earlier, the load aids in velocity (creating a more explosive leg drive) and assists in pitch trajectory (the hand out in front results in a downward ball path, or tilt). Describe the body as consisting of two halves, and explain that the lower half (from the belt down) must get to full extension before the upper body can move forward. Work on keeping the athlete’s weight back as he starts to lower his leg and break his arms. Use the “leg down, arm up” concept while the athlete keeps his weight back when initially breaking from the balance point. T e #1-2-1-0 drill from Chapter 5, Fundamental Drills, will help the athlete master this. A good technique is to physically hold the pitcher’s body weight back while he gets familiar with moving the lif leg down and out and separating the hands. Tell the pitcher to gently touch his landing toes to the ground, and then move back to his balance point position. In order to get back to that position, the pitcher must keep his weight back over his plant

163 CHAPTER 6 leg. Once that action is understood and executed, a pitcher will avoid the pitfalls of rushing caused by his weight rushing forward.

Glove to Extension Another technique to help the drif ing athlete load longer is to focus on the extension of the glove arm. When the body drif s, the glove arm will of en cut its path short. Compare the glove to a camera, and instruct the athlete to (1) get the glove to extension and (2) “hold it there” for a click before (3) the body explodes forward. T e goal is to achieve a deeper load by keeping the body “behind the glove,” and for some athletes, focusing on something other than the back leg is an ef ective technique. Challenge the pitcher to get the glove to extension, hold for a second, and then explode forward:

Reach → snap a picture → explode forward

Slow Down For younger and inexperienced pitchers, an easy Band-Aid f x is simply to slow down the pitcher’s motion. Before beginning a delivery, the pitcher must come set and hold for at least a count of two (one thousand one, one thousand two). In addition, instruct your athlete to take a deep breath immediately before or af er coming set to calm the body and relax the mind. Af er the pitcher takes a baby step back, conf rm that his weight is not quickly moving forward through the balance point. A pitcher should not stop at the balance point, but he does need to be moving slowly and under control.

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Freeze at #1

Introduce a pause at the balance point to stop the athlete from f owing through the leg lif too quickly (see Chapter 5, Funda- mental Drills). It’s much easier for an athlete to feel the body falling forward out of habit, while trying to hold a freeze at the Balance Point #1.

HANDS BREAKING LATE A common pitching f aw occurs if the pitcher’s hands stay connected and separate late when he makes the break from balance point. T is habit causes the arm to drag behind the body and create more location misses, high on the arm side (watch out right-handed batters!). More technically, the throwing hand is relatively low (cocked/launch position) when the lead leg touches the ground (the foot strike). Some pitchers make up for this f aw with athleticism. Essentially, they catch up with the throwing hand by cutting the arm path short. Inconsistent location is of en the result of a pitcher relying too much on athleticism. He may struggle to consistently locate because sometimes the arm catches up to the body… and sometimes it doesn’t.

Remedies

Break Hands in Rhythm T e fastest and easiest f x is to instruct the athlete to simply break the hands in rhythm with the lif leg. Some athletes do break late, but in my experience nine out of ten athletes breaking late do so as a result of drif ing (see the remedies in the discussion on drif ing above). T is means they are not working

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the legs and not loading suf ciently. Regardless, the mechanical goal is to separate the hands in rhythm with the lif leg, as it starts the down-and-out path leaving the balance point. T or- oughly explain both the goal and the mistake being made, and then work to get the hands to break on time.

Load Assuming the hands are still breaking late, the ef ective f x is to load longer, deeper, and more physically with the back leg. When the hips are sliding forward early, the hands are lef behind and the break is late. Have the athlete keep the hips back, load deeper into the backside, and break in rhythm with the lif leg’s downward movement.

PIE-THROWING Pie-throwing occurs when the pitcher reaches back to throw a baseball as if he were throwing a pie. Instead of turning the ball away from the body to point toward second base af er breaking from the balance point, the pitcher allows his throwing hand to continue facing the catcher (with the back of Pie throwing his hand toward second base) from the throwing position through the follow-through. Although this form would be ef ective in a pie-throwing con- test, it is inef cient and incorrect when throwing a baseball.

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Remedies

Ball to the wall Af er breaking from the balance point, a pitcher should reach back and point the ball toward second base. T e f ngers should be on top of the ball with the thumb on the bottom and the palm facing second base. Tell the pitcher to imagine a wall behind him—between the mound and second base—and instruct him to touch the ball to the wall! T e pitcher’s goal is to touch the ball, not his f ngers, to that wall. If you want an ef ective twist to the image of the wall, tell your athlete that the wall is covered with thorns, spiders, and nails. If he touches the wall with his f ngers (with his palm facing the catcher in the pie-throwing position), he will get scratched, bruised, or even bitten. How- ever, if he touches the wall with the baseball, he will save his f ngers from harm!

Freeze Drill - #2: Show the Cobra One technique to help a young pitcher understand where his throwing arm should be at the throwing position starts with working through a freeze drill at Position #2. At this position, relate his arm to a striking cobra. T e arm is the body of the snake, the forearm represents the neck, the hand is the snake’s The “cobra’s” fangs point head, and the f ngers are the away from the body fangs. Show the cobra!

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NATURAL SLIDER

A natural slider occurs when a pitcher’s natural throwing motion causes the ball to spin sideways as it moves toward the plate. T e path resembles a slight curve or slider, and it occurs when the pitcher’s f ngers come around the ball at release instead of staying directly behind the ball. A young athlete’s throwing motion is primarily determined by fate, but I believe it is appropriate to guide the beginning pitcher to throw correctly from top to bottom, with the f ngers as close to directly behind the baseball as possible. A natural slider is an indication that a pitcher’s throwing hand is coming around the baseball at release.

Remedies Hand Away From the Head A natural slider is commonly caused by holding the hand too close to the side of the head through release. Viewed from home plate, the pitcher’s throwing hand is inside the elbow (inside the 45-degree angle or “L” arm slot). T is position causes the hand to turn and release with the f ngers on the side of the ball. T e motion is similar to the throwing motion of a football quarterback, and, like a quarterback, a pitcher who throws inside the L will throw spirals. An “exaggerated opposite” f x is to instruct the athlete to bring his arm away from the head through release (throwing “more sidearm”). Athletes who throw natural sliders feel as if they are throwing with a normal L, and moving the hand outside of the elbow through release will feel sidearm to them. In this rare case, attempting to throw sidearm is a good thing!

Ball to the Wall

T is remedy, described above for pie-throwing, helps correct natural sliders as well. In order for the f ngers to be behind the

168 COMMON MISTAKES AND REMEDIES baseball at release, they need to point directly away from the body at the throwing position. If the f ngers point more toward third base at Position #2, there is a good chance that the hand will naturally come around the ball at release.

Thumb Down Instruct your athlete to f nish his motion with his thumb pointing down on his throwing hand as if he is pouring out a bot- tle of water. Add this “thumb down” position to his full f nish posture: waist bent, knee in, toe down, thumb down! T rough release of the baseball, a pitcher’s arm naturally pronates, or turns inward. In a properly thrown pitch, the f ngers are behind the ball through delivery, and then turn inward during the follow-through. Holding the thumb down on the f nish exagger- ates the inward turn of the throwing arm and ensures that the f ngers are behind the ball at delivery. A natural slider is the result of just the opposite happening: the f ngers come around the ball. Coming around the baseball at release and then turning the arm completely inside to get to the “thumb down” position is awkward, and the athlete will naturally adjust to keep the f ngers behind the ball through delivery.

Exaggerated Opposite Exaggerating a movement or position is of en ef ective in helping an athlete learn what the problem is and understand how it feels. Most athletes who come around the ball when throwing do not know that they are doing so. As a coach, your f rst responsibility is to help the athlete to recognize when it happens. To do this, you must get the athlete to feel three positions at release: f ngers inside, f ngers behind, and f ngers outside. Athletes who naturally come around the baseball have a very

169 CHAPTER 6 hard time throwing a screwball, but doing so is necessary for an athlete to identify the dif erence between positioning f ngers inside, behind, and around the baseball. Watch the spin of the baseball while playing catch at a very short distance. Instruct the athlete to throw a screwball, and continue playing catch until the athlete achieves a screwball side-spin. Once this is accomplished, extend the throwing distance and repeat the assignment. T en, alternate between throwing with the f ngers inside the baseball (screwball spin), f ngers outside the baseball (curveball spin), and f ngers behind the baseball (desired fastball spin). Refreshing the athlete’s sense of f ngers inside, outside, and behind the baseball will help him recognize when he has come around the baseball (outside).

Half-and-Half Ball T e half-and-half ball is a baseball that’s been completely painted on one half. When held with a four-seam grip, the f n- gers should be on opposite colors, so that the line dividing the colors runs from top to bottom. With proper release and a good backspin, the baseball will spin with a black side and The half-and-half ball a white side. If the f ngers come around the ball and cause a sidespin, a blurring ef ect will occur, and the line will not be noticeable.

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OVER-ROTATION (AT FINISH POSITION)

An over-rotated f nish occurs when the pitcher’s trail leg (the right leg for a right-handed pitcher, the lef leg for a lef -handed pitcher) swings toward home plate and the pitcher’s back is lef facing home plate. To teach the landing leg to post f rmly and bear the weight of the body, make sure the pitcher f nishes with his feet roughly straight across (from the f rst base side to the third base side of the mound). When the trail leg quickly and drastically moves past the desired landing position and ends up more toward home plate, it is a direct indication that the pitcher is not keeping his weight back before releasing or that he is landing with a weak front leg. In layman’s terms, the athlete appears to be running the ball to home plate and is not getting much power out of his legs.

Remedies

Finish

Go back to the standard f nish position. A right-handed pitcher, for example, must f nish with his right toe pointing down, his right knee pointing in, and his feet straight across when looking at home plate. Following the “keep it simple” rule, f rst try to combat this habit by making the pitcher hold his f nish af er each pitch (wherever it may be) and then correct his f nishing position. Later, you can tell the athlete that in order to stop his momentum and f nish correctly, it is absolutely necessary that he keep his weight back and then be strong through the landing leg.

Firm Up the Landing Leg Over-rotation can also be the result of a weak landing leg. If the front leg is not posted f rmly, there is nothing to stop the body’s

171 CHAPTER 6 forward momentum. In turn, the transfer of force and energy to the throwing hand is lost. A pitcher may correct this naturally when told to f nish in the correct position. However, if you notice that the front leg is collapsing at landing, you may f nd it worthwhile to work on f rming up the leg. Instruct the athlete to keep the post leg strong, but not locked straight, in the f nish position. Connecting this to the f nish position, emphasize Over-rotation that the pitcher must shif his weight over to the landing leg. He should hold that weight distribution for a count of three before releasing into the ready position.

Weight (Wait) Back

Finally, over-rotation is caused by not keeping the weight back from the balance point into the load phase. From this early point in the delivery, the body weight rushes out in front of where it should be…and the landing leg can’t properly stop the body at f nish. T is results in a signif cant loss of velocity as well as a dependence on the arm. Many of these problems have a consistent f x, and the solution is the same as that for drif ing. To combat over-rotation at f nish, load! Use the “stay back and reach” concept when

172 COMMON MISTAKES AND REMEDIES breaking from the balance point. A good technique is to physically hold the pitcher’s body weight back, while he becomes familiar with moving the leg down and out and positioning the hand to touch the ball to the wall.

LEANING BACK Whether at the balance point or delivery, leaning is a common problem for beginning pitchers. Leaning back results from having weight balanced on the heel of the plant leg, which causes the body to swing of ine as the athlete moves to the throwing position. T e identif able traits of a leaning pitcher are either a lean back toward f rst base at the balance point or a lean and/or bend in the torso at delivery (again toward the f rst-base side as the torso faces home plate). Leaning can cause a pitcher’s body weight to fall toward the f rst-base dugout area and a subsequent side-to-side throwing motion. A pitcher will of en extend his lif foot toward third base to counterbalance leaning at the balance point.

Remedies

Weight over the Ball of the Foot

Leaning can be avoided by keeping the weight on the ball of the plant foot (the area in between the base of the toes and the arch). To counteract the lean of a youth pitcher at the balance point, be sure that his weight is balanced on the ball of the appropriate foot (see the picture of a proper balance point in Chapter 1). Every young pitcher should know the feeling of standing and landing on the balls of his feet! To keep his weight on the ball of his foot, a pitcher must move his weight forward. Leaning back is very difficult if the weight is truly centered over the front of the foot.

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Incorrect leaning can happen at the balance point and at release

Head over Knee Another way to ensure that a pitcher’s weight remains over the ball of the plant foot is to hunch the upper torso slightly over the lif knee. T is keeps the upper body in line with the lower body, and any lean while moving from the balance point to the release point is avoided. To communicate this easily, instruct the pitcher to keep his head over his belt or his plant foot. Or, tell the athlete to bend at the waist slightly and lean forward with the upper torso, bringing the chest toward his knee. (How- ever, if the athlete is concentrating on bringing the chest toward the knee, be sure that his body does not become crunched up over that knee.)

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Lead With the Side of the Shoe

To keep the upper body upright through delivery (from Posi- tion #1 to #2), the lead leg should extend with the side of the shoe directly toward home plate. T is movement helps keep the upper body closed, with the shoulders pointing to home and second base. As a counterbalance to the upper body leaning back, look for the lif foot swinging out toward third base before moving toward the plate. Correct the leg lif movement to up, down, and out, with the side of the shoe consistently facing the target.

Firm Up the Back Leg Typically, an athlete should be encouraged to keep a slight bend in his post leg at his balance point. How- ever, athletes who have a habit of leaning back of en have a hard time balancing altogether. To increase balance and avoid leaning back, have your athlete f rm up the back knee. T e key here is to make sure that the athlete keeps the knee straight at the leg lif Head over the knee (#1), but that the knee does bend when moving into the power position (#2).

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FLOPPY WRIST

A proper delivery uses a throwing arm with a f rm wrist. At release point, the wrist snaps downward, and the f ngers follow to project the baseball. At no point should the wrist extend back behind the plane of the forearm. T is is an inef cient break in the whip-like energy generated from the shoulder through the f ngertips. A f oppy wrist occurs when the f ngers point back behind the body at the release point. It can begin at any point in the throwing motion and leads to a signif cant drop in velocity.

Remedies

Firm Grip To teach a f rm wrist, tell the athlete to squeeze the baseball slightly. Squeezing the baseball f rms up the back of the hand down through the wrist. T e wrist will still naturally snap downward at release, but squeezing the baseball will help to f rm up the grip and thus kill the f op!

Tongue Depressor A more involved way to eliminate a break in the wrist is to strap a tongue depressor to the back of a pitcher’s hand and wrist. Use athletic tape so the tongue depressor extends from the top of the knuckles down below the wrist. T rowing while wearing this accessory will physically stop the wrist from f opping behind the baseball. Adjust the height of the tongue depressor depending on the degree of f op. Positioning the tongue depressor so that the top extends beyond the back of the hand and base of the f n- gers causes a f oppy wrist to knock against the depressor. While this will physically remind the athletes to keep the wrist f rm,

176 COMMON MISTAKES AND REMEDIES it causes little discomfort. Contrarily, positioning the tongue depressor so that the top is below the base of the f ngers will cause it to jab into the back of the hand if the wrist f ops. T is causes more discom- Use a physical reminder fort and should be used to stop the ﬂ oppy wrist only af er the f rst position has been attempted.

INCORRECT GRIP Many young athletes pay little attention to the way in which they grip the baseball. T e most common mistake in grip is using three or four f ngers on top of the baseball. When grabbing for a baseball, young pitchers simply use their entire hand and grip the baseball with their palm f rst. T e ball then rests deep in the palm, causing a loss of feel or touch upon delivery. Although this can be ef ective for athletes with very small hands, using multiple f ngers causes a loss of touch with the baseball and can delay the adjustment to a two-f ngered grip that is necessary when the hands grow.

Remedy

Two Fingers Showing Space

A proper grip uses two f ngers on top of the baseball, with the thumb located directly below the baseball. When looking directly at the grip, the thumb, index and middle f nger form a triangle surrounding the baseball. Additionally, there should

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be a small gap (depending on the size of the pitcher’s hand) between the palm and the baseball. See Chapter 1, Pitch Types and T eory, for a complete description of a proper grip. Athletes with extremely small hands should be allowed to use three f ngers. However, encourage them to switch to a two-f n- gered grip as soon as possible. Challenge them with this question: “How many big-leaguers use three f ngers to throw their fastballs?” Hint: the answer starts with Z and ends with e-r-o!

FLYING OPEN – LEAD LEG T is common mechanical f aw occurs when a pitcher f ies open with his front hip or leg and lands with his foot on the glove- arm side of the mound. (A right-handed pitcher would land on the f rst-base side, a lef y on the third-base side.) If you drew a line directly from the pitcher’s post leg to the target, the lead foot should land on or near this midline. If the hips f y open immediately af er breaking from the balance point, the right- handed pitcher’s foot pulls to the lef , away from home plate. Not only is power lost from the hips exploding open early, but the pitcher is also unable to fully maximize leg drive from the f rming post leg. Because the lead leg has posted well of ine from the target, the body’s momentum will rotate around the leg, swinging the body toward home plate.

Remedies

Remedying this f aw relies on two pieces of information. First, an instructor needs to work on where the front foot lands. T en, an instructor can work on how it gets there. In other words, f rst get the athlete to align his front leg with his back leg in relation to home plate (where). Once he is landing comfortably on the

178 COMMON MISTAKES AND REMEDIES midline, it becomes important to work on staying closed and leading correctly toward the proper landing area (how).

WHERE - Land on the Line Explain the concept of a midline drawn from the middle of the plant foot directly to home plate. T e athlete should land on or near this line. When viewed from home plate, a pitcher f ying open will land to the right of the line (the f rst-base side). Once the line is drawn, have the pitcher check his f nish position af er delivering the pitch. Make sure that this happens only af er he has thrown the baseball aggressively—an athlete is Cone walls help to stop not to look down while he an athlete from ﬂ ying open throws!

WHERE – Cone Wall

Place disc cones on the ground, 6 inches to the right of the midline (on the f rst-base side for a right-handed pitcher). T e cones now form a line where the athlete had been used to landing. Let the athlete know that there is a penalty—he must do one push-up—for each time his foot touches one of the cones.

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Have the athlete throw fastballs at full arm speed to ensure that the physical habits are changed at game speed.

WHERE – Exaggerated Opposite With or without a cone wall, use an exaggerated opposite to retrain the direction of the pitcher’s stride. Instruct the athlete to land on the opposite side of the midline – in this case, on the third base side of the line. To understand the problem and exaggerated f x, f rst discuss the fact that when the athlete attempts to stride toward the plate (straight), his foot ends up landing on the f rst-base side of the midline (right). So, the leg is pulling a certain direction: open. Ask how, following this line of reasoning, would he get the foot to land directly on the line? Knowing that we need to allow for a pull from the lead leg, we should aim to land on the third-base side (lef ) of the midline and expect the foot to land on the line (straight). Instruct the athlete, therefore, to attempt to land well on the lef side of the line (viewed from home plate). T is exaggerated adjustment will most likely result in the athlete landing directly on the line. As with correcting the natural slider, you need to “reset” the pitcher’s feeling of what is normal to him. Up to this point, f ying open and landing wide of the midline has felt normal. T e goal is to explain how and why landing on the midline is important and to then use a practical teaching method to retrain the mind and body.

HOW – Lead Closed Now that the athlete has successfully lined up his stride to land along the midline, it is time to retrain how the foot travels to the landing area. A pitcher f ying open needs to learn to stay closed as he strides toward the target. T is movement includes the

180 COMMON MISTAKES AND REMEDIES front foot, hip, and shoulders as they are all connected. Instruct the pitcher to follow an up–down–out leg lif , leading toward the target with the side of his shoe. Leading with the side of the foot will keep the front hip from f ying open. Just before landing, the foot will naturally explode open, so that the toe points directly toward home plate at the f nish position. Use a freeze drill at Position #2 to emphasize how the foot is closed at #2 and then open at #3.

HOW – Exaggerated Opposite If necessary, take the Lead Closed remedy described immediately above and exaggerate the degree to which the front foot is closed. Instruct the athlete to lead with the heel, so that his attempt to lead with the back or side of the shoe heel almost feels awkward. Again, the goal is to reset the athlete’s perception of normal so that he starts to recognize when he f ies open.

FLYING OPEN – FRONT SHOULDER Perhaps the most problematic habit a pitcher can have is f ying open with the lead, or glove, shoulder. T is causes a side-to-side delivery, puts extra stress on the front of the throwing shoulder, and can pull the head of of the target as well. It happens just before, or af er, the front foot lands and before a pitch is delivered. Flying open is of en the result of an athlete attempting to overthrow. T ere are two issues to address:

1. Action - Flying open itself is fundamentally incorrect. T e goal is to stay “through” the pitch, the same way a hitter keeps his hands inside the baseball and drives the barrel “through” the strike zone with extension. T ere

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is a rotational piece to the throwing motion. How- ever, the goal is to maximize forward momentum and achieve extension out in front. T is is done by working to correct a f ying-open front shoulder to one that operates with a chest-to-glove motion. 2. Timing - Flying open with the glove arm typically happens immediately af er the front foot touches down. In certain cases, this front-side pull has started before the front foot has even touched down. So, in addition to incorrect technique, we now have incorrect timing as well. Keep in mind that late torso rotation is one of the key variables to maximizing velocity. T e later the shoulders rotate, the harder an athlete throws (relative to his potential). T us, f ying open kills the goal of maximizing velocity in several ways.

Remedies

Drive the Front Shoulder

T e f rst f x is to instruct the athlete to drive his front shoulder directly toward home plate. Af er the lif leg lands, the front shoulder should drive forward approximately 4 to 6 inches (depending on the athlete’s size), directly toward the catcher’s glove. Prior to release, the action of the throwing arm will naturally push the shoulders square to home plate, eventually following through so that the back of the throwing shoulder faces the batter. Guiding the front shoulder toward the target requires a conscious decision. An athlete who does f y open typically has not made this conscious decision, even af er hearing the negative ef ects of failing to do so. T e f x to f ying open, then, can be predominantly mental, with the athlete deliberately setting

182 COMMON MISTAKES AND REMEDIES a goal to guide the front shoulder toward the target. When the front shoulder does f y open, the athlete will notice it and be aware of the necessary f x.. Coach’s note: T is explanation can be dif cult for a young pitcher to comprehend. If the athlete is struggling with the concept of driving the shoulder, change the focus to driving the front elbow toward the catcher’s glove or move the focus completely to the glove arm.

Block off the Front Side and/or Glove Arm A more technical f x, placing emphasis on where the glove goes during release, can help quiet the front shoulder. In Chapter 2, we discussed methods for teaching the movements of the glove arm. T e goal of these movements, in a nutshell, is to block of the front side by holding the glove in front of the chest through delivery. With an athlete who f ies open, the glove will pull violently away and behind the body. T e instructional f x for f ying open is to keep the glove in front of the body through the entire release and f nish. Once the glove gets out in front of the body at the throwing position (#2), the athlete should attempt to f ip it over and bring the chest to the glove (more or less keeping the glove in the same spot out in front of the body). T e coach’s verbal for this is “Sof ening the front shoulder.”

Freeze Drill #2 – Emphasis on the Glove Arm

Use a freeze at Position #2 to simplify the execution of a f ip and chest-to-glove action. T is drill allows an athlete to focus on glove action during the intensity of delivering a pitch. Have the athlete hold his f nish as well to check that the glove has f nished above the waist, in front of the chest, with a little space between glove and chest. An athlete can of en benef t from maintaining

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a least a little space between the glove and chest (separation). T is drill really helps the athlete who violently pulls the glove when f ying open, because the glove must now stay in front of the body. Maintaining the separation is awkward at f rst, but it is very ef ective in helping the athlete who f ies open.

Wall Drill Instruct the athlete to practice the delivery next to a wall, as homework away from the f eld. In the stretch position, he should position the backside of the body at a position 3 to 6 inches of of the wall. T e stride then will move along the wall. If the glove pulls open at any time, it will physically hit the wall, and the athlete will be reminded of the change he needs to make. T e athlete should execute 25 repetitions daily for a week of homework at a minimum.

SLOWING DOWN THE CHANGE-UP T e most important key to throwing a deceptive change-up is maintaining full arm speed. A proper grip and release should cause the velocity to decrease when compared to that of a fastball. However, many athletes struggle to get that 8- to 12-mph dif erence when throwing the pitch hard.

Remedies

Turn Down the Volume Like turning the knob of a radio, the athlete should rotate his f ngers inside the baseball when gripping it. With a traditional change-up (three-f nger grip along a four-seam ball position), the middle f nger is directly on top of the baseball and the index and ring f ngers are spread out away from the center, while the

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Move from the 3-ﬁ nger, to the C-change, to the circle change grip

thumb and pinkie remain under the baseball. Turning down the grip means moving all f ngers further “inside” the ball—toward where the thumb rests. T e pinkie creeps up to the outside of the baseball. T e ring and middle f nger move into traditional fastball f nger positions, and the index f nger moves down along the inside of the baseball. With the thumb holding its position, the index and thumb begin to form a circle with their positioning. At this point, they are not yet touching, but forming a letter C. If needed, the athlete should continue to turn down the grip so that the thumb and index f nger form a full circle. T is is how a three-f nger change morphs into a circle-change: It’s the same pitch with a dif erent grip!

Grip Test Many times an incorrect grip causes a change-up to be too fast. As described above, the f ngers are not inside the ball at release. Regardless of this athlete’s adjusted change-up grip, the power/ fastball f ngers remain behind the ball at release. Before trying a Release f x (described below), try this grip test to check if the athlete is showing a hooked grip. Af er the pitcher comes set, call time and instruct him to freeze. Have him take the ball out of the glove and turn the ball

185 CHAPTER 6 over (so that his palm faces up). He should bend the elbow to 90 degrees and pin the elbow next to the hip. Check the baseball’s position; it should have a clean, symmetrical position relative to the hand and arm. In a two-seam ball position, the two seams should be running directly up the hand and along the direction of the forearm. In a four-seam ball position, the seams should be perpendicular to the forearm, cutting across the palm of Grip test the hand. In other words, the grip should not show a crooked ball position. You will f nd that the athlete who throws a change-up too fast will have a crooked grip. To correct the grip, remove the thumb from the baseball, adjust the baseball to its proper position on the athlete’s hand (typically away from the power f ngers) with the seams pointing in the correct direction, and then hold it there as the thumb moves back to the ball. T e athlete gripping incorrectly hooks the baseball to the thumb when setting his change-up; doing this wraps the f ngers around the ball and places the fastball f ngers back behind the baseball. Instead, the pitcher needs to learn to bring the thumb to the ball. T e two steps are to (1) set the grip in the f ngers and (2) bring the thumb to the ball!

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Release - Stay inside the Ball

Without throwing a screwball, an advanced pitcher should be able to stay inside the baseball through release. Regard- less of grip (three-finger or circle), instruct the athlete to throw the inside half of the baseball. That is, the index and middle finger should cut the inside of the baseball at release. It is like a mini-screwball! This position at release should decrease the amount of force applied to the baseball and thus decrease the velocity of the pitch. It may also cause additional movement down and to the throwing arm side of the body.

Lengthen and Loosen For other pitchers, a looser grip may do the trick. Have the athlete loosen his grip on the baseball, and move the baseball away from the palm. Fingers can remain in the same three-f n- ger positioning, or they can move further inside the baseball as with “turning down the volume.” As the ball moves away from the palm, the f ngers should spread and the ball should appear to move farther out in the f ngers.

SHORT-ARMING Changing arm action is the most dif cult challenge a pitching coach will encounter. Short-arming occurs when a young pitcher takes the ball directly from the glove to behind the head and uses a very short throwing motion to move the baseball. Catchers commonly use a short-arm motion because they have to release the ball extremely quickly.

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Remedies

Long Take-Away – “Tease the Hobbit, Feed the Giant”

First explain the path of the arm from the glove up to the throwing position. Most pitchers should be relaxed, taking the ball down out of the glove and moving it up on a long, semicircular path to a throwing position high and away from the head. To better explain this path to a young pitcher, use this image: “Tease the hobbit, feed the giant.” Tell the pitcher to imagine that the baseball is an apple and that standing behind the pitcher are two hungry creatures. T e f rst is a short and stocky hobbit, and the second is a huge, 8-foot-tall giant. As the throwing hand reaches down and out of the glove away from the body, the arm should take the apple directly past the hungry hobbit and reach up to feed it to the giant. Be sure to keep the ball facing the wall (or the apple facing the giant)-–that’s a hungry giant, and we don’t want any f ngers between his mouth and a meal!

Exaggerated Opposite If short-arming is problematic for a certain athlete, an exaggerated opposite is the most ef ective way to retrain the arm action. Instruct the athlete to follow the golden rules of the release point: elbow above the shoulder, and hand outside the elbow. In order to f nd this new throwing motion, a short-arming thrower must try to throw with full extension at the release point. Instruct the athlete to keep his hand high and away from the head at release. T is motion will probably feel very strange to the athlete, as if he’s awkwardly reaching his hand out. T e goal is to raise the hand at release, but also to maintain a release point on top of the baseball.

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Over and Down – Fence Drill

A manual way of forcing the arm to extend during the throwing motion is to set up a net or fence to manipulate the release. Place a screen or net 10 feet in front of the pitcher, so that the arm will not hit it on the follow-through. T e fence height should be roughly forehead level (with the athlete standing immediately in front of it)— that is, high enough so that the pitcher must extend his hand in order to get the baseball over the fence when throwing. Short-arming the ball will cause the baseball to hit the screen, making a loud noise The fence drill and ricocheting back toward the pitcher. Play catch with this screen in front of the athlete to encourage extension at the release point. Next, move the catcher to a short distance (30 feet) from the pitcher and instruct him to get very low. T rowing over the screen and down to a short-distance catcher will force the athlete to both get his arm up as well as get his release point well

189 CHAPTER 6 out in front of the body. T e coach’s verbal cue for this is, “Out in front and on top!” T is drill can be done on a mound or on f at ground with an adjustable-height screen. It can also be done with an existing fence. Find a way to have the fence at about eye level. If necessary, use a short outf eld fence, and have the pitcher throw from one or two knees.

LOAD

A Bit More on My Favorite Fix… At this point in the book, you have read the word load approximately 243 times. It’s no secret that I believe the load phase to be the most important component of proper pitching mechanics. T is segment is the most physically demanding, as the workload is placed squarely on the post leg to keep the body weight back, generate and produce power, and then explode violently of of the ground and pitcher rubber area. Remedies For most pitching problems, my f x starts with a review of the load phase. Is this athlete staying back well? Is this athlete in charge of the delivery? Or, is the body falling forward, allowing gravity to dictate pace, and then the pitcher relying on athleticism to catch up with the arm and get out to an appropriate release point? In many cases, this review of the load helps to correct the problem entirely. At a minimum, improving the athlete’s load phase minimizes the issue so that it is exclusive and can then be addressed much more ef ectively. Currently, I’m working with two high-level prospects in the Dodgers organization. Both have issues with locating the fastball

190 COMMON MISTAKES AND REMEDIES consistently, which is pretty much pitching in a nutshell. T ese guys are awesome—they are extremely physical and strong as bulls, and they throw in the mid-to upper 90-mph range. As with all pitchers, their challenge is to get to the proper release point (out in front, on top), at the same time, every pitch. Now, follow this line of thinking here:

Because they do not load ef ectively, they are inconsistent in catching up with the hand.

As I said before, strength is not the problem. Athleticism is not the problem. Inconsistency is! A drif toward home plate has increased the degree-of-dif culty of the delivery. Specif - cally, they drif toward home plate when they should be staying back and loading into the back leg. Doing this correctly would give the arm the necessary time it needs to move into a good launch position. Instead, they are inconsistent with their load phase, and their release point follows suit. We check this position by pausing video at the point of the foot-strike. If you can use video, watch it in slow motion, and stop and check the frame when the front foot touches the ground. Analyze where the throwing arm is at that point. It should be up in a cocked-L position, with the elbow near shoulder height and the hand higher than the elbow. For both of these athletes, the throwing arm is lower than it should be. Video is necessary in the analysis here, because we are talking about f ne movements and minimal “mistakes.” As a result of the low arm position at foot-strike, one of two things is going to happen:

1. T e arm action will continue as normal. In this sce- nario, the arm will continue to lag behind the body,

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and the hand will be late at release. T e location of the miss will be arm-side high. For these guys, this is not a “Watch out batter—here comes a fastball at the head.” Instead, it’s a 3-inch miss that takes a spot low-and- away and moves it over the heart of the plate. And it only happens some of the time. But where these guys are pitching (highest levels of professional baseball), this is a big miss and results in lots of balls hit hard. 2. T e arm action will shorten to catch up to the body. Even if slight, this is an unnatural adjustment—a change to the athlete’s normal arm action—that will increase the degree of dif culty of the pitch. T e result: Some- times the hand will get to release on time and the pitch will be located well…and sometimes it will not and the pitch will miss the spot.

As above, these are not big misses. However, they are enough to take a fastball with good tilt and f atten it out. Not only might the fastball miss over more of the plate, but it will also settle onto a much f atter plane. A f at fastball is a “fat” fastball, and good hitters easily barrel them up. At the highest levels of competition, batters are too talented for pitchers to miss location and f atten out their trajectory. Here’s the problem with really good pitchers: T ey are so athletic and throw so hard, they get away with it. T ey have loads of success from youth baseball, high school, and college, and on into professional baseball. Because of their talent, they never truly learn the nuances of pitching mechanics: they’ve never had to! By the time this lack of knowledge catches up to them, they have reached a level of baseball where development is hard to make time for. T e business of baseball is f ying by and demanding results now. T ey never realized that missing a

192 COMMON MISTAKES AND REMEDIES dozen spots in a game, even if only by a matter of inches, would be the dif erence between success and failure. And now, inexperienced at dealing with failure, this slice of humbling pie of en ends a career! T is experience with these high-level prospects conf rms the critical magnitude of teaching, truly teaching, young pitchers the importance of the load phase. When addressing any mechanical f aw, review f rst the movement between Positions #1 and #2. Can this pitcher gather even longer into the back leg? Can he stay over the pitching rubber longer and buy the throwing arm more time to get out and up? T ese are questions worth asking!

What I Learned from Working with the Nation’s Best Pitchers When I get an elite pitcher to buy into waiting back and loading even deeper:

1. He stays back longer, so the back leg engages more fully and physically. 2. Because the load is deeper, he is more explosive. When he does “push of ,” he goes farther…faster. T is is the def nition of explosive power: travel a longer distance in less time. 3. Increased explosive power = Increased velocity (mph goes up, never a bad thing). 4. Because the hand has had more time to travel, it is at a better position at foot-strike. T us, the hand gets out in front more easily, and more consistently, at release. T is improves location and command (accuracy). Also, being on top of the ball creates better down-angle (tilt), which increases the rates of ground balls.

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5. When the pitcher is on top at release, depth increases on all pitches. Two-seam fastballs show increased sink, change-ups drop more, and curveballs increase in the top-to-bottom break. And remember, velocity has increased at the same time!

To summarize, loading ef ectively into the back leg has proven to increase explosive power and velocity and improve location and tilt, while adding depth to all pitches. And that is why the load is my favorite f x!

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Mound Presence

ound presence, the comfort and conf dence of the pitcher Mon the mound, is a necessary trait of a successful pitcher. Usually athletes are described as either having this intangible trait or not, and teaching mound presence becomes a challenge. How can we help a pitcher show his ability to pitch, let his mechanics shine, and allow his potential to be realized? Over years of camps and thousands of lessons, I’ve developed an ef ective way to teach young pitchers the rules and regulations of conducting themselves on a mound. By increasing an athlete’s comfort level associated with taking the mound and holding runners, the belief is that an athlete can develop and maintain mound presence.

PROGRESSION

Progression is a term used to describe the physical steps followed when taking the mound, specif cally in the stretch

195 CHAPTER 7 position. Teaching and drilling progression increases a pitcher’s comfort level on the mound and is as important to a pitcher’s success as executing the mechanics of the motion itself. A calm and conf dent mound presence (progression work) allows a pitcher to pitch under the stress of a game with umpires, base runners, and rowdy dugouts or fans. Conversely, the inability to hold a runner, handle situational pressure, or execute a pickof movement can negatively outweigh even the most f awless pitching motion. A natural progression of steps def nes how an athlete is allowed to take the mound in the stretch position. As a coach, f rst drill athletes through the basic steps of taking the mound and delivering a pitch from the stretch. Next move to the art of holding runners, which is covered in Chapter 8, Picks. Quickly def ned, the stretch position means the pitcher has his shoulders lined up between home plate and second base. To deliver the baseball, he must only lif his leg, separate, and throw. T e stretch position is used with runners on base, most specif cally in position to steal. Quicker than the full wind-up, the stretch delivery is intended to provide less time for a runner to advance and ample opportunity for a catcher to throw out the stealing baserunner. Examples of situations when the stretch position would be used include the following.

• Runner on f rst base – T is is a traditional “steal situation,” and therefore the stretch is used to limit the baserunner’s jump toward second base. • Runner on second base – Although stealing third base is less common than stealing second, a runner on second base still necessitates a stretch motion. T ere may be less of a need for a slide-step, but the running game must still be managed.

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• Runner on third base - Although a stolen base is rarely seen in this situation, there is the threat of a squeeze bunt. T e stretch position limits the ability of the third base runner to get a jump.

Baseball rules specify a set of standards that must be followed in the stretch position. A violation of these rules is a balk, and a runner will be awarded an extra base as a result. Coach- ing progression begins by drilling athletes through the series of movements that lead into the stretch position. To achieve a level of comfort with correctly executing the progression steps, instruct pitchers to do these exercises forward, backward, and in between. Remember, terrif c mechanics are of little value if a pitcher cannot handle himself on the mound. As def ned by baseball rules, a pitcher takes the mound as follows:

1. Straddle – Similar to the stretch stance, the straddle position has the right foot parallel to and just behind the pitching rubber. T e lef foot is extended well in front of the rubber (toward home plate). T e hands are apart, with the baseball in the throwing hand. By keeping the baseball in the throwing hand, a pitcher has the option to pick of a baserunner at any time during the progression sequence.

T e coach’s verbal cue is, “Hands apart, feet apart.”

2. Step On – Stepping on to the rubber means that the right foot moves from behind the pitching rubber to just in front of the rubber. T e lef foot moves slightly forward, and the two feet are slightly greater than shoulder width apart. T e hands remain on either side of the

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Begin in the straddle position

body, with the baseball still in the throwing hand. T e eyes now move toward the catcher.

T e coach’s verbal cue is, “Hands apart, feet apart.”

3. Look in to the Target – At this point the athlete picks up the catcher to receive a sign. Note: A pitcher must

“Step On” (in front of) the pitching rubber

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be on the rubber to take a sign. It is a balk to take a sign while in the straddle position. Af er agreeing on a sign, the pitcher now comes set.

T e coach’s verbal cue is, “Look in.”

4. Come Set – T e pitcher moves from “Step On” to the “Set” position: both the hands and feet move Get a sign together. T e throwing hand connects with the glove hand, meeting in a comfortable place in front of the chest. T e feet move closer together, until they are roughly shoulder width apart. T e eyes are on the target, with enough periph- eral vision to pick up the runner at f rst base. Note: A pitcher should adjust his grip only af er the hands have come set. Any grip adjustment outside of the glove may tip the batter as to what pitch will be thrown.

5. Execute – At this point (the set position), the pitcher has only three options: • Pitch home • Step of • Pick of

Note: With truly beginning pitchers, start with “pitch home” as the only option. Be patient with the athletes, allowing

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The set position or stretch stance time for them to get comfortable with the basic movements before adding variables to their execution. Later, increase the dif culty level by adding both options (step of , home, pick of ) and assignments.

COACHING PROGRESSION As with mechanics, the key to teaching progression is following a structured plan. T is chapter provides a structured plan that allows you to work with one or multiple athletes. Always begin with basic and slow movements, adding variables and increasing speed over time. Option work is a way to involve the three options of the stretch progression af er coming set: pitch home, step of , and pick of .

Option Work - Basic To develop a level of comfort with the stretch progression movements, drill your athletes through the steps with a series of verbal instructions. Begin with the athletes in their pitching lanes,

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and use the verbal cues listed below to walk them through a pitch from start to f nish.

Example 1: Standard - Instruct the athletes to follow your verbal directions. Begin with the straddle position, and f nish with an executable assignment. For example, af er coming set, the athletes are to pitch home. T e coach’s verbal cues follow:

1. “Straddle.” 2. “Step on.” 3. “Look in to your target, get your sign.” 4. “Come set.”

Wait for 3 seconds.

5. “Home.” (Use “home” as the verbal to pitch home. “Pitch” sounds too similar to “Pick,” which the athletes will eventually incorporate.)

Option Work - Add Step Off

Af er the athletes have shown that they are comfortable moving from the straddle position through the delivery of a pitch, increase the level of dif culty. T is can be done by using a quicker pace through the movements, and then by adding variables or options. First, introduce the second option—the concept of stepping of the rubber (verbal: “Step of ”). Stepping of , which can be executed at any point of a pitcher’s progression, is the only way to move of of the rubber. To step of the rubber, a pitcher moves his back foot from in front of and directly next to the pitcher’s rubber (“on” the rubber), to a position directly behind it (“of ” the rubber). Once a pitcher has disengaged his back foot, he may then break his hands and

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Athletes here have stepped of from the Stretch Stance position move freely. T e action of stepping of frees an athlete from the rules of the stretch motion and, again, is the only way to move of of the rubber. To repeat, once a pitcher has come set, stepping of is one of only three options that he may execute (the other two are pitch home and pick of ).

Example 2: Add simple variations of “step of .”

1. “Straddle.” 2. “Step on.” 3. “Look in to your target, get your sign.” 4. “Come Se— STEP OFF!”

At this point, check that each athlete has correctly moved his back foot from in front of the rubber to directly behind it. In addition, be sure that his foot clears the rubber before any

202 M O U N D P R E S E N C E other part of the body moves. Af er making the necessary cor- rections, continue with the verbal commands:

5. “Straddle” (start over). 6. “Step on.” 7. “Look in to your target, get your sign.” 8. “Come set.”

Wait for 1 second.

9. “Home.”

Do this several times, mixing in “Step of ” at various times throughout the progression. Also, include repetitions incorporating two or three dif erent “Step of ” commands.

Option Work - Add Hold Times Hold times are a f nal variable that can be combined with each of the three options. A hold time is def ned as the amount of time a pitcher holds the baseball af er coming set, but before executing a pickof , step of , or pitch home. T e amount of time the ball is held should vary anywhere from 1 to 5 seconds. Varying the time that a pitcher holds the baseball before moving is an ef ective tool to break a baserunner’s timing and rhythm. A base-stealer wants to run and run now! By holding the baseball, a pitcher forces the baserunner to wait—stalling his jump and breaking his rhythm. Major League Baseball’s all-time leader in stolen bases, Rickey Henderson, has said that the most dif cult obstacle in stealing a base is a pitcher’s ability to hold the baseball. An inexperienced pitcher will have a hard time holding the baseball. Seconds feel like an eternity, and natural hold times will be extremely short. However, hold times are an ef ective

203 CHAPTER 7 tool to work against the running game and need to be practiced consistently to become a natural part of the pitcher’s ability to hold runners. Over time, holding the baseball (and varying the amount of time held) will become second nature.

Assignments By now, the athletes have worked through the basic progression steps, added “step of ” as an additional option, and included various hold times. However, all of the movements up to this point have included a coach’s verbal. Af er the athletes have shown that they can handle the progression of movements with the help of a coach, select one athlete to lead the group with an assignment. Identify one of the three options as the assignment, with a specif c hold time. An example of the coach’s direction is, “Johnny, your assignment is a 3-count (hold time) and a pitch home (assignment).” Johnny’s responsibility is to verbally lead the group from the straddle position, through taking a sign, and to the set position. Af er Johnny gets the group to the set position, each athlete must now execute the specif c assignment on his own. In this example, Johnny would call out “Straddle…step on… look in to your target…come set.” T en, each player individually counts to three (one thousand one, one thousand two, one thousand three) and delivers a pitch home. Give each athlete an opportunity to lead the group in an assignment. T is forces each pitcher to think clearly with added pressure, helping to solidify his understanding of the sequence of progression steps. Mix up hold times as well as options (3-count and pitch home, 1-count and step of , 4-count and pitch home, etc.). At this point, use the pickof as an option, even if you have not covered the fundamentals of the pick movement. T e pitchers are now ready to practice all three of the options, and picks

204 M O U N D P R E S E N C E will follow. At this point, allow the athletes to execute a pickof movement as they believe it to be.

Reactions Reactions are exercises where the athletes have no assignment before starting their progression. Either guide the athletes from straddle to the set position, or instruct one of the athletes to do so. Af er each athlete has come set, instruct the athletes to remain calm until they hear a verbal command from the coach. Athletes are to react to what the coach requests, executing one of the three options (pick, home, or step of ). During reaction exercises, instruct the athletes to work on comfortably holding the baseball for an extended period of time. As the athletes are forced to wait for a coach’s command, they must calmly hold the baseball before executing.

Simon Says Use the amazing benef ts of competition to increase the intensity of your athletes’ attention and level of focus. In this version of Simon Says, you maintain your role as the verbal leader, but look for any missteps in the athletes’ progression sequence or reactions. Verbally lead the group from straddle position to set position, and f nish with an option command. Athletes caught out of sequence or incorrectly executing the movement are out of the competition, but become additional judges along with coach. Adding judges helps to avoid “losers,” while still allowing for a “winner.” Adjust the speed and dif culty of the commands as necessary. Observe common mistakes and suggest ways everyone in the group can improve. Continue the exercise until one pitcher remains as the winner.

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SLIDE STEP

Executed from the stretch position, the slide step is an abbreviated leg lif used to defend against an opponent’s running game. T e purpose of a slide step is to get the ball to home plate in less time than with a full leg lif , thereby providing the catcher more time to throw out potential base stealers. T e term slide step paints a picture of the foot moving directly to the plate, sliding along the dirt. While this may be accurate for a major league pitcher, a slide step can also involve a small leg lif . T e goal is to be quick to the plate, but also remain ef ective and under control. To maintain an ef ective delivery, a beginning pitcher should use a small leg lif instead of a straight slide step.

Understanding the Slide Step As long as a pitcher is still able to load the back leg, he can be as quick as he likes to the plate. T is means that regardless of the height of the leg lif , the hands must break and the weight must stay back when the lif leg begins its descent down and out toward the plate. T e same rhythm holds true with a full leg lif , a half leg lif , a tiny hitch, or a straight slide step. As soon as the lif leg begins moving toward home plate, the hands must break and the back leg must load. T is ensures that the throwing hand is high and away from the body at the power position, and ready to explode forward, in rhythm with the surging body. Athletes need to understand that the “load” movement happens regardless of how high the leg lif is. With a slide step, this movement happens much sooner than with a full leg lif . In fact, if a major-league pitcher were to execute a slide-step without raising the front leg, he would essentially be moving

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directly from the stance position into a load. And this is the most important key in teaching the slide step. When the lif leg, glove arm, and throwing hand move down and out from the balance point, the weight must remain back. With an abbreviated leg lif , athletes have a tendency to pick their lif leg up and immediately rush toward the plate. In an ef ort to get rid of the baseball, the body surges forward, dragging the arm behind, and the baseball releases high. Keeping the weight back gives the arm time to get into a proper throwing position.

Coaching the Slide Step Work toward a full slide step in stages. Af er the athlete throws pitches with a full leg lif in the stretch position, explain the fundamentals of the slide step and the overarching rule: At the power position (#2), the weight must be back and the hand must be high. Guide the athlete from a full leg lif ...to a half leg lif ...and f nally, to a tiny hitch (6-inch leg lif ). A true slide step with no leg lif is very dif cult, because keeping the weight back is very hard. T erefore, beginning pitchers are taught a slide step using a very small leg lif . Additionally, using a tiny hitch maintains a 1-2-3 pitching rhythm. It is important for athletes to feel and understand the rhythm of breaking the hands when the leg starts down and out. Use the idea of an eject button that hovers at the balance point. With a full leg lif , the eject button is roughly waist high. As the leg lif s up, the knee hits the button, causing all three limbs to “eject.” Ejecting means extending the lif leg, glove arm, and throwing arm down and out, while the weight remains back, centered over the pitching rubber. Next, cut the leg lif in half and move the imaginary eject button down to about thigh height. T is abbreviated leg lif

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means that the knee will hit the eject button (hands break, leg moves down and out, back leg loads) much sooner than with a full leg lif . Again, emphasize keeping the weight back as the athlete ejects from the lower leg lif position. Once the athlete is comfortable with a half leg lif , move the button down even farther, so that the pitcher is taking a tiny leg lif . Af er taking this tiny hitch, the athlete immediately moves to the throwing position. As long as the weight is back and the hand is high, the athlete is executing safely and ef ectively. At foot strike the hand will be up above the shoulder, and at delivery the arm will be out in front of the body with the f ngers on top of the baseball.

Note to Coaches

Very few advanced athletes can handle a slide step with no leg lif . With a straight slide step, the athlete moves directly from the stretch stance to the throwing position. T ere is no leg lif , as if the eject button has been hit before the athlete begins his motion. T e leg immediately moves out, and the hands immediately break. T e weight must remain back through the break, and then surge forward through delivery. Without a leg lif , it is very dif cult to keep the weight back. For this reason, teach young pitchers a mandatory hitch as a slide step. A tiny leg lif is quick enough to give a catcher time and helps to maintain a 1-2-3 rhythm in their delivery. When evaluating a pitcher, baseball coaches measure the amount of time that he takes to release the baseball. T is time determines if the pitcher will have a baserunner try to steal on him. T e clock starts when a pitcher f rst moves out of the stretch position and stops when the ball reaches the catcher’s glove. In the major leagues, this time is generally less than 1.3 seconds. T is means that a pitcher takes 1.3 seconds to get the

208 M O U N D P R E S E N C E ball into the catcher’s hands, giving his teammate a good chance to throw out a baserunner attempting to steal. T e younger the athlete, the longer the delivery time:

Delivery times

AGE DELIVERY TIME

Youth (8-12) 1.9 seconds

Sr. Youth (13-14) 1.7 seconds

HS (15-18) 1.5 seconds

College (18-22) 1.3 seconds

Professional below 1.3

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CHAPTER 8

Picks

uch like the pitching motion, a proper pickof can be bro- Mken down into easily understood, teachable movements. T is chapter discusses the fundamentals of each pickof move and provides a plan to teach these movements in a systematic and understandable fashion. Remember, good coaching requires a plan, and the intention here is to build up to a solid pickof move—one that is understood, not simply memorized, by the athlete. Start slowly, and work toward a complete pickof move. T e true job of a pitcher relative to a baserunner is to keep the runner close to the base. If the pitcher can keep the runner from getting a big lead or a good jump, he has done his part in controlling the of ense and the of ense’s running game. Any outs obtained through a pickof move should be viewed as a bonus, and pitchers should be told to focus on making a good

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throw. Af er all, a great pickof move with a bad throw won’t get anyone out! “Pitchers pick runners of with their feet!” T is quote sounds silly, but it is absolutely true. Solid footwork is the most important part of a successful pickof move. When coaching pitchers, emphasize the importance of proper footwork by always beginning with slow, deliberate movements. Start slowly and without a baseball, working up to full speed with a baseball. Increase speed and intensity over time, with plenty of repetition. Instruction in pickof moves can be provided in small groups. To begin, line the athletes up at pitching rubbers or cones. When working in groups, pitching rubbers or cones can be placed in a slightly arching circle and a catch net can be set up as the target. To coach pickof moves, rotate the pitching rubbers 90 degrees (or adjust the athletes relative to a cone), so that the pitchers now have the throw nets behind them. For an athlete standing in a stretch stance, the nets should be in the position of f rst base. If using the right-f eld line as the pitching rubber for the group, instruct each athlete to rotate 90 degrees so the right-f eld line now runs directly through his feet. Ensure that each lane has adequate space for f ailing arms and legs.

FIRST-BASE PICK FOR A RIGHT-HANDED PITCHER From the stretch position, use three numbered movements to teach a pick to f rst base. T e action of a pick to f rst base is as follows:

1. Right: T e right foot moves toward third base. 2. Lef : T e lef foot moves toward f rst base (into the power or throwing position). 3. T row.

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Come set Right foot toward Left foot toward third base ﬁ rst base

Pitchers should understand that they are getting into the “throwing position” toward f rst base. In other words, the feet must be lined up toward the target (f rst base), with the inside of the back foot (right foot) directly facing the bag. By f rst moving the right foot, then the lef foot, the pitcher makes sure that his weight is planting of of the right and moving toward the lef (toward f rst base) during the throw. With the back foot’s initial movement, there should not be a weight shif toward third base. Because a pitcher’s weight remains over the rubber, the right foot should land only 5 or 6 inches in the direction of third base. In addition, the right foot rotates as it steps in the direction of third base, so that the inside of the ankle points directly toward f rst base (with the toe pointing toward home plate). Regardless of how quick the feet move, correctly planting the right foot f rst will help keep the body moving toward f rst base while making an accurate throw. T e hands separate just af er the right foot begins moving toward third base, with the throwing arm moving to a high, cocked position. However, the throwing motion of a pickof

213 CHAPTER 8 move is much shorter than a pitch to the plate. Short and compact, it is similar to that used by an inf elder or catcher. T e hand moves up to the throwing position, close to the head or ear in order to release the ball as quickly as possible. For beginning pitchers, let the arm action naturally shorten up to keep pace with the increasing foot speed.

Coaching Notes Never teach an athlete to step of behind the rubber when picking to f rst base.

Stepping of of the rubber before picking takes more time and should thus be avoided. T e only real reason for this is a lack of coaching preparation time. With a tournament two weeks away, for example, a coach might teach kids who had no experience with holding runners to step of every time they picked. In such a case, the coach might feel that this instruction would be the easiest and safest way for the athletes to get in the habit of stepping of , whether or not they would be picking of . While this decision makes sense, a true pickof move does not involve stepping of the rubber.

Athletes may never fake a throw to f rst base.

If there is an attempt made in the direction of f rst base, there must be a throw. Unless the athlete has stepped of of the rubber (which is not taught for the purposes of picking of ), the ball must be thrown.

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Coaching the First-Base Pick for a Right-Handed Pitcher

As with any fundamental movement in baseball, repetition is key! Guide the athletes through four levels of pickof instruction:

1. Slow and Deliberate - No Baseball Begin the workout with a slow, deliberate pace and without a baseball. With the athletes in their pitching lanes, instruct them to follow your verbal lead. T e group should move one step at a time, together as a unit. T is allows each athlete to grow comfortable with the movements under the watchful eye of an instructor. It also allows the athletes to learn from each other through observation and communication. T e verbal command for this initial exercise should encourage the athletes to move slowly and concentrate on footwork. As the conductor of this f ne symphony, use a long, drawn out command to maintain a methodical pace:

T e coaching verbal cue is, “Right foot toward third (#1)…lef foot toward f rst (#2)…throw (#3).”

Take your time between steps to check for common mistakes, such as taking a big step toward third base or not opening up the right foot toward the target (f rst base).

2. Quicker Footwork - No Baseball Af er the f rst step is performed successfully, advance to a quicker pace but without using a baseball. Athletes should

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Stretch stance

“Right”

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“Left”

“Throw!”

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focus on moving their feet quickly, but maintaining a “right- lef -throw” rhythm. Remember, planting the right foot before the lef ensures that the athlete will not fall away from the target when making a throw. Increase the speed of your verbal command to coincide with the desired speed of the pitchers’ footwork: T e coaching verbal cue is, “Right, lef , throw” (quicker pace). As the pitchers’ foot speed increases, continue to speed up the verbal commands. Instruct the athletes to maintain a rhythm of “right-lef -throw,” regardless of how fast they move their feet or how fast the verbal command is!

3. Slow and Deliberate - Add Baseball Af er reaching full speed and observing proper footwork and rhythm, add a baseball and return to a slow and deliberate pace once again. Remember that athletes do not like to move slowly; they want to go full speed—and they want to go full speed now! T e addition of a baseball and a live throw serves as a step forward in the eyes of an athlete and gives a coach the opportunity to drill the footwork fundamentals once again. Use a slow, deliberate verbal to encourage the desired pace. T e coaching verbal cue is, “Right foot toward third (#1)… lef foot toward f rst (#2)…throw (#3).”

4. Full Speed - Add Baseball Before moving to the f nal step (performing at full speed with a baseball), each athlete must show that he understands the importance of proper footwork. Proper focus on moving to the throwing position, opening up the right foot so that the ankle faces the target, and a “right-lef -throw” rhythm are all

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important indicators that a pitcher is ready to move at full speed. When all athletes are ready to be further challenged, shorten your verbal cue and increase the pace. T e coaching verbal cue is, “Right, lef , throw” (quicker pace).

Jump Pick T e jump pick (or jump pivot) is simply a pick to f rst base at full speed. T e feet move so quickly that this movement looks like the pitcher is actually jumping and turning toward f rst base. While this is essentially true, there is one absolute that must remain constant regardless of the speed of the feet: Right, lef , throw! T is cannot be said enough: T e right-lef -throw rhythm ensures that the athlete keeps his weight moving toward f rst base during the pickof . While instructing athletes to move at full speed, describe the concept of a jump pick and explain that the term jump is used because there will be a point where both feet are of of the ground. But, emphasize the fact that no matter how fast they can execute a pick to f rst base, they must maintain a right-lef -throw rhythm.

FIRST-BASE PICK FOR A LEFT-HANDED PITCHER While the ef ective ingredient in the right-hand pick move is quickness, the lef -hand pick move relies much more on deception. In order to be fooled, a runner must believe that the pitcher is moving toward home plate to deliver a pitch. At the last possible moment, the pitcher shif s his focus and direction toward f rst base with the hope of catching a baserunner who has taken his eyes of the pitcher.

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T e main reason for executing a pick is to control the running game; any outs should be viewed as a bonus. However, because a lef -handed pitcher comes set facing the runner, there is a real possibility of catching a napping baserunner. T e fundamentals of the lef -handed pick move are as follows:

1. Up – T e leg lif moves up to the balance point. 2. Down – T e leg lif begins to move down from the balance point. • T ere is a step to 45 degrees (halfway between f rst base and home plate), with the body drif ing toward home (key #1, presented below) as much as possible. • T e shoulders stay square to f rst, and the chest faces the f rst-base runner (key #2). • T e hands separate (key #3). 3. T row – T e shoulders turn as little as possible while the pitcher still maintains an accurate throw. • T e eyes must be on f rst base when the front foot lands and before throwing. 4. Follow T rough – T e pitcher walks toward f rst base to ensure that the umpire sees him making an ef ort in that direction.

T e pitcher’s head and eyes will vary their focus from home plate to the baserunner, both during a single pickof move as well as from one pickof move to the next. For beginning pitchers, the most important rule with regard to the head is that the eyes must be on f rst base when the foot of the lif leg touches the ground. T e throw is executed from this position, and the athlete follows the throw by taking three to four steps in the direction of f rst base. T is short walk ensures that both

220 P I C K S the home plate umpire and the f rst-base umpire see a distinct movement toward f rst base.

Coaching the First-Base Pick for a Left-Handed Pitcher Beginning pitchers should be taught to use patience with their pickof moves and to stick to basic fundamentals until comfortable with the movements. Relying on deception means that a pitcher must give the baserunner the opportunity to get picked of . In an ef ort to deceive the runner, the pickof movements should mimic those of a pitch to home plate as much as possible. T erefore, it’s important for an athlete to know his specif c characteristics when throwing to home plate. When going for an out at f rst base, the pick move should involve as many similarities to the pitch home as possible.

Key #1 – Start the Pick After Reaching the Balance Point When lif ing the leg, keep the body weight over the rubber until reaching the peak of the leg lif . An early drif toward f rst base is a clear giveaway that a pitcher is not making a pitch to home plate.

Key #2 – Step to 45 Degrees Perhaps the most important characteristic of an ef ective pickof move is where the lif leg lands. Stepping on the 45-degree line will keep the chest facing f rst base and the runner seeing a body drif toward home plate as much as possible. When the pitcher steps as close to home plate as the rules allow, a baserunner also sees separation between the feet upon landing.

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Daylight visible between the pitcher’s legs typically means that the feet are moving toward home plate. If an athlete were to naturally step toward the baserunner, there would be no visible separation between the feet.

Key #3 – Vary the Head It’s important for the athlete to understand the value of changing routines. T e head is an additional An umpire must see the front foot variable that can be used to step toward ﬁ rst base to avoid a balk confuse the runner. T ree points in the pickof move of er distinct opportunities for the head and eyes to face either home plate or the runner: stance, leg up, and leg down. A pickof move can start with the eyes facing the baserunner as the pitcher holds in the set position. T ey can shif to home plate as the leg lif starts up…and return to the baserunner just before the leg lands on the 45-degree line. Both pitches and pickof s should involve dif erent combinations of head movements to ef ectively hold the baserunner close to f rst base.

Key #4 – Vary the Intensity T ere may be varying levels of intensity to the same pickof move. Lef -handed pitchers of en have a “show” move that is designed to

222 P I C K S disguise their more ef ective “best” pickof move. T e “show” pick is intentionally slower and less deceptive and is intended to trick a baserunner into believing that he has seen the pitcher’s true pickof move. Af er using several pitches and “show” pickof moves to give the baserunner a false sense of conf dence, a pitcher can invoke the element of surprise by using his best pickof move to get an out. T is strategy can also be used by right-handed pitchers.

STEP-OFF PICK T e lef -handed pitcher has a huge advantage in holding runners because of the simple fact that his body faces f rst base. T e step-of pick takes advantage of this position by using a quick strike to f rst base. Af er coming set to the stretch stance position, an athlete simply steps of the rubber with the back foot, plants, and f res a short-armed throw to f rst base. T e ef ectiveness depends on quickness not deception, so the throwing motion must be short and quick.

Coaching the Step-Off Pick

Several coaching keys can make all the dif erence between simply showing a dif erent pick and obtaining an out. Because the step- of pick is a very short movement, the athlete should understand the benef t of getting closer to the throwing position toward f rst base. T e following coaching keys assist with just that—lining the feet and shoulders up to f rst base, albeit in a subtle manner.

Key #1 – Move the front foot slightly toward first base at the set position In an ef ort to allow the shoulders to turn quickly on the throw, the front foot should move slightly closer to f rst base when

223 CHAPTER 8 coming set. Moving the front foot toward f rst base better aligns the feet to the target (closer to the throwing position) and allows the front shoulder to more easily turn toward f rst base as the arm comes up to the ear to throw. T e feet should remain in a stance similar to the position used for In a game of inches, subtle all other movements, with adjustments make the dif erence a slight adjustment of the between safe and out front foot toward f rst base.

Key #2 – Open Up the Post Heel For similar reasons, another trick is to teach the athlete to slightly open up the heel of the post leg. When coming set, the heel should be moved away from the rubber to help the foot get to a better throwing position af er stepping of .

Key #3 – Step Back When Stepping Off

A f nal key to getting close to the throwing position is to step back slightly toward third base when stepping of (instead of stepping straight back toward second base). T is specif cally helps the hips turn to make the throw to f rst base.

Left-Handed Pick Sequences As with any athlete, lef -handed pitchers must f rst develop a true understanding of their pitching mechanics before incorporating

224 P I C K S pickof moves. T e number one responsibility of a pitcher is to throw quality strikes to a batter. Holding runners is a secondary responsibility, and pickof outs are truly a bonus. When an athlete is ready to advance beyond the basic pickof move, involve a step-of pick, and vary when and how the pickof moves are used. Facing the baserunner gives a lef -handed pitcher a distinct advantage over right-handers in controlling the running game. T e two main variables used by a lef -hander are when to pick and where to look. Seeing the runner directly in front of him, the lef -handed pitcher is able to vary both the physical action of the pick move and when the pick is attempted. Head position as well as the speed and intensity of the movement can be varied. By changing the variables, a pitcher avoids using recognizable movements and predictable sequences (every third pitch, in 2-strike counts, etc.). T e focus of the head and eyes can be changed at three points in the delivery: the set position (“stance”), as the leg moves up to the balance point (“leg up”), and as the hands break and the leg starts its descent into the throwing position (“leg down”). When teaching lef -handed picks, help pitchers learn the value of changing their focus from pitch to pitch and understand how this can be used to deceive a baserunner.

Sample Pickoff Sequence A sample pick sequence with a play-by-play description follows. T e position of the head is identif ed in the stance, leg up, and leg down columns. T is sequence involves three teachable keys to lef -handed pick sequences: the position of the head, the showmanship of the physical movements, and the decision when to incorporate a pick. For example, the pick to f rst base in movement #2

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MOVEMENT STANCE LEG UP LEG DOWN ACTION

1 Look at 1st Look at 1st Look Home PITCH

2 Home 1st Base 1st Base PICK (show)

3 1st Base 1st Base Home PITCH

4 1st Base Home Home (long look) PICK (best) Head moves to 1st base as foot STEP-OFF 5 Home steps off and arm reaches to throw PICK

Left-handed pitcher’s pick-of sequence

should be somewhat obvious (“show pick”). T e head and eyes pick up f rst base early in the leg lif and stay on the base the entire movement. Doing this sets up a dif erent, more deceptive pick later in the sequence. In movement #4, the head faces home plate during the leg lif and stays on home plate until just before the front foot lands on the 45-degree line (“best pick”). Movement #5 involves a step-of pick, which can be used at any point in a sequence.

SECOND-BASE PICKS T ere are two pickof moves to second base. T e f rst, the spin move, uses quickness to pick of the runner. T e second, the inside turn move (or spaghetti pick), uses deception to nab the runner. To begin practice, line the athletes up at cones or at pitching rubbers with pegs digging into the grass or dirt. When coaching the second-base pick, these pitching rubbers should be in a normal position. However, athletes are now to use the opposite side of the rubber, facing away from the throw nets, so that the nets represent second base over their back shoulder. If using the

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To train second base picks, athletes turn around so the throw nets are over their back shoulders. right f eld line to act as the pitching rubber for a group, simply have the athletes turn 180 degrees so that they now face center f eld, representing home plate, with the throw nets behind them representing second base.

The Spin Move T e spin move is appropriately named. As with any ef cient movement in baseball, the spin move involves a pitcher turning to his glove side to deliver the baseball. T e pitcher does this in conjunction with a middle inf elder breaking to the second-base bag. Whether the signal comes from the coach, the catcher, or either of the middle inf elders, the pitcher must work with the shortstop or second baseman to ensure proper timing of the spin and throw.

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Quickness is key! In rhythm with a middle inf elder’s break toward second base, the pitcher’s footwork and body movement must be fast enough to beat a diving runner back to the bag. Fundamentals are important and must be well-practiced so that they are maintained while moving at full speed! T e important teaching points of a spin move to second base center on the familiar throwing position. A pitcher’s responsibility is to get his feet in throwing position toward second base before releasing the baseball. To maintain a consistent coaching language, one that the athletes will easily follow, use the right-lef -throw rhythm, and communicate the importance of accurately and completely reaching the throwing position to align the feet to second base. T e physical actions of a spin move are:

1. Right – T e right foot moves toward home. 2. Lef – T e lef foot moves toward second base (into throwing position). 3. T row – Use a quick-release throw with a short arm path.

Movement #1 is the most dif cult step in the spin move to second base. T e right foot steps in the direction of home plate, turning inward so that the inside of the ankle now points back toward second base. At full speed, it will appear that the right foot takes the place of the lef foot, as the lef foot clears toward second base. At a slow and deliberate teaching pace, movement #1 will leave the body in an awkward position. During movement #2, the lef foot moves in the direction of second base to complete the base of the throwing position. At this point, the feet and shoulders should be lined up between home plate and second base. Additionally, the pitching rubber

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The spin move uses quickness to pick of a baserunner should be in between the feet. Both of these are important coaching keys to making an accurate throw.

Coaching the Spin Move Actual instruction and verbal commands follow the same sequence as with the f rst-base pick.

1. Execute a slow and deliberate move, with no baseball. 2. Repeat the move with quicker footwork – still no baseball.

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3. Execute a slow and deliberate move with a baseball. 4. Execute the move at full speed with the baseball.

T e coach’s verbal cue is, “Right foot toward home (#1)...lef foot toward second base (#2)...throw.” As you increase the speed of execution and eventually add a baseball, this verbal will be shortened to the familiar “Right-lef -throw.”

Coaching Notes T e majority of throwing errors on spin picks to second base are a direct result of poor footwork. Specif cally, the right foot does not get turned all the way around so that the inside of the ankle correctly faces the second-base bag. Instead, the foot moves in the direction of home plate, but the inside of the ankle ends up facing closer to f rst base, or right f eld. As a result of this, the lef foot ends up stepping somewhere between f rst and second base. Because the feet are now pointed well to the right of the second-base bag, the pitcher must throw across his body to make an accurate throw. As expected, this of en leaves the throw erratically on the second baseman’s side of the bag. Since a middle inf elder is attempting to catch and tag on the run, this becomes a very dif cult play and of en results in an error. In addition to checking where the lef foot lands, make sure that the pitching rubber is between the feet af er the right and lef feet have both stepped. T is ensures that positive momentum is being made toward second base.

The Inside Turn (Spaghetti) Move To execute the inside turn move, a pitcher f rst lif s his leg as if normally delivering a pitch to home plate. Af er reaching the

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The spin move

Stretch stance

Right foot toward home plate

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Left foot toward second base

Throw

232 P I C K S peak of his leg lif , the pitcher turns inside, swinging his lif leg back toward the second-base bag. T e post foot (the back foot, closer to the rubber) rotates so that the body can square toward the bag and deliver a throw. Either the second baseman or shortstop breaks to the bag, as the pitcher lif s his leg, to receive the throw. T e success of an inside turn move depends on deception. A deceived runner believes he sees the pitcher begin a delivery to the plate, only to be caught of guard when the pitcher turns inside and makes a throw to second base. T is move is not a quickness pick and should not be executed at any speed that is faster than a pitcher’s normal motion.

Coaching the Inside Turn Move

Coaches must communicate the fact that the success of this move depends upon a pitcher fooling the runner. Af er all, turning inside (away from the glove) is an inef cient motion and makes a throw to second base more dif cult than turning to the glove side (as in the spin move). T erefore, there must be some other reason why the move is ef ective. T is reason is deception! In order for an inside turn move to work, a pitcher must fool the runner into thinking he is going to the plate. T is means that a pitcher has from his initial stretch stance position through his leg lif to convince the runner that he is not picking of . Ideally, the runner turns his attention away from the pitcher and toward home plate because he believes the pitcher is going home. As he begins to take a secondary lead, the runner is caught of guard when the pitcher turns inside and delivers a throw. T ree coachable keys make the inside turn an ef ective pickof move:

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Key #1 – Open Up the Post Heel

When a pitcher knows he will be executing an inside turn move on the mound, he should take the rubber with a slightly open post foot. When stepping on the rubber, the pitcher rotates his heel away from the rubber 2 to 3 inches. T is way, the front of the foot still sits directly next to the rubber, but the heel and back of the foot have drif ed Turn the heel of the post foot away from slightly away from the rubber to allow for hip rotation the rubber. Young athletes have trouble with the inside turn, because it is dif cult to get any velocity on the baseball. Opening up the heel allows the body to make the awkward turn inside somewhat easier and allows the arm to clear and make a strong throw. Be careful that the foot does not open up too soon, as disengaging the rubber is grounds for a balk and runs the risk of giving away the play.

Key #2 – Start the Body Turn on the Way Down Athletes should begin the inside turn only af er the lif leg has reached its peak and has just begun its descent. A pitcher’s goal is to mimic a delivery home as much as possible, and any inside turn before reaching the peak of the leg lif is too quick for the runner to think the throw is going home; he is not fooled.

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As with any pickof move, the pitcher is not allowed to make any move toward the plate before picking. T erefore, be clear when telling pitchers they must not drif toward home plate as they turn toward second base. While it is correct that pitchers do not start their turn while the lif leg is going up, make sure that the turn happens very shortly af er the leg begins its descent to avoid any natural drif in the direction of home plate. T e coach’s verbal cue is, “T e leg is like a skateboard riding down a skate ramp. Up, down, and turn.”

Key #3 – Show the Baseball As the lif leg begins its descent, the pitcher should break the hands and move the throwing hand down and out as if preparing to throw normally. On a pitch to the plate, a pitcher gets to the balance point and then lowers the leg as the hands break down and out. When doing an inside turn, breaking the hands and showing the baseball to the runner are additional points of deception that he is throwing home. T e throwing hand never Show the baseball before turning reaches a true throwing posi- the head to second base tion because it will be stopped by the body’s inside turn. In fact, the baseball will lead the body back toward second base. Af er the arm swings out of the glove behind the pitcher’s body, the

235 CHAPTER 8 leg will have begun its descent only to turn inward and follow the baseball. Use these three keys in order to develop a smooth inside turn move. As with teaching the spin move, begin with the athletes facing away from the throw nets so that the nets represent second base. Begin at a moderate pace, without a baseball. Use your judgment to increase execution speed and add baseballs.

Coaching Notes Although faking a pick to f rst base without stepping of the rubber is not allowed, pitchers are allowed to fake a throw to second base. Using either the spin move or the inside turn (spaghetti) move, a pitcher does not have to throw the ball. How- ever, as with all pickof moves, athletes should be taught to throw f rst…and stop second. Any hesitation will give a runner the split second he needs to get back to the base. A second note has to do with the path of the lif leg. Some athletes turn all the way around so that the lead leg lands in or around a straight-line throwing position to second base. Other athletes tap the lif leg down and shuf e their feet to get into position for a throw. I’ve found this dif erence is due mostly to body type, and athletes do what is natural for them. T erefore, I don’t teach either way and allow individual athleticism to take over.

THIRD-TO-FIRST MOVE

Few situations benef t more from a “free” out than one with runners on f rst and third bases. A properly executed third-to-f rst pickof move can help kill an of ensive rally and get a pitcher out of a jam. T is move is the most advanced of the picks described thus far and requires patience and understanding on the part of

236 P I C K S both the athlete and the coach. In baseball circles, this move is of en referred to as a 31 (“thirty-one”) move. A third-to-f rst move involves starting a move to third base, then spinning and attempting to pick of the runner at f rst base. While a pitcher cannot fake a throw to f rst base without stepping of the rubber, he can fake a throw to third base. A pitcher does not have to throw when moving toward third base and therefore is allowed to stop an initial move to third and then throw to f rst. T e physical actions of a proper third-to- f rst pickof move follow.

1. Up – T e lif leg moves up to the balance point. 2. Down – T e lif leg begins to move down from the balance point. • A 45-degree step toward third base is taken, with the body drif ing toward home (key #1, below) as much as possible. • T e shoulders stay square to f rst base, with the pitcher’s jersey number facing the f rst-base runner (key #2). • T e hands separate to show the baseball (key #3). 3. Push/Bounce • T e lif foot lands and pushes of immediately (key #4). • T e body turns in the air to get into throwing position toward f rst base. 4. Right – T e right foot lands opening up toward f rst base. 5. Lef – T e lef foot lands lined up to throw. 6. T row – An aggressive release is followed by an accurate throw.

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Up down push

The third-to-fi rst move: Step to 45 degrees, bounce of the lift leg, and fi nish with a right-left- throw to fi rst base.

Bounce Right - left - throw

Coaching the Third-to-First Move T e goal of a third-to-f rst move is to get an out at f rst base, a point that must be understood by all pitchers. As with the inside turn pick at second base, a 31 move relies upon deception. T erefore, the pitcher’s job is to fool the f rst-base runner (not the third-base runner). T e f rst-base runner must believe the pitcher is going home. Four coachable keys help to fool the f rst-base runner and

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make the third-to-f rst move an ef ective pickof .

Key #1 – Show a Body Drift T e f rst piece of deceiving the f rst-base runner is a showing a drif toward home plate. Along with maintaining vision of the pitcher’s numbers, a runner needs to see the body sway in the direction of home plate. T is way, he believes that the pitcher is

in fact throwing home. A runner needs to see the body Af er the pitcher lif s his moving toward home plate leg, the next movement is to step toward third base and begin the pickof . Baseball rules require that the landing foot must move at least 45 degrees toward third at landing. It is the pitcher’s goal to keep the body moving toward the plate as much as possible while the foot reaches out more in the direction of third base. Remember, while an umpire will see the foot move toward the third-base line, the f rst-base runner’s view makes it dif cult to see where a pitcher’s foot actually lands.

Key #2 – Keep the Jersey Numbers Facing the Runner A good runner at first base retreats to the bag as soon as a pitcher’s shoulders turn to throw the baseball (or fake a throw) to third base. From the first-base runner’s point of

239 CHAPTER 8 view, when the shoulders turn, the numbers on the back of the jersey turn away as well. Therefore, instruct pitchers to keep their numbers facing first base up until turning to throw to first. Keeping the shoulders square to f rst base takes discipline and practice. At f rst, the shoulders will turn naturally to prepare for a potential throw to third base. T is is where the true understanding of the big picture comes into play. Specifically, there is no need to fake the runner at third base back to the bag. Instead, the entire focus of the play is to deceive the runner at first base. So, athletes need to understand the importance of holding their shoulders still so that the body does not twist to give away the play. Remember, the first-base runner needs to believe that the pitcher is throwing home. Keeping the numbers facing him will do just that!

Key #3 – Show the Baseball As with a normal pitch to the plate, the hands must break as the leg lowers out of the balance point. Also consistent with the inside turn move to second base, the hands will break but will not reach the full extended throwing position. Instead, the hand moves down and out of the glove only to be pulled to the ear for a quick throw to f rst base. Do not fake a throw to third! T e throwing hand breaks from the glove, then moves down and away from the body. From the perspective of the f rst-base runner, the hand is moving back and preparing to deliver a pitch home. He has no reason not to believe the pitcher is throwing home. If the shoulders turn or if the hand fakes to third, the runner immediately retreats back to f rst base.

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Key #4 – Push Off Immediately After Landing the Lift Leg

Up to this point, the leg has lif ed and moved 45 degrees in the direction of third base. T e body has drif ed toward home plate—not in the direction of third. By choice, the body has remained centered over the mound, so much so that if the pitcher does not push of of the lif leg when it lands, he would fall out of balance and end up on the dirt. From the perspective of the f rst-base runner, the shoulders have remained square, and the body has shown a slide toward home plate—both indi- cations of a pitch home. As the foot touches the dirt, the entire body must push of the lif leg in the direction of f rst base. If the move is executed correctly, the lef foot lands and immediately pushes of so that both feet are temporarily in the air. T e body turns in the air (toward the throwing position), and the throwing hand moves up in preparation to release. Af er the push-of , the right foot lands, the lef lands, and a quick throw follows (right-lef -throw). Only the lef foot should move toward third base! Young pitchers have a tendency to step toward third with their lef foot, then also step with their right foot, using it to pivot and turn toward f rst. T is movement is inef cient and gives the runner on f rst base time to get back to the bag. Make sure your pitcher steps only with the lef foot and immediately pushes of toward f rst base!

Coaching Notes

Stay Aggressive (All Picks) A runner needs only a split second to recognize a pickof move and dive back to a base. Any hint of hesitation in a pitcher’s move can provide just enough

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time to get back safely, even if the runner had been initially fooled. T erefore, when picking to any base, a pitcher should be thinking: T row, throw, throw...stop! T is means, “When you pick, you throw!”…unless there is some outstanding circum- stance that requires stopping the throw.

Avoid Hesitation Pitchers should never check to see if they have a runner picked of , and then try and make a throw. If a pitcher is not ready to throw the ball when picking, every runner (fooled or not) has plenty of time to return to the bag safely. T ink “throw” f rst and adjust if necessary.

Know When To Throw Remember that if the pitcher does not step of the rubber, any move to f rst base must involve a throw to f rst. Picks to second or third base, on the other hand, do not mandate a throw. T erefore, if a pitcher executes a proper inside turn move, for example, and the second-base runner breaks for third, the pitcher should obviously stop his motion and deliver the baseball to third base to get the out.

242 CHAPTER 9

Stretching, Warm-Up, and Long Toss

s with other fundamentals associated with becoming a Apitcher, the warm-up routine is a terrif c habit to teach and a necessary component of the full pitching package. A proper warm-up is vital to an athlete’s good health and long career, and a youth coach cannot neglect it. T e warm-up routine of a youth pitcher should be simple, ef ective, and consistent, designed to keep the attention of a young mind and maintain a healthy arm. Young arms are fresh and resilient, and a consistent warm-up and stretching program keeps them that way. Establish proper practice etiquette by separating players into lines, rotating leaders at the front of each line and taking stretching seriously. T is structure sets the tone for an ef cient practice pace, as well as player discipline.

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T e information in this chapter pertaining to stretching, warm-up, and long toss is opinion and should not take the place of advice from a medical professional. T e science of warm-up, stretching, and conditioning has evolved greatly, especially since the f rst version of this book was published. I do not pretend to be an expert and entirely recommend f nding other resources for the most recent information. T e exercises and stretches provided are strictly recommendations, learned from over 25 years of playing and coaching, one surgery, extensive physical therapy, and personal research. Check with a doctor, physical therapist, or performance trainer before beginning a serious warm-up program. Note that this particular combination of exercises is designed for pitchers under the age of 14. As pitchers grow and mature, both the number and intensity of stretches should increase accordingly.

DYNAMIC STRETCHING Warming up for baseball players has evolved greatly over the last f ve years. T e current trend is toward movement-based exercises, or dynamic stretching. Gone are the days of standing in a stretching circle and yanking on arms! Most young pitchers do not need extended range of motion—instead, they need to be warmed up.

Move!

• Get a sweat, increase heart rate, and get blood pumping. • Challenge f exibility, mobility, strength, and stability all at once. • Stretch; actively loosen muscles to prepare for action.

244 STRETCHING, WARM-UP, AND LONG TOSS

GENERAL YOUTH STRETCHING ROUTINE

Movements can most easily be carried out down the foul line, with three lines of athletes working 10 to 20 yards into the out- f eld before returning. Use cones to mark the starting, middle, and ending points.

Breathe T is is a highly recommended bonus to a warm-up routine. Starting with a breathing exercise gives athletes a few minutes to focus. Extend the stretching lines out from the foul line into the outf eld, so that each athlete has plenty of room. Instruct the athletes to lie on their backs, extend one arm over the head, and extend the opposite leg as well. Next, they should lay both the extended arm and extended leg down on the grass. Athletes then close their eyes and stay in this position for f ve long breaths. Have them inhale, exhale, and repeat. Ask for silence and encourage athletes to put away thoughts of school, home, family, etc. Remind them that this is baseball and a bless- ing to be able to lose themselves to practice for the next 90 minutes. Af er f ve breaths, instruct the athletes to switch arms and legs, and repeat.

Jog Start any warm-up routine with a 2- to 3-minute jog to get blood f owing and to warm up muscles. Athletes can run along the outf eld fence or from foul pole to foul pole, as examples of an appropriate distance for a warm-up jog. For indoor workouts, substitute jumping jacks or another stationary exercise in an ef ort to increase circulation.

Pull Back + Overhead Reach For this, the athlete reaches the right hand back behind his body to catch the laces of his right foot. Instruct him to pull the foot back, toward the rear end,

245 CHAPTER 9 keeping the knee down to stretch the front of the thigh. T e athlete simultaneously extends the lef arm up and slightly back overhead. Af er this, the athlete releases his right foot and moves forward with a couple short, choppy steps. T en, he pulls the lef foot back, while raising the right arm. T e short steps are repeated, with the athlete continuing to reverse which foot is pulled back and which arm is raised. Athletes execute 8 to 10 pulls in walking fashion from the foul-line cone to the ending cone.

Knee High Tuck Lif the knee to the chest. Using both arms, hug the Pull Back + knee and pull into the chest. Switch Overhead Reach sides with a walking rhythm and continue with short, choppy steps in between pulls.

Walking Lunge + Trunk Twist T is movement is a traditional walking lunge in which the foot steps out in front of the body. Keeping the chest upright, the athlete drops down so that the front knee bends to 90 degrees. T e back knee is kept of of the grass, at near-full extension. Alternate legs and move forward, with potentially choppy steps in between lunges. As a bonus to the Knee High Tuck

246 STRETCHING, WARM-UP, AND LONG TOSS lunge, add a trunk twist: When the athlete is down in the lunge position, have him rotate his trunk in both directions to involve the upper body.

Butt Kickers Moving at the pace of a slow jog, athletes bring their heels up to the rear end to warm up the back of their thighs. With special focus on mov- Walking Lunge + Trunk Twist ing up-not-out, control the pace to maximize the number of repetitions in each trip. Arms move in rhythm with the legs, as the heels f re quickly up to the buttocks. Tell athletes to kick their own butt!

High Knees At a pace similar to that of butt kickers, “high knees” are done on the balls of the feet. Move- ments are quick, but done with a full range-of-motion, with the athletes bringing their knees up toward the chest. T ey should bounce on the feet and keep the arms swinging in rhythm with the legs, as if running.

Side Shuf e (Right Then Left) Instruct athletes to turn sideways and Butt Kickers

247 CHAPTER 9 side shuf e to the opposite cone. Side shuf es involve stepping out with the outside foot, and then following with the inside foot. Athletes should get low, take the feet outside shoulder-width, and move into the leadof position (as if a baserunner). T ey should work to engage the legs, avoiding a jump or hop, as well as a click of the feet. T ey should then switch sides, and return with the same movement toward the opposite shoulder.

Bear Crawls Use bear crawls to take the active warm-up to the arms. Instruct the athletes to drop their hands to the grass and walk on all-fours from start to f nish. To increase dif culty, ask High Knees athletes to touch their knee to the elbow on each step. Keep a slow pace to f re the shoulders and engage the core.

Walking Arm Circles (For- ward Then Backward) Athletes are back on their feet for this one. Instruct them to walk slowly, executing 15 arm circles forward: f ve small, f ve medium, and Side Shuf e (Right Then Left) f ve large. On the return trip the athletes switch the direction of the arm circles, turning the palms up to face the sky. Fif een arm circles—f ve small, f ve

248 STRETCHING, WARM-UP, AND LONG TOSS medium, and f ve large— are executed backwards.

Sprint (75% and 100%) Athletes f nish the body warm-up with full sprints at 75% and 100%.

OPTIONAL STATIC STRETCHES Bear Crawls Working with college-aged pitchers, I learned that many athletes were conditioned to believe that static stretches were a necessary part of their warm-up routine. While mandating a dynamic stretching routine, I allowed them to supplement it with almost any static stretches of the lower body or arm that made them feel prepared to throw. T ere was only Walking Arm Circles (Forward Then Backward) one requirement: Stretch to comfort, not to discomfort. A key factor in determining stretching for the throwing arm specif cally is my belief that the action of pitching extends a pitcher’s range-of-motion well beyond what is required. T erefore, stretching should become warming up,

249 CHAPTER 9 and any static stretches involved are more comforting or placebo-based. Over the last 3 to 5 years, I have been extremely active working with advanced pitchers. Aggressively studying performance training and dynamic warm-up, I completed a Masters in Phys- ical Education in spring 2015. I found that technology was advancing so rapidly that textbooks in the f eld were becoming outdated quickly. Because of this rapid rate of change, I highly recommend seeking out a training professional who can provide up-to-date instruction in the areas of warm up, conditioning, and performance training.

PLAYING CATCH — Long Toss Long toss is a structured throwing routine in which players play catch, constantly increasing the distance between them. Consistent long toss is the best way to strengthen a young pitcher’s arm, increase arm speed and velocity, and protect against injury. A structured throwing program can avoid sore arms early in the season and keep arms strong over the course of a long and stressful season. Include long toss in every workout! Each practice plan should start with a proper warm-up and stretching routine, and then continue with a long-toss throwing program.

Throwing Progression (3-4 minutes) Pair up the athletes, starting one of each pair on the foul line and the other toward the center of the f eld (pace out 25 to 30 feet). Have the partners play catch, starting with a progression of throwing drills such as one-knee, two-knee, and

250 STRETCHING, WARM-UP, AND LONG TOSS feet-in-concrete throwing. See Chapter 5, Fundamental Drills, for more information.

Extended Long Toss (6-8 minutes) T en, at set time increments (1 to 2 minutes), extend the farther group even closer to center f eld. Distances will vary depending on age and strength level. Continue this until the players can barely reach their partner with their throws (or are forced to use one hop).

Execution (3-4 minutes) Finish by closing the gap and working through an execution drill. Examples include a catch and load drill, in which the receiving athlete catches and immediately pops into the loaded-power position. Another suggestion is a walking-rhythm drill to teach closing of of the front hip. Or, conduct a f gure-eight extension drill to move the upper body through a rock-and-f re motion with the upper body f nishing with f at back extension. Regard- less, f nish with close-quarters execution.

Long Toss Rules 1. Avoid the extreme moon ball. Instruct your athletes to keep the ball on a relatively level plane. Launch- ing the ball straight up into the air does two negative things. First, it brings the release point back behind the head. Second, it places more stress on the shoulder capsule. Players will need to get air under the ball at long distances, and I do support extending to a distance

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where the ball is well-elevated. T rowing athleticism and development is achieved by varying release points; however, young pitchers should be encouraged to keep the ball on a horizontal line as much as possible to drive the f ngers down and through the baseball as much as possible. 2. Start and f nish at a short distance (execution).Af er extending the players to the maximum distance, f nish the throwing routine by having the farther group walk back in until they are 30 to 40 feet from their partners. Have the players play catch with an execution drill and even take turns catching the ball at the same spot— “hitting spots” —at the shorter distance to get them back on top of the ball. T e release point moves farther and farther back as the trajectory of the ball moves higher and higher of the ground. By f nishing at a short distance, an athlete is able to bring his release point back out in front and keep his f ngers on top of the baseball. 3. End with Flat Ground Work. With older pitchers, the last 5 minutes of throwing can be used for f at ground work. Af er two pitchers have f nished their extended long-toss, they move in to a shorter distance, something closer to the actual mound distance. Each athlete takes turns getting down in a catcher stance, while his partner tosses four to six pitches from a pitcher’s motion. Athletes can hit spots with fastballs, work on of -speed pitch command, or compete against each other in a game of accuracy.

252 CHAPTER 10

Conditioning

onditioning provides a number of benef ts for the youth Cpitcher. It helps to build strength and stamina before competition and helps get rid of soreness and stif ness af er competition. An increased heart rate circulates fresh blood throughout the body, f ushing taxed muscles and helping them recover. Strengthening the legs and core increases power and thus pitch velocity. A normal practice plan should incorporate a reasonable conditioning program. Using drills and exercises designed to disguise their conditioning intentions, a coach can make sure that each athlete receives a refreshing workout within the framework of a seemingly regular practice. T is avoids any negative association between pitching and conditioning. Instead of drilling athletes with an abundance of distance running and wind sprints, incorporate enjoyable drills designed to increase heart rate and blood f ow. For example, those who have pitched in the last day or two can be a part of a baserunning

253 CHAPTER 10 station during batting practice or serve as the baserunner for team defense work (cuts/relays, bunt defense, rundowns, etc.). Be creative in drill selection and involve competition at every possible chance. Young athletes tend to forget they are working when they are concentrating on beating their friends. It is important to vary conditioning exercises. As athletes grow older, sprint work and agility movements become the major exercises. Distance running can be incorporated as well, but more and more performance coaches are shying away from slow-twitch conditioning as a rule. However, at early ages, fun is the major ingredient to get cooperative conditioners! It should be made very clear that the study of conditioning and training, like that of the warm-up, is a dedicated science with ongoing updates in knowledge and application. I am not an expert and do not pretend to be one. T e exercises that follow are merely suggestions for athletes, with the primary goal of conditioning without getting the stink-eye. T at being said, it is a fact that sprint work helps to build leg strength and develop explosive power.

SPRINT WORK Sprint work can be incorporated into a conditioning program in a number of ways:

Intervals

Sprint intervals are the simplest and most ef ective way to get good work done quickly. T e simplest form of intervals involves sets of four sprints, with timed recovery periods between each sprint. T e recovery starts at a length of time roughly equal to the exertion time. So, if a sprint takes roughly 10 seconds, the recovery time af er the f rst sprint is 10 seconds. Af er the second

254 C O N D I T I O N I N G sprint, increase the recovery time to 2 times the duration of exertion (20 seconds)…af er the third sprint, to 3 times (30 seconds)…and af er the fourth sprint, to 4 times (40 seconds). At the end of the f rst set (four sprints), provide additional break time (30 to 60 seconds) to allow heart rates to recover. T en, it’s on to the next set! Train 4+ sets, so the athlete is running at least sixteen 30-yard sprints.

1. Sprint 30 yards // Rest 10 seconds 2. Sprint 30 yards // Rest 20 seconds 3. Sprint 30 yards // Rest 30 seconds 4. Sprint 30 yards // Recover 60-120 seconds

Sprint Variations

A number of variations can break up the monotony of running sprints. For example, athletes can line up along the foul line with adequate space between each other, while the coach walks onto the f eld at the desired distance. Athletes are instructed to sit down and face foul territory (looking away from the coach). On a whistle, coach’s verbal cue, or other sound, the athletes bounce to their feet, turn, and sprint past the coach. T ey can be told to turn right, turn lef , or use your own judgement to create an athletic challenge. T e drill can be done from various positions and in all directions. Common starting positions include standing, seated, push-up position (plank), or lying down. Examples of special variations worth researching online are half-kneeling (one knee on grass), falling starts, and seated with no-hands.

Touch ’N’ Go’s

T is variation involves a single change of direction. Place a cone 10 to 15 yards away from the foul line, and instruct athletes to

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walk out 10 yards and begin by sprinting to the foul line. Af er touching the foul line, they change direction and sprint through the distance set by another cone or standing coach. Examples of change in direction are—

• Sprint (touch the foul line, change direction, and explode through the coach standing at an extended distance). • Side shuf e (touch the foul line, change direction, and sprint through an extended distance). • Backpedal. • Broad jump. • Lateral leaps (plyometrics).

Relay Races Divide the athletes into two even lines and walk out to the desired distance. Stand with your arms extended and require

256 C O N D I T I O N I N G athletes in both lines to touch your hand before sprinting back to their line. As a variation, you can place the appropriate number of baseballs on either side of an end line and instruct each athlete to grab a baseball before returning to his line. T e f rst group to cross the f nish line with all of its baseballs becomes the winner.

Suicide Sprints (Also Called Basketball Lines) T is twist on the relay race involves a minimum of three sprints for each repetition. With a clear starting line, use three cones to mark spots at increased distances such as 10, 20, and 30 yards. Each athlete sprints, touches the f rst cone, and returns to the starting line. He then performs the second sprint to the second cone, returns to the starting line, and f nishes with a sprint to the third cone and return. He high-f ves the next athlete in line and takes a knee when he is f nished. T e group with all

257 CHAPTER 10 members down on a knee f rst is the winner. Running these suicide sprints, or basketball lines, involves change-of-direction training, which overloads the legs and develops power through the lateral deceleration and push-of movements.

Jog-Sprint-Jog (JSJ’s) T e athletes run beside a warning track or outf eld fence to complete a single JSJ. Divide the outf eld fence into three seg- ments: T e f rst segment will be covered with a jog, the second segment with a sprint, and the third segment with another jog. Put the athletes in pairs, and start each pair at the foul line. T e f rst pair begins with a jog. As soon as those two begin their sprint, the next pair starts with a jog. Af er jogging, sprinting, and then jogging to the opposite foul line, the f rst pair turns around and rests until all athletes have reached their side. T en, the f rst pair starts a JSJ in the opposite direction, and the rest of the group follows.

258 C O N D I T I O N I N G

333’s

Divide the athletes into three even groups, and line them up shoulder to shoulder along the foul line. Walk 60 to 90 feet into the outf eld grass and face the group. Instruct the middle group (Group 2) to join you across the running area. Once there, this group lines up, turns around, and faces the other two groups along the foul line (a gap now separates Groups 1 and 3). On your whistle, Group 1 sprints to your side (where you now stand with Group 2). As soon as Group 1 reaches you and crosses an imaginary line, Group 2 takes of and sprints back toward the foul line. Once Group 2 crosses the foul line, Group 3 sprints in your direction. As this group crosses the line, Group 1 takes of . Continue this rotation for a set time or set number of sprints. You can also extend the distance at intervals to increase dif culty. Pace should be aggressive so that heart rates stay up.

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Touchdown Tommy’s

Touchdown Tommy’s are a great way to disguise conditioning through competition. T ey can even be incorporated into out- f eld work. T e coach is the quarterback and, using a baseball as the football, “leads the receiver” on each pass. To run the drill, start the players (each with a baseball) behind the right- f eld foul line. As the quarterback, pace an appropriate distance into the outf eld and face the group. T e f rst athlete jogs from the foul line toward you. As he gets closer, he tosses you a ball underhand and sprints in the general direction of the opposite foul line. T row him the ball! Have fun with the athletes, leading them and encouraging a full sprint to catch the pass thrown. Af er catching (or picking up!) the baseball, the athlete continues running to the opposite foul line. Repeat the drill with the athletes running in the opposite direction. For older ages, Touchdown Tommy’s can involve a head- to-head competition. Divide the athletes into two lines, one

260 C O N D I T I O N I N G of ense and one defense. In pairs, the of ensive player tries to run a successful “wide receiver” pattern and receive a “pass” from the quarterback, while the other player defends the play. T e defensive player steps 5 to 7 feet in front of the of ensive player, essentially covering the wide receiver and trying to inter- cept the baseball. Don’t forget to alternate players from of ense to defense. T is drill should be done without metal spikes for safety purposes.

Obstacle Course Constructing an obstacle course is a great way to inject fun into the conditioning process. Obstacle courses combine drills designed to push aerobic (cardiovascular) training with drills designed to push anaerobic (muscle strengthening) training. T ey may include running hills or climbing stairs, sprinting, and stopping or changing direction. In conf ned spaces, use cones to create a fun obstacle course that involves hopping, zig- zagging, walking on all-fours, and even rolling. Divide the athletes into two teams, and crown a winner for added enjoyment. Baseball-related tasks make a great set of variables for another obstacle course. Such an obstacle course might include hitting a ball of a tee, running to f rst base, f elding f ve quick ground balls (causing the athlete to shuf e his feet side-to-side) and f nishing with a football pass. Time these tasks, add competition, and you’ve got yourself a team full of athletes pushing through conditioning exercises!

AGILITY DRILLS

For older athletes, agility drills can present a challenging and ef ective alternative to conditioning. With added emphasis on competition, change of direction, reaction time, balance, or

261 CHAPTER 10 strength, agility drills are a great way to keep athletes smiling through a workout. Each drill can be varied in countless ways to keep workouts fresh and fun.

Five-Ten-Five (Pro Agility) T is drill requires three cones, placed in a straight line, with 5 yards between each cone. T e athlete starts at the middle cone and begins by sprinting to one end of the line. Af er touching the cone and changing direction, he sprints to the opposite end. He touches that cone, changes direction, and f nishes the sprint by running through the middle cone marker. Highly recommended: Add competition by having the athletes race! Start two athletes on opposite sides of the middle cone, and send them in opposite directions. (One athlete

Start middle cone → touch one end → touch opposite end → run through middle cone

262 C O N D I T I O N I N G starts on the lef side of the cone, and begins by sprinting right; the competing athlete starts on the right side of the cone and starts by sprinting lef .) As coach, stand directly over the middle cone so that you separate the two athletes. Instruct each to stay on his side of the line. Crossing the line into the opposing athlete’s territory will lead to disqualif cation (and, hopefully, not a collision).

Two-Cone Drills Using only two cones, create a varied routine involving a sprint, a backpedal, pushups, catching or tossing, somersault rolls, shuf e, etc. For example, athletes can start in the center of two cones approximately 10 yards apart; sprint to one side, circle the cone, return to the center, and receive a baseball (or tennis ball

Mix up the athlete assignments to keep two-cone drills challenging and fun

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or soccer ball) from the coach; toss the ball back to the coach, drop for a single push-up or burpee, and then sprint to the other cone. Continue the drill for 15 to 20 seconds, or complete an established number of repetitions. One fun variation is to f nish each set of two-cone movements with a football pattern.

Example #1 = Start middle. Side shuf e right, touch cone → side shuf e lef to middle → catch, toss, burpee → side shuf e lef

Example #2 = Start middle. Lateral high knee right, touch cone → high knee lef to center → jump UP to “rebound” ball → lateral high knee lef

Four-Cone Drills

With four cones set in an appropriate-size square, create a routine involving a simple and fun movement. Again, the routine can involve circling, sprinting, back-pedaling, shuf ing, etc. Use a stopwatch and time players for added competition, or set up two squares for individual or team races. Emphasize the agility aspects of stopping and starting as well as changing direction quickly. Turns and redirections should be sharp and short – no rounded turns!

Starburst Cone Drill Make a circle out of cones, and place one cone at the center of the circle. Athletes start in the center, sprint around an outer cone, touch it, and return to the center. T ey touch the center cone as they run around it, and then continue to the next outer cone. Athletes will start at, and return to, the center cone af er touching or moving around each ray. An athlete’s turn is complete af er he has circled all outer cones.

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Trapezoid Sprints (Also Called Big Dippers)

T is combination drill involves side shuf es, changes of direction, and sprints. I like to call these sprints “big dippers” because of the shape these cones make (see diagram). Lining up behind a pair of starting block cones, the athlete f rst sprints straight- ahead for 15 yards. Af er passing the f rst cone, he chops his steps and decelerates into a side-shuf e-right. T is movement should be a sharp change of direction, pushing of of the lef foot. Upon reaching the next cone (10 yards laterally to the right), the athlete plant the right foot and explodes forward into a full sprint. At the next cone (15 yards straight ahead), the athlete chops the steps, plants the right foot, and moves into a side-shuf e lef (no rounded turns). Moving laterally lef , the

Walk Back To Starting Line

Sprint Start

Sprint Finish

Straight-ahead sprint (15 yds) → side shuf e right (10 yds) → straight-ahead sprint (15 yds) → side shuf e left (10 yds) → straight-ahead sprint (20 yds) → walk back

266 C O N D I T I O N I N G athlete reaches the next cone, changes direction of of a lef -foot plant, and explodes straight-ahead for 20 yards. Once he passes the f nish cones (20 yards af er the f nal change of direction), the athlete turns and walks back to the starting block cones to recover.

Cone Pyramid Use the foul line as the base of a pyramid, and extend cones into the outf eld to form a pyramid. Walking from f rst base into right f eld, place the f rst cone on the foul line. Place a second cone extended at an angle into the outf eld. Place the next cone back on the foul line, then another cone in the outf eld, in line with the angle set by the second cone but farther into the outf eld. Continue this process, alternating cones on the foul line and in the outf eld and extending the distance between the foul line cones and the outf eld cones. Af er setting a cone at the peak of the pyramid in the outf eld, place cones in decreasing

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distances until you reach the foul line again. Once the pyramid is constructed with the cones, add fun by varying the assignments for each set of sprints. Options are described below. Involve dif erent movements to keep things fun.

Pyramid Options:

• Sprint: T e athlete runs straight-ahead sprints to each cone in the outf eld and back to the next cone on the foul line. One variation is to have the athlete involve the hand by touching each cone. • Backwards: T e athlete runs backward around all cones, or on all return trips to the foul line. • Side Shuf e: Much like executing a defensive slide in basketball, the athlete turns sideways and shuf es around each cone. • Plyometrics – T ese drills involve jumping as explosive movements and power training. Straight-ahead broad jumps, lateral leaps, single-leg plyometrics, etc., can be added to the pyramid sprints. • Fun Stuf - Add bear crawls, skipping, hopping, or cart- wheels!

LEADS AND BREAKS Most youth pitchers play multiple positions and need baserunning practice as well as conditioning exercise. Executing leads and breaks with extended distances can accomplish both goals. Use an outf eld foul line as f rst base, and divide the team evenly into two or three baserunning lines. With the coach standing as a pitcher, instruct the f rst athlete in each line to take a proper lead

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(both feet on the bag...lef foot steps forward...right foot crosses over; face the pitcher...connect feet; step out once...connect feet; step out again). When you move as pitcher, athletes should either dive back to the foul line (use throw bases for each line if possible) or break toward second base. In this case, the direction of second base is toward center f eld. Place a cone or second coach at the desired sprinting distance, and instruct the athletes to run through the line completely. T is is a great opportunity to drill proper leadof fundamentals as well as condition the athletes.

BASERUNNING Use the last 15 minutes of practice to drill baserunning and simultaneously condition pitchers. Starting at home plate, work the athletes through the common sprints of baseball competition. Increase the pace and number of repetitions depending on the desired level of workout. T e following is an example of a quick, f owing workout for baserunning:

• Home to f rst – T e athlete sprints through the bag (and returns to home). • Single – T e athlete sprints and makes a turn toward second base (then returns to home). • Double – T e athlete makes a full sprint around f rst base and into second base (and stays at second base). • Score – Af er taking a secondary lead (shuf e, shuf e), the athlete sprints from second base to home plate (and stays at home). • Home run sprint – T e athlete touches all the bases!

Use a stopwatch on any baserunning exercise to increase intensity, and adjust the drills to cover areas of needed instruction. For example, start athletes at f rst base, drill the proper

269 CHAPTER 10 lead fundamentals, and then have them sprint from f rst to third. With any conditioning routine, novelty is the most important ingredient. T e younger the athlete, the shorter the attention span. Involving agility, competition, and variety in each workout will help mask the ef ort and hard work associated with necessary conditioning. Adjust the drills and the devised variations based on the athletes’ reactions to create a more enjoyable workout.

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Coaching the Pitching Mind

uch of the material in previous chapters discussed the Mdetails of physical movements and the desired results from these actions. T e mental side of pitching is a far more com- plicated topic, and instruction is dif cult to compartmental- ize. Coaching youth pitchers takes patience and restraint from a friend, mentor, teacher, psychologist, and disciplinarian all rolled into one. All of this occurs while applying the appropriate level of accurate fundamental instruction, at the right times! T is chapter communicates an ef ective approach toward teaching positive mental traits of successful pitchers and provides a roadmap for implementing proven mental training techniques.

PERSPECTIVE

In the heat of competition, remember that you are coaching a youth athletic event. A growing athlete will play “the biggest

271 CHAPTER 11 game of his life” every year—whether it’s the summer league championship game played as a 12-year-old, the local all-star game played as a 13-year-old, or one of many games played at almost any age. T e anticipation, pressure, and stress of competition will continue to multiply through the f nal day of a pitcher’s career. As coaches, we must recognize that a child’s youth baseball experience represents the opportunity to battle through dif cult situations or struggle through tough times, all the while learning and growing from the associated successes and mistakes. It is a coach’s responsibility to keep the athlete grounded, the game of baseball fun, and the big picture in mind, recognizing that baseball—and pitching in particular—teaches valuable lessons in self-conf dence, teamwork, and poise. T e development of these valuable character traits is a vital component for future successes on the playing f eld and in the game of life. It is these development principles that form the foundation of the Dan Keller coaching philosophy. Work hard to keep your pitcher calm and free from overthinking. Eliminate “paralysis by analysis” by encouraging the pitcher to throw aggressively and with conf dence. T is means you should see good ef ort and full arm speed on all pitches. During games, avoid an abundance of verbal commands dealing with mechanics, as the pitcher’s mind should be clearly focused on the game. If an athlete is able to truly focus on the batter and making his pitch, then coaches, parents, and instructors can observe his pitching motion as a “developmental snapshot.” A development snapshot refers to where this athlete is relative to where he wants to be and what he’s being taught. Because the pitcher is not thinking of his mechanics, his delivery will show what habits are currently muscle memory (engrained movements, positive or negative). Observe closely and take notes on specif cs. Which of the movements is the pitcher correctly executing? Which movements still need

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work? T ese notes determine the points to be covered during the next bullpen session, as practice is the time to work on fundamentals. Great pitchers do not overthink. T ey talk of being “in the zone” during peak competition, unable to hear crowd noise, feel pressure, or recall thoughts in specif c situations. T rowing a 3-2 curveball at the knees with the bases loaded in the bottom of the seventh inning was simply, “No big deal.” T is type of poise is dif cult to teach; it comes with experience and has a lot to do with mental makeup and life experiences. A coach’s emphasis on pitching basics and proper mechanics can help to build consistency...and consistency is the biggest ingredient in conf dence. Consistency builds conf dence! A coach leads by example, showing a calm, conf dent, and steady temperament from pitch to pitch and game to game. Pitchers should not aim, or guide, the ball to home plate. As mentioned earlier, full and aggressive arm speed is absolutely necessary to mound success; it is also a great indication of a pitcher’s mentality. An uneasy pitcher lacking conf dence will clearly aim the ball to the target, as opposed to truly throwing it. Amazingly enough, when a pitcher aims the ball, he is much more likely to miss his spot than when he simply takes a deep breath, clears his head, and throws the ball hard. If you try not to hit the lake with your drive on the fourteenth fairway...what typically happens? D’oh—right in the lake!! Use the coach’s verbal cue, “Don’t think, just throw it!” to keep a pitcher relaxed and to quiet the mental chatter. It’s amazing how well a pitcher throws the ball when not thinking too hard about it. If a pitcher is ever struggling to f nd location on a touch pitch, such as a curveball, encourage him to grip the ball f rmly and throw it hard. Allow the body to take over and execute the pitch as it has hundreds, even thousands, of times before. T e athlete knows how to throw a curveball for a strike,

273 CHAPTER 11 but an overactive mind can play games with an aggressive and ef ective delivery. “Don’t think, just throw it!”

Recommendations for Team Play I’m of en asked for my own coaching philosophy. I want aggressive pitchers who attack hitters, down in the strike zone. I work hard to create an environment focused on process rather than results, where pitchers grind to make their best pitch, every pitch. Results be darned! We are working with great ef ort to enjoy the process and compete, truly compete, to make a single…great…pitch. Most importantly, my pitchers know that if they give great ef ort, without any fear of failure, they will not be punished, demeaned, or scolded. In times of failure, we will work harder to learn from the experience and improve. Each rough outing is an opportunity to get better. Each bullpen is a workout, a science experiment, a lab session. Each set of sprints is a chance to throw harder. T is is a coaching philosophy as well as a staf attitude. It must be taught f rst, and then consistently enforced through both player and coach accountability. Once athletes buy in, it becomes a contagious force that builds momentum and snow- balls into success. T e most powerful lessons and reminders collected over my years in coaching are provided below; they apply whether you are leading a pitching staf or developing your own pitcher.

No Excuses, No Whining, No Complaining Pitching is hard. Pitchers need to be tough. While this may not be possible to outright teach, I believe it can be nurtured and assisted. Establish these team rules that both player and coach will follow. T ey apply to coaches just as much as players, and

274 COACHING THE PITCHING MIND they help to create positive habits built around a culture of quiet toughness.

• No Excuses: Poor umpire? Make an adjustment; deal with it. • No Whining: Bad weather? We don’t even talk about it— it’s a team rule. • No Complaining: Tired? Get used to it. It is said that big league pitchers have their “best stuf ” f ve out of thirty starts!

Athletes should always be encouraged to be happy and positive and to play with a love for the game of baseball and the art of pitching. At the same time, they need to be molded to be tough and resilient. T is combination of working hard at something you love to do is the secret to success, in baseball and in life!

First Pitch Strikes, On or Off in 4, Limit Walks Af er years spent working with youth, coaching at the high school level, and leading collegiate pitching staf s, these are my big three for measurable rules during games:

First Pitch Strikes Attack hitters! T is is measured by percentage of f rst pitches that are strikes. I preach “aggressively pitching to contact,” which means pitchers must be attacking the strike zone early. T e advantage of an 0-1 count compared to a 1-0 count is huge. With pitchers of even the youngest ages, use a statistics app or simple spreadsheet to chart the percentage of f rst pitches that are thrown for strikes.

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On-or-Of in Four Pitches T is rule describes the goal of forcing action in four pitches. To further explain: T e batter should be either out or on base within four pitches. T e consistent message here is to aggressively attack hitters by pitching to contact.

Limit Walks At the college level, I set the goal of three or fewer walks per nine-inning game. Younger pitchers mean shorter games, so that metric should be adjusted accordingly. Used as an objective measurable to show how aggressive we are pitching, this powerful stat directly relates to team success.

COACHING FOR CONFIDENCE Self-conf dence is the most important nonphysical component of the pitching motion. How else can an athlete stand center stage, among thousands of roaring fans, and execute such a f ne movement? While conf dence proves to be one of the most important character traits of a successful pitcher, it remains one of the most dif cult skills to teach. I believe there is a way to make the intangible nature of con- f dence both understandable and achievable. T is simple process removes the pressure associated with the request of pitching with conf dence. Let’s be clear:

Conf dence is earned.

My stance on how to instill conf dence as a coach has simplif ed over the years. It is best summarized by three chronolog- ical steps:

1. Control the body. 2. Control the baseball. 3. Build conf dence.

276 COACHING THE PITCHING MIND

Here is the message you want to convey to the young athlete: You want to be conf dent? Earn it! It is impossible to have true conf dence if you are unsure where the ball is going to go. However, if by controlling your body, you are able to direct the baseball into predictable action and direction, then you will begin to believe that you are in control. T at belief is conf dence. T is does not mean that the pitcher earns conf dence only by throwing strikes. If mistakes are made, adjustments can follow to correct them. Analyzing the results af er an adjustment allows a continual process of ref ning the adjustments. When a conscious ef ort to adjust the body results in action that the athlete expected, conf dence boosts. T at result does not have to be a perfect strike. However, if an athlete consistently controls his body, then he will control the baseball. If an athlete controls the baseball (even if not for perfect strikes), that athlete will build conf dence. Adjustments and analysis for the pitcher for specif c mistakes or misses are provided below.

Miss #1: The changeup is too fast Adjustment #1: First check the grip. Spread the f ngers out and make sure that the power f ngers stay inside the baseball at release. If needed, focus on tweaking the release slightly. Again, stay “inside” the baseball at release. Analysis: Did the adjustment work? Did the ball come out slower? Was there predictable action down and arm-side? Even if the pitch was not a perfect strike, were the speed and action true to what the adjustment was meant to do? Put most simply: Did the ball do what it was supposed to do?

Miss #2: The curveball is high Adjustment #1: Get on top. T ink “f ngernails-to-target” to get to the front half at release. In other words, rather than being

277 CHAPTER 11 underneath the baseball (the release point is back) or behind the ball (the release point is f at), the goal is to get on top of the baseball (the release point is out in front). T e visual is to release the baseball with the nails of the index and middle f n- ger directly facing the target. Analysis: Did the adjustment work? Did the ball go down? Was the location lower—maybe the pitch even bounced? Good! If not, go farther on top and try again. Exaggerate the adjustment and get back on top!

Miss #3: The fastball keeps cutting “I’m not expecting it to cut,” the pitcher thinks, “and it’s not supposed to cut. So, not only am I missing spots, but I’m also f ipping a coin on which way the fastball is going to move. Being a conf dent pitcher is tough when I’m not even sure which way the ball is going to move!” Adjustment: Stay inside the ball. Get the ball to move like a two-seamer. Exaggerate that inside pressure, so that it’s almost like a screwball. Take control over the release again so that the ball does what it’s supposed to do—even if not thrown for a strike! Once the release is consistent with the more natural, two-seam action, move to a more “normal” release with less thought and more focused attention to location. Analysis: Did the adjustment work? Did the ball do what it was supposed to do? Did you use your body, your adjustments, to take control of the baseball?

Miss #4: I just hit someone in the back

“I was aiming for the middle, I got excited, and my adrenaline kicked in; I drilled the batter right in the numbers.”

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Adjustment: Stay back. Work to be more physical, especially when leaving the balance point. See if that buys the arm more time and you get back on top of the pitch. Make sure that the target is low and away to really force you to get back on top. Analysis: Did the adjustment work? Did staying back longer and loading more fully into the back leg produce a downward trajectory? Did the fastball get back “on tilt”? Building Conf dence Earn enough “yes” answers to the analysis questions, and conf dence will bloom. What leads to these “yes” answers? T e ability to control the body. T e knowledge of what change to make. Both of these are learned in the bullpen under the watchful eye of you, the pitching coach. Get af er it! By helping a pitcher earn this type of deep conf dence, you are helping him stay on top of his game. Even on days when he is not sharp, he can make adjustments and battle to control the baseball predict- ably. And in the meantime, the athlete never loses conf dence, because he understands the “why”! Even though he may not be able to execute the correction to perfect strikes, he can see that the adjustment is working.

BUILDING ATHLETE EQUITY As an instructor progresses further with a pitcher, the goal becomes building a solid, fundamental knowledge of the pitching motion within that athlete. Athletes will inevitably f nd a time when they are physically challenged and struggle to perform a specif c movement. In these dif cult times, athletes need to remain positive and focus on truly understanding how and why to execute the movement.

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Instructors must make sure the athlete learns exactly what he is trying to do, even though he may not be able to fully perform the action. T is understanding is called athlete equity. It is the knowledge and value within an athlete. At very early ages, athletes are not required to fully comprehend the “what” and “why” of the pitching motion. However, as they grow older and more mature, the responsibility to understand the pitching motion increases. Regardless of the physical ability of the athlete, it is the goal of a pitching instructor to teach that athlete why. Why is the weight to remain back? Why does the glove stay over the front foot and not pull back behind the body? Why is it important to keep the head still throughout the motion? Knowledge is power and helps an athlete build equity within himself!

HANDLING ADVERSITY T e toughest challenges in coaching baseball of en seem to fall under the category of sports psychology. Helping an athlete handle adversity is one such challenge. Why do some youngsters collapse under the weight of game pressures, while other athletes thrive? When faced with an umpire that won’t call the outside pitch...or with a huge hole in the landing area on the mound, how can we teach an athlete to deal with adversity? Is this a trait that an athlete is born with or without, or can it be taught? And, if it can be taught, is there a roadmap toward building one’s skill set for handling adversity? T e ability to properly handle adversity is a mature behavior—one that must be molded over time. By encouraging a young athlete to be mentally present (“in the moment” or aware), he fully experiences the range of emotions associated with a specif c adverse situation. T en, through consistent communication following adverse experiences and emotions,

280 COACHING THE PITCHING MIND

an athlete’s eyes can be opened to the way in which a person can handle tough situations. Each situation then becomes a true learning experience, from which an athlete learns to handle future adversity. T e process of teaching an athlete to handle adversity can be broken down into three components: drills, attitude molding, and experience.

Drills Handling adversity requires poise, composure, and mental toughness rolled into one. By mimicking stressful situations, coaches can help develop these character traits that will help an athlete handle adversity. T is ability is essential to pitchers, who must deal with adversity each and every outing. Even if all the defensive plays are made, the umpire calls a great game, and every break goes his way, a pitcher must still deal with nine opposing batters and a crowd of rowdy fans cheering for his failure. Two drills for handling adversity follow.

Ring of Fire Build a ring of f re to train pitchers to handle adversity! In preparation for rowdy crowds and game situations, mimic mound experiences involving high stress levels, increased heart rates, and added pressures. At random occurrences, select one pitcher to not throw his scheduled bullpen until the end of team practice. Instead, this lone pitcher is to throw his pitching practice on the main diamond, with the entire team watching. Not only will the other players watch, but they will do so lined up along the cut of grass immediately surrounding the mound. Encour- age athletes to wave, shout, and jump in an ef ort to distract the pitcher from this short distance (no profanity allowed). T is

281 CHAPTER 11

pitcher then has to execute the entire bullpen routine with a team full of athletes yelling and screaming distractions at him. T is drill is a great way to train an athlete to handle adversity. In this case, the adversity is related to crowd distractions and a hostile environment (not to the mound or poor defense). Be careful that the level of pressure is kept at a manageable level relative to the age of the pitcher. T e goal is to build positive mound presence, poise, and performance—not break down an individual’s conf dence.

Boot-and-Barehand Drill T is drill places an athlete in a situation where he has just bobbled a ground ball—something that will happen to every pitcher at some point in a season. Specif cally, a bobbled ball of en causes a young athlete to panic, resulting in a bad throw. During the boot-and-barehand drill, athletes are instructed to intentionally drop a f elded ground ball and then properly execute a recovery. Fundamentally, this means that the f elder uses his bare hand to grab the baseball, set a grip, and f re to f rst base— all while remaining calm and under control. Incorporat- ing the boot-and-barehand drill into practice teaches an athlete to remain calm af er bobbling a ground ball in a game. He is conditioned to execute a barehand recovery (a solution), rather than rush and throw the ball away. T e coach’s verbal cue is, “Be quick, but don’t hurry.”

ATTITUDE MOLDING Perhaps the most ef ective tool for teaching athletes to posi- tively handle tough times is to train an athlete’s attitude when reacting to adversity. We refer to this attitude as a “deal with it” mentality—which means no excuses! T e goal is for athletes to

282 COACHING THE PITCHING MIND avoid associating adversity with negativity, focusing instead on f nding solutions rather than dwelling on what could be per- ceived as “going wrong.” Dif cult situations are to be expected, and an athlete should not be surprised when they occur. Inevitably and unavoidably, the mound will have huge holes, an umpire will not give close calls, and a pitcher’s defense will make errors. Can we condition an athlete to ef ectively handle adversity when it does happen? Yes, we can, by molding his attitude and mentality when responding to adverse situations. In the eyes of the beholder, tough breaks are to be expected and can then be dealt with—adversity will not get us down! We teach athletes to be solution-oriented. At the f rst sign of adversity, an athlete is to turn immediately to f nding solutions. Choppy landing area? Adjust the starting position on the rubber to land in a f at zone. Defensive errors? Pick up teammates and control the running game. Breaking pitch not breaking? Emphasize the change-up, throw the fastball to a specif c spot, and f nd situations to work on a breaking pitch. Another important component in conditioning an athlete to handle adversity is to create a together attitude between player and coach. Pitchers tend to respond well when they feel as if they are not alone. Imagine a young athlete f ustered by a mound that is too tall or too f at. He begins to pout, and his entire body language signals his growing frustration. Instead of yelling at the athlete or telling him what adjustments he must make, adopt a “together” attitude. We have to deal with this situation together, work through it, and f nd a solution...because it’s not going to change. An ef ective message to communicate is, “We know it’s going to happen. We know there’s nothing that you can do to avoid it. Let’s choose how to handle it.” T rough your reactions as a coach, you can remove excuses from an athlete’s reactions. By instantly showing an athlete that

283 CHAPTER 11 you understand and see the dif culties involved, you can help turn the focus away from excuses (away from the problem altogether) and toward f nding solutions. Simply don’t allow an athlete to dwell on what is going wrong.

Handling adversity = “deal with it” mentality + solution-oriented focus + together attitude

Let the athlete know that by being solution-oriented, the two of you will identify the solution and then work together to deal with the situation. Instead of sensing player versus coach, or parent versus coach, an athlete subconsciously knows he is not alone and turns his “deal with it” mentality toward working through the adversity. I’ve had my best coaching successes when my pitching staf s believe that it’s a “we thing” not a “me thing.” T is means that all pitchers share in each other’s performances, and in the performance of the staf and team in total. Likewise, my players know that I as coach have their back. Our team environment is a “safe place” where it’s okay to make a mistake and fail. As long as we are dealing with adversity in the right way, searching for solutions to problems, and learning from our mistakes…the results will be what they will be!

Experiences and Communication Af er each and every outing (positive as well as negative), communication can help an athlete sif through the emotions experienced. While an athlete’s specif c reactions during a tough situation may not have been the result of conscious decisions, the follow-up and analysis should be. In a positive way, discuss both the situation that occurred and the reaction that ensued: Was

284 COACHING THE PITCHING MIND the athlete calm and controlled? Or, was he f ustered and visibly angry? While changing these subconscious reactions is one goal of teaching the ability to handle adversity, it is also a goal to teach the athlete to recognize his feelings and be in tune with how he dealt with a specif c problem. Each and every bout with adversity creates a stronger f ghter for future, unavoidable situations. Talking through past experiences opens an athlete’s eyes to the ef ectiveness, or inef ectiveness, of his behaviors and reactions. At the high school level and above, pitching charts are common. A pitcher who is not active that game will chart the pitchers’ statistics on a single sheet of paper (or digitally via an app). Metrics such as pitch count, type, and location are recorded and can then be analyzed quickly to determine—

• Percentage of f rst pitch thrown for strikes. • Percentage of leadof hitters that got on base. • Number of walks, strikeouts, ground balls, etc.

I make it a habit to give these charts to those that pitched as quickly as possible. On the backside of the charts is a series of questions that require handwritten responses. I review both the chart and the responses with the pitcher before the next game. T at way, pitchers are held accountable for their performance, and growth can be fostered while the game is still fresh in everyone’s minds. T e power of baseball goes well beyond the f eld of play. Teaching young athletes to deal with and handle adversity will benef t them in all facets of life. From test-taking to job interviewing, athletes use the life skills learned through each and every baseball experience to overcome obstacles. Drills, attitudes, and communication by coaches can assist in player development—as athletes and as young men.

285 CHAPTER 11

MODELING BEHAVIOR - ACT AS IF Baseball is a game of failure, and the pitching mound is an especially tough position. We must train athletes to handle adversity, but we must also train athletes to work hard when things are going well. In training and developing the pitching mind, controlling the subconscious mind and creating a consistent work ethic are constant struggles. One method we follow stems from the self-empowerment and motivational f elds. Called “Act As If,” the concept is to become who you want to be by acting like that person one decision at a time. Practice by practice, inning by inning, players can grow toward their idols by acting as if they already are them. Start this process by asking the youth athlete a few questions: What type of athlete do you want to be? What’s your vision of the perfect baseball player? What def nes tip-top physical shape? What type of a competitor do you dream of becoming? Whatever the answers are to these questions, athletes are challenged to get a clear image of what they want in their minds—see the perfect athlete, see the ideal physical specimen. T en, when faced with a decision, they act as if they already were that person. What would that person do right now? How long would he train? How hard would he run these sprints? Chances are good that these answers become very simple if an athlete dreams of becoming the number one starter for the New York Yankees, Boston Red Sox, or US Olympic Team. Let’s examine how acting as if he is that starting pitcher can af ect the decision-making process. Practice-to-practice, this mindset can help to establish a champion work ethic. If a young athlete envisions himself as the next Cy Young Award winner, there isn’t a doubt as to whether he should do his daily mirror homework or run a dozen hills when his legs are tired. If he knew that there were

286 COACHING THE PITCHING MIND

10 to 12 starting pitchers in the farm system, all f ghting to take his job, he would run until his feet had blisters. Likewise, if he knew that his contract had a six-f gure bonus tied to an all-star appearance, he might be motivated to get in front of the mirror and keep his mechanics sharp! Game-to-game, acting “as if” can keep a pitcher calm and collected. When the catcher f ashes the change-up sign with a 3-2 count on the batter, doubt naturally begins to creep into the youth pitcher’s mind. Envisioning the type of competitor he wants to be—and knowing that an all-star pitcher lives for pressure situations, the youth pitcher breathes deeply to calm his nerves and execute the pitch. Acting as if he were a particular pitcher he idolizes, he thinks about what it is like to have the pennants, World Series titles, or awards his role model has won. T e current situation is nothing more than another chance to perform—and get the job done! Moment to moment, this practice continually pushes an athlete to become exactly what he wants to be. For any athlete hit by a wild pitch, it’s easy to get angry and want to disrespect the opposing pitcher. But, by acting as if he is his role model, this athlete bites his lip and jogs to f rst base—head held high with conf dence and poise. When a teammate is down on himself af er a strikeout, this athlete asks himself, “What would a world-class athlete do?” T en, he does it. He approaches the teammate, pats him on the back, and encourages him to cheer for the next batter to pick him up. When an athlete is acting as if he is a world-class athlete or a world champion baseball player, decisions are easy. Taking one situation at a time, a pitcher can mold his habits into those of a champion. And it’s a practice that parents, coaches, and athletes alike can use to become the person they want to be. When the waitress at lunch asks you if you’d like French fries or fresh fruit, a f tness buf with endorsement contracts knows the answer is,

287 CHAPTER 11 without a doubt, fresh fruit. We can all relate to the process our mind goes through on that one! Moment to moment, act as if, and sooner than you think you won’t be acting anymore.

THE MENTAL GAME Coaching the mental game takes feel, timing, and consistency. Following are some of my favorite philosophies, rants, coaching speeches, and traits to nurture and develop. Process vs. Results T is discussion should be a book by itself. In the sports psychology world and arena of self-development, the focus on process not results is the backbone of goal setting. T e power of setting goals is not the superf cial “prizes” obtained by reaching a goal. Rather, it is the permanent, positive changes made in the person along the way. During the process of working toward a goal, work ethic is improved, discipline tightened, and habits formed. T ese are the real benef ts to accomplishing one’s goals. Focus your pitcher on the process. T is emphasis means he does not watch the scoreboard, calculate his earned run average, or concern himself with looking cool or making the team. Instead, he focuses on making the next pitch—and doing it with full ef ort, aggression, and commitment. Focus the athlete on the process between pitches, execution of mechanics and release, f elding the position, and then assessing the situation. Help him understand that he is to breathe deeply, and take the mound with poise and conf dence to execute one…more… pitch.

Quality Pitch T ere is a growing interest in the Quality Pitch philosophy, which is closely related to the emphasis on process versus results. T e

288 COACHING THE PITCHING MIND interest centers on the question, “Was the right pitch made with great execution?” If so, the results are largely out of the control of the pitcher. Accepting this fact changes the focus from the result of the play, to the quality of the pitch made. It’s nearly impossible for an athlete to “lose himself” and detach from results. T ere is winning and losing, there are statistics, there are egos, and there is competition. However, maintaining a focus on quality pitches simplif es the role of pitcher. And if you, as coach, can bring that focus down to a single pitch, the next pitch, the results will truly take care of themselves. Coach’s Note: Quality Pitch philosophy has been made popular by my friend and colleague Steve Springer’s fantastic publications entitled Quality At-Bat’s.

3 Hits To Score We pitchers take ourselves too seriously. We give hitters too much credit. T ese beliefs and attitudes cause us to pitch cau- tiously, fall behind in counts, and falter in situations where we must challenge the heart of the plate. Pitching is hard enough, let’s not make it harder!

Force the of ense to get three hits.

To score, the other team must (1) Get ’em on; (2) Get ‘em over; (3) Get ‘em in.

Provided pitchers are throwing strikes, working down in the zone, and controlling the running game, an of ense must get three hits to score a run—and that’s only one run! Getting three hits in a single inning is hard. Put a pitching machine on the mound, throwing fastballs low and down the middle, and see how many innings a team can score runs. T e reality is that

289 CHAPTER 11 an of ensive team would score runs in 3 to 4 innings out of 9 (in 2 to 3 innings in a 7-inning game). T at limit on hitting is plenty good enough to keep a team in a ballgame. And we get to move the ball around and change speeds. Stay aggressive and make someone beat you! I use this philosophy to encourage my pitchers to pitch-to- contact: Execute a quality pitch, detach from the results, and keep the perspective that it’s going to take three hits to score a run. As long as my pitcher stays aggressive, remains mentally tough, and never backs down…the chances of a big inning (more than 2 runs scored) is very unlikely.

CHARACTERISTICS OF A CHAMPION Since 2001, I’ve conducted 15,000 individual pitching lessons in addition to leading high school and college pitching staf s. I’ve coached f ve f rst-round draf picks and a dozen major league pitchers, and I worked with over 100 athletes that received college scholarships. Taking away God-given talents, body size, and arm strength, what are the top characteristics of a champion?

Drive An athlete must want it for himself. Many times, I will work hard through a lesson, passionately teaching and coaching an athlete to identify and correct his own mechanical f aws. I’ll assign homework for the rest of the week and then see the same athlete a calendar week later. It blows my mind how many athletes cannot remember what their own f aw was. As I grow older, busier, and less politically correct…I am more and more tempted to toss the athlete out of the bullpen on the spot! T e drive to improve, the willingness to grind, the desire to be great must be present. And, it must originate from the

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athlete. Dad can’t want it for the athlete. Coach can’t muster it for the pitcher. A pitcher will maximize his potential only with great drive. Specif c to conditioning, I nurture and coach drive by connecting athletes to their own development. Sprint work gets you faster. Sprint work gets you more explosive. Sprint work helps you to throw harder. Want it for you. T at’s okay!! Don’t do it because a coach is making you. Don’t do it because you have to. Connect these squats, lunges, and plyometrics with the improvements you want to make. Push, work, and get better!!!

Compete Teach your athletes to compete! Encourage the f ght to minimize a potentially big inning, the battle to manage the running game, the grind to work out of a jam. Bear down and show grit in the face of pressure. Compete!! T e personality of each pitcher is dif erent. Some are naturally more comfortable competing than others. However, as coaches, we must encourage and coach competitors. Bring forth the toughness inside your pitcher by celebrating the process of competing. Ensure that he knows you want him to compete, rather than be perfect. Let’s say it again: Execute a quality pitch, detach from results, and keep the perspective that it’s going to take three hits to score a run.

Love the Game Perhaps the biggest ingredient to success is to love the game. Baseball is hard. Baseball is a game of failure. Pitchers fail the most and have it the hardest. All eyes are on the mound, every pitch. Being a pitcher takes guts. A pitcher that advances

291 CHAPTER 11 through the levels of baseball and has fun along the way must have a love for the game. My best coaching advice to build a love for baseball and pitching in general is simple:

Make practice fun

Work just as hard planning the practice as you do coaching during it. Develop bullpen plans that are varied and challenging. Mix up conditioning so that workouts are masked by competition and fun. Take the team of the f eld for a life-lesson event or discussion. Attend a major league game or, even better, a college game. Learn to love this game.

292 CHAPTER 12

Pitch Learning Ages

AGE PITCH

7 Fastball

8 Change Up

9 Knuckleball

13 Curveball

16 Slider

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Recommended Pitch Counts

AGE GAMES PER WEEK PITCHES PER GAME

8 2 48 9 2 52 10 2 56 11 2 60

12 2 66 13 2 72

14 2 78 15 2 86 16 2 96 17 2 106

18 2 106

294 CHARTS - PITCH COUNTS AND REST TIMES

Rest Times

AGE PITCHES THROWN DAYS OF REST

20 - 29 1 30 - 39 2 8 - 10 40 - 49 3 50+ 4 25 - 34 1 35 - 49 2 11 - 12 50 - 59 3 60+ 4

25 - 35 1 36 - 55 2 13 - 14 56 - 69 3 70+ 4

25 - 39 1 40 - 60 2 15 - 16 61 - 79 3 80+ 4

25 - 44 1 45 - 61 2 17+ 62 - 89 3 90+ 4

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Recommended Pitch Counts

AGE PONY BABE RUTH LL CLUB / TRAVEL

8 38 ft Machine / 46 ft 46 ft 40 ft 9 44 ft 46 ft 46 ft 46 ft 10 44 ft 46 ft 46 ft 46 ft 11 48 ft 46 / 50 ft 46 ft 50 ft 12 48 ft 46 / 50 ft 46 ft 50 ft

13 54 ft 60.5 ft 60.5 ft 54 ft 14 54 ft 60.5 ft 60.5 ft 60.5 ft 15 + 60.5 ft 60.5 ft 60.5 ft 60.5 ft

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