Fourth Edition

BASKETBALL
Skills & Drills
JERRY V. KRAUSE
CRAIG NELSON

Library of Congress Cataloging-in-Publication Data

Names: Krause, Jerry, 1936- author. | Nelson, Craig, 1984- author.
Title: Basketball skills & drills / Jerry V. Krause and Craig Nelson.
Other titles: Basketball skills and drills | Basketball skills and drills.
Description: Fourth Edition. | Champaign, Illinois : Human Kinetics, [2019] |
Originally published: Champaign, Illinois : Leisure Press, c1991. |
Includes bibliographical references and index.
Identifiers: LCCN 2018020668 (print) | LCCN 2018023641 (ebook) | ISBN
9781492568353 (ebook) | ISBN 9781492564102 (print)
Subjects: LCSH: Basketball--Coaching.
Classification: LCC GV885.3 (ebook) | LCC GV885.3 .K68 2018 (print) | DDC
796.323--dc23
LC record available at https://lccn.loc.gov/2018020668
ISBN: 978-1-4925-6410-2 (print)
Copyright © 2019, 2008, 1999, 1991 by Jerry V. Krause
All rights reserved. Except for use in a review, the reproduction or utilization of this work
in any form or by any electronic, mechanical, or other means, now known or hereafter
invented, including xerography, photocopying, and recording, and in any information stor-
age and retrieval system, is forbidden without the written permission of the publisher.
The web addresses cited in this text were current as of July 2018, unless otherwise noted.
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E7294

Coaches often learn much from their players. One of my former players, Don Meyer,
spent his 40-year career at the small-college level and became an eight-time hall of fame
coach. We both had roots in the small town of Wayne, Nebraska; he grew up there,
and I graduated from Wayne State College. Years later, our paths crossed at Colorado
State College, where I was fortunate to coach Don as an assistant basketball coach. We
became lifelong friends and coaching brothers who shared a passion for the game as
well as for giving back to coaches and players through the sharing of knowledge.
For more than 30 years we collaborated on clinics, DVDs, and books to share basket-
ball coaching ideas with other coaches and players. Don and I shared the belief that a
coach’s good example as a role model isn’t just one way to teach players life lessons—it
is the only way. Here are three life lessons we learned together:
1. Always take notes. My “Never stop learning” mantra is based on Don’s belief
that we should “get all good ideas” (learn) but pick out those that are best for you and
your team. His rule is still true today, particularly thanks to the ease with which coaches
can share ideas in this age of technology. Learning is more effective with handwritten
note-taking compared to using electronic devices.
2. Always say please and thank you. This was his way to teach players civility and
kindness. I used this rule to develop my theme of respect: develop your own self-respect
and earn the respect of others.
3. Always pick up trash. This was Don’s way of making our world better. My ap-
proach to this lesson is this: Practice leaving your personal world better than you found
it on a daily basis. This can be accomplished even with the simple act of picking up
trash around your personal or business space.
Don, thank you for helping me model these values for others to learn. Your extraor-
dinary example set a high standard of excellence for coaching knowledge, and you
shared so much with so many. You were incredible! Thank you, my coaching brother;
you taught me well, and I learned with you as best I could.
In respect, love, and gratitude,
Your friend, Jerry Krause

iv
Drill Finder vii Accessing the Online Video xiii Foreword xv
Preface xvii Introduction xix Key to Diagrams xxix
Chapter 1 Body Control and Fundamental Footwork . . . . . . . . . 1
Quick Stance 2
Quick Starts, Steps, Turns, and Stops 6
Quick Jumps 17
Basic Body-Control Drills 21
Chapter 2 Advanced Body Control . . . . . . . . . . . . . . . . . . . . . . . 31
Concepts of Moving Without the Ball on Offense 32
Basic Moves or Steps Without the Ball 34
Screen Moves 36
Drills for Moving Without the Ball 45
Chapter 3 Ballhandling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
Passing and Catching 55
Principles of Passing and Catching 55
Types of Passes 58
Catching Principles 62
Communication in Passing and Catching 65
Dribbling 65
Basic Ballhandling Drills 77
Chapter 4 Shooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89
Field-Goal Shooting 90
Shooting Mechanics 96
Other Types of Shots 103
Free-Throw Shooting 116
Shooting Drills 122
Chapter 5 Outside Offensive Moves: Playing the Perimeter . . . 145
Fundamentals of Live-Ball Moves 146
Fundamentals of Dead-Ball Moves 155
Perimeter-Play Drills 158
Chapter 6 Inside Offensive Moves: Playing the Post . . . . . . . . . 169
Post-Play Fundamentals 170
Post Skills 172
Post or Inside Moves 175
Post Drills 187
Contents

v
Chapter 7 Individual Defense . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Fundamentals of Defense 198
Essentials of Defense 199
On-the-Ball Defense 201
Off-the-Ball Defense 206
Post Defense 208
On-the-Ball to Off-the-Ball Defense 210
Off-the-Ball to On-the-Ball Defense 210
Special Defensive Situations 212
Pressuring the Shot 216
Defensive Drills 218
Chapter 8 Rebounding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Rebounding Tools 226
Motivating Players to Rebound 226
Rebounding Rules 228
Defensive Rebounding 230
Offensive Rebounding 240
Rebounding Assessment 244
Rebounding Drills 247
Chapter 9 Team Offense . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
General Offensive Principles 256
Player Positions and Responsibilities 256
Offensive Team Tactics 258
Drills for Team Offense 272
Chapter 10 Team Defense . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
Defensive Court Levels 281
Defensive Categories 282
Drills for Team Defense 288
Resources 291 Index 292 About the Authors 297

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vii
Drill
Level
Specific focus
Warm-up
component
Conditioning
component
Page
Basic Body Control
Quick-Stance Check
Basic
Basic stance
22
Quick-Stance Mirror
Basic
Basic stance
22
Mass Quick Moves
Intermediate

✓
Basic stance

✓
22
Line Drill: Quick
Starts, Steps, Turns,
and Stops
Basic
Starting, stepping, turning,
stopping, PPF footwork, and EPF

✓
footwork

✓
24
Line Drill: Quick Jumps
Basic
Jumping skills for rebounding

✓
and shooting

✓
26
Line Drill: Rebound
Jumping and Turns
Basic

✓
Jumping skills for rebounding

✓
27
Line Drill: Quick Stance,
Starts, Steps, Jumps,
Turns, and Stops
Basic

✓
Body-control movements

27
Line Drill: Starts,
Stops, and Turns
Intermediate,
advanced
Quick stance, quick starts, quick
stops, quick turns, and passing

✓
and catching skills

✓
27
Full-Court Team
Rebounding
Intermediate,
advanced
Two-handed rebounding, tapping

✓
ball on backboard

28
Advanced Body Control
Line Drill: Moving
Without the Ball
Basic

✓
Basic moves without the ball

45
V-Cut
Basic
Basic moves without the ball in
2on-0 and 2-on-2 situations
46
2-on-2 Offense and
Defense
Intermediate,
advanced
All two-player scoring moves
(live ball, back cuts, pass-and-
cut, ball screen), plus varied

✓
defense

48
4-on-4 Half-Court Offense
and Defense
Intermediate,
advanced
Concentrated half-court team

✓
offense and defense

48
4-on-4 Defense-to-
Offense Transition
Advanced
Half-court team offense option,
offensive and defensive
rebounding, controlled defense-
to-offense transition, offense-to-

✓
defense transition

48
One-Minute
Continuous Game
Advanced
Use of all offensive moves
without the ball and applying full-
court defense (no over-the-top
breakaway cuts allowed); one-

✓
minute games

✓
49
Pick-and-Roll
Intermediate,
advanced
Screening and cutting options for

✓
on-the-ball screens

49
3-on-0 Motion
Advanced
Scoring options on screens away

✓
from the ball; two-ball shooting

✓
50
3-on-3 Motion Screen
Advanced
Screening and cutting options for

✓
off-the-ball screens

50
Ballhandling
Ballhandling
Basic, advanced Controlling the ball, becoming
familiar with the ball, developing
an individual ballhandling warm-

✓
up and skill-practice routine

✓
77
Line Drill:
Passing and Catching
Basic
Passing and catching techniques

✓
(all basic passes)

79
Drill Finder
(continued)

viii
Drill
Level
Specific focus
Warm-up
component
Conditioning
component
Page
Ballhandling (continued)
Two-Player Passing
and Catching
Basic
Passing and catching using a
one-handed push pass with

✓
either hand after a dribble

79
Coach Beilein’s
Perfect Passing
Intermediate,
advanced
2-on-2 half-court passing
and catching with correct
fundamental passing technique
(30 seconds, at least 10 passes
✓
to score)

✓
80
Gonzaga Team
Pass–Catch
(Around the World)
Advanced
4-on-0 pass–catch sequence
performed correctly and quickly

✓
(1 minute, layup numbers)

✓
81
2-on-1 Keepaway
Passing
Advanced
Passing and catching between
partners who must pass by a

✓
defender

81
Moving Pairs Passing
Basic,
intermediate
Partner passing and catching
skills while moving and against a

✓
defender; spacing and timing

82
Wall Passing
Basic
Individual ballhandling skills of

✓
passing and catching

82
Line Drill: Stance, Starts,
and Skill Breakdown
Basic
Selected footwork skills from a

✓
quick stance and a quick start

82
Line Drill: Starts,
Stops, and Turns
Basic,
intermediate,
advanced
Combining footwork, dribbling,
starting, stopping, passing,
catching, and turning skills in

✓
four lines

✓
83
Mass Dribbling
Basic,
intermediate
Basic ballhandling skills of

✓
dribbling

83
Full-Court Dribbling
Basic

✓
Ballhandling skills of dribbling

84
Wall Dribbling
Intermediate,
advanced
Ballhandling skills with one ball

✓
and two balls

85
Basic Ballhandling
Drill
Intermediate,
advanced
Individual and pair dribbling,
passing, and catching skills with

✓
basketballs and tennis balls

85
Gonzaga Full-Court
Footwork and Layup
(Peer-Pressure Drill)
Basic,
intermediate,
advanced
EPF footwork and two-handed

✓
passing and catching

✓
86
Shooting
Line Drill: Shooting
Addition (Without Ball,
With Ball)
Basic
Shooting in a simulated game

✓
situation

122
Layup Shooting
Progression
Intermediate,
advanced
Proper and quick execution of
game-type layups; dribble-chase

✓
layups

123
Gonzaga Full-Court Team
Layup
Basic,
intermediate,
advanced
PPF and EPF options (peer-

✓
pressure shooting drill)

✓
124
Field-Goal
Progression
Basic,
intermediate,
advanced
Improved shooting through
feedback; self-teaching
✓
125
Shoot-the-Line and
Soft-Touch Shooting
Basic,
intermediate,
advanced
Shooting mechanics and

✓
confidence building

128
Groove-It Spot Shooting
Intermediate
Evaluating shooting

✓
effectiveness and range

129
Pairs In-and-Out
Shooting
Intermediate,
advanced
Shooting in a 2-on-0 game
simulation (all shooting

✓
situations)

130
Drill Finder (continued)

ix
Drill
Level
Specific focus
Warm-up
component
Conditioning
component
Page
Shooting (continued)
Make-It-Take-It Row
Shooting
Basic,
intermediate,
advanced
✓
Self-testing of shooting skills

131
Individual Grooving
the Shot
Basic
Mechanics of shooting hand and
balance hand; increasing shot

✓
range

132
Field-Goal Correction
Basic
Troubleshooting
132
Coach Hutter’s
Competitive Shooting
Intermediate,
advanced
Complete set of individual and

✓
team competitive shooting drills

✓
133
Don Meyer’s
Competitive Shooting
Intermediate,
advanced

✓
Team competitive shooting drills

✓
135
Gonzaga Competitive
Shooting
Intermediate,
advanced
Competitive peer-pressure team
pass–catch–layup drill; timed
goals
136
Free-Throw
Progression
Basic,
intermediate,
advanced
Free-throw shooting

✓
fundamentals

137
Foul-Shot Golf
Basic
Free-throw shooting
138
Knockout Shooting
Intermediate,
advanced
Shooting in a competitive

✓
situation

138
Row-Plus Free-Throw
Shooting
Intermediate,
advanced

✓
Competitive shooting

✓
138
Footwork and Field
Goals (or Free Throws)
Intermediate,
advanced

✓
Competitive shooting

✓
139
Mental Practice
for Field-Goal
and Free-Throw Shooting
Intermediate,
advanced
Building shooting confidence
through automatic verbal
prompts, shooting rituals, and
self-evaluation
139
Long Layup Attack
Intermediate,
advanced
Attacking basket from edge of
free-throw lane with backboard

✓
finish

✓
140
Hop-Back (Step-Back)
Shooting
Intermediate,
advanced
Practice hop-back (step-back)
shooting inside and outside the

✓
three-point arc

141
Gonzaga Full-Court
Lay-and-J
(Peer-Pressure Drill)
Basic,
intermediate,
advanced
Team field-goal shooting (layups,
jump shots); timed peer-pressure

✓
drill

✓
141
Gonzaga Scramble
Pass-and-Catch Layup
(Peer-Pressure Drill)
Intermediate,
advanced
Team pass–catch–layup drill;

✓
timed peer-pressure drill

✓
143
Outside Offensive Moves
Warm-Up for Perimeter
Players
Basic

✓
Warm-up for fundamental skills

159
Line Drill: Live-Ball, Dead-
Ball, and Completion
Moves Addition
Basic
Live-ball and dead-ball moves;

✓
review of dribble moves

159
Outside Moves
Using a Spin Pass
Basic

✓
Outside moves

✓
160
Closeout: 1-on-1,
2-on-2, 3-on-3, 4-on-4
Basic,
intermediate,
advanced

✓
All outside moves

✓
161
1-on-1
Basic,
intermediate,
advanced
1-on-1 competition for perimeter

✓
players

✓
162
Partner
Penetrate-and-Pitch
Basic,
intermediate
Live-ball moves; passing
to teammate for score at
✓
completion of dribble drive

✓
162
(continued)

x
Drill
Level
Specific focus
Warm-up
component
Conditioning
component
Page
Outside Offensive Moves (continued)
Partner Passing
and Shooting
Basic,
intermediate,
advanced
Combination drill using all
offensive skills and various shots
and addressing ballhandling

✓
goals

✓
163
Timed Layups
Basic
Ballhandling and layup shooting

✓
(V and reverse V)

✓
163
Perimeter Game
Intermediate,
advanced
All perimeter moves with the ball;
individual PR competition; game
moves at game spots at game

✓
speed
✓
164
Five-Spot Dribble
and Finish
Basic,
intermediate
Live-ball and finish moves in a

✓
timed situation

✓
164
Diamond Dribble Moves
(Full-Court)
Intermediate,
advanced
Rebounding and perimeter skills

✓
with dummy defenders

✓
165
Continuous
Pass-and-Trap
Intermediate,
advanced
Passing and catching against

✓
defensive traps

✓
166
Finish the Play
Intermediate,
advanced
Offensive attack moves and

✓
basket finishes

✓
167
Three-Lane-Rush
Pass–Catch (Peer-
Pressure Drill)
Intermediate,
advanced
Full-court layups; team peer-
✓
pressure drill

✓
168
Inside Offensive Moves: Playing the Post
Post Warm-Up
Basic

✓
Basic post skills

187
Line Drill: Post-Player
Starts, Turns, and Stops
Basic

✓
Proper footwork

187
Post Pairs
Basic
Post stance, passing and

✓
catching, and chinning the ball

188
Spin-Pass Post Moves
Basic
Individual offensive post moves;

✓
back-to-basket moves

189
Post Progression
Basic,
intermediate,
advanced

✓
Offensive post moves

✓
190
Big Spacing
and Post Feeding
Intermediate,
advanced

✓
Triangle spacing; big spacing

190
All-American Post Workout
Advanced

✓
All offensive post moves

✓
192
2-on-2 Feeding the Post
Intermediate,
advanced
Offensive and defensive post-
play skills; passing to post
players; movement after pass for
return pass
192
Mikan
Basic,
intermediate,
advanced
Footwork, ballhandling, layup
shooting close to basket; regular,

✓
reverse, and power Mikans

✓
193
5-on-5 Post Passing
Advanced
Post players: getting open,
catching, post moves, passing
from post position while reading
and reacting to defenders
Defensive players: double-
teaming post players, rotating to

✓
ball on passes from post

✓
193
Post Score
Through Defense
Intermediate,
advanced
Capturing and chinning the ball;

✓
scoring through contact
194
1-on-1 Post Cutthroat
Basic,
intermediate,
advanced
Post offense and defense in

✓
1-on-1 live format

194
Perimeter–Post
Progression
Basic,
intermediate,
advanced
Perimeter and post players
working together as outside–

✓
inside units

195
Drill Finder (continued)

xi
Drill
Level
Specific focus
Warm-up
component
Conditioning
component
Page
Individual Defense
Stance-and-Steps
Progression
Basic
Defensive stance and power

✓
push-step (step-slide) technique

218
Moving Stance
and Steps
Basic
Individual defensive stance and
steps
✓
✓
219
Line Drill: Individual
Defense
Basic

✓
Individual defensive skills

220
On-the-Ball and Off-the-
Ball: 2-on-2
Basic
Quick adjustment to on-the-ball
and off-the-ball positions while
defending penetration (help-and-

✓
decide situations)

220
1-on-1 Closeout
Progression
Basic
Closing out on off-the-ball

✓
offensive player

221
Closeout: 1-on-1,
2-on-2, 3-on-3, 4-on-4
Intermediate,
advanced
All outside moves of perimeter

✓
players

222
Defensive Slide: Moving
Stance and Steps
Basic

✓
Individual defensive steps

✓
222
Half-Court: 2-on-2, 3-on-3,
4-on-4
Intermediate,
advanced

✓
Individual defensive skills

223
Half-Court Plus Transition:
4-on-4
Intermediate,
advanced
Individual and team defensive
skills; transition from defense
to offense after defensive

✓
rebounding

223
Team Transition:
Offense-to-Defense
and Defense-to-Offense
Intermediate,
advanced
5-on-5 team transition (offense-
to-defense and defense-to-

✓
offense)

223
3-on-3 Get-Back
Transition
Intermediate,
advanced
Continuous 3-on-3 transition
(offense-to-defense; defense-to-

✓
offense)

224
Rebounding
Line Drill: 2-and-2
Rebound Progression
Basic
2-and-2 and capture-and-chin-it
pivot (turn) and pass rebound

✓
techniques

247
Line Drill: Defensive
Rebound Progression
Basic
Defensive rebounding

✓
techniques

247
Line Drill: Offensive
Rebound Progression
Basic
Offensive rebounding; getting
past the defender to block out,
getting to a gap, making contact
to move the defender closer to

✓
the basket

248
Line Drill: Pivot-
and-Pass Progression
Basic
2-and-2 rebounds plus pivot-and-

✓
pass technique

249
Rebound and Outlet
Intermediate,
advanced
Taking a defensive rebound off
the backboard and making an

✓
outlet pass

249
Rebound Number
Basic
Seeing opponent and ball when

✓
shot is taken

250
Closeout and Blockout
Intermediate,
advanced
Team competition; 1-on-1,
2-on-2, and 3-on-3 rebounding
situations; on-the-ball and off-
✓
the-ball blockouts

250
Line Drill: Full-Court
Offensive Boards Without
the Ball
Basic

✓
Offensive rebounding skills

250
Hands-Up, Figure-8,
Backboard-Passing
Rebound
Intermediate,
advanced
Controlling the rebound; two-

✓
handed tips

✓
251
(continued)

xii
Drill
Level
Specific focus
Warm-up
component
Conditioning
component
Page
Rebounding (continued)
Garbage
Basic,
intermediate

✓
Scoring on the offensive rebound

✓
251
No-Babies-Allowed
(NBA) or Survival
Rebounding
Advanced
Aggressiveness as a rebound

✓
skill

252
Individual Rebounding
Basic

✓
Rebounding skills

252
Rebound Progression:
3-on-0, 3-on-3
Intermediate,
advanced

✓
Rebounding skills

253
Cutthroat Rebounding:
3-on-3, 4-on-4
Intermediate,
advanced
Offensive and defensive

✓
rebounding

253
War Rebounding
Advanced
Aggressive defensive or

✓
offensive rebounding

254
Team Offense
Skeleton Offense:
5-on-0 (Dry Run)
Basic

✓
Basic team offensive formation

272
Team Offense
and Defense:
4-on-4, 5-on-5
Intermediate,
advanced
Team offense and defense
✓
272
Blitz Fast Break
Intermediate,
advanced
Two-lane and three-lane
fast-break plays (offense and

✓
defense)

273
Transition Fast Break
Intermediate,
advanced

✓
Transition basketball

275
Defense-to-Offense
Transition
Basic,
intermediate,
advanced
Teach defense-to-offense
transition (2-on-0, 3-on-0, 5-on-

✓
0) to score and then get back

✓
275
Team Defense
Half-Court
Basic Defense:
3-on-3, 4-on-4
Intermediate,
advanced
Two-person and three-person

✓
offensive play

288
Half-Court
to Full-Court:
3-on-3, 4-on-4, 5-on-5
Intermediate,
advanced
Half-court defense and transition
to offense; half-court offense and

✓
transition to defense

289
Full-Court:
3-on-3, 5-on-5
Intermediate,
advanced

✓
All phases of defense

289
2-on-2 Avoid the Screen
Basic,
intermediate,
advanced
2-on-2 ball screen defense: fight

✓
through and switch up

289
Sprint to Low-I Help
Position
Basic,
intermediate,
advanced
Perimeter closeout and sprint to

✓
protect basket (low-I position)

290
The
symbol indicates which drills can also be found in the online video
Drill Finder (continued)

xiii
Accessing the Online Video
T
his book includes access to online video that includes 41 clips demonstrating some of the
most dynamic drills from the book. In the drill finder and throughout the book, exercises
marked with this play button icon indicate where the content is enhanced by online video
clips:
Take the following steps to access the video. If you need help at any point in the process,
you can
contact us by clicking on the Technical Support link under Customer Service on the right
side of
the screen.
1. Visit www.HumanKinetics.com/BasketballSkillsAndDrills.
2. Click on the View online video link next to the book cover.
3. You will be directed to the screen shown in figure 1. Click the Sign In link on the left or
top of
the page. If you do not have an account with Human Kinetics, you will be prompted to create

one.
4. If the online video does not appear in the list on the left of the page, click the Enter Pass
Code
option in that list. Enter the pass code exactly as it is printed here, including all hyphens.
Click
the Submit button to unlock the online video. After you have entered this pass code the first
time, you will never have to enter it again. For future visits, all you need to do is sign in to
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book’s website and follow the link that appears in the left menu.
Pass code for online video: KRAUSE-43TD-OV
Figure 1

6. You are now able to view video for the topic you selected on the previous screen, as well
as all
others that accompany this product. Across the top of the page, you will see a set of buttons
that correspond to the topics in the text that have accompanying video. Once you click on a
topic, a player will appear. In the player, the clips for that topic will appear vertically along
the
right side. Select the video you would like to watch and view it in the main player window.
You
can use the buttons at the bottom of the main player window to view the video full screen,
to
turn captioning on and off, and to pause, fast-forward, or reverse the clip.
Figure 2
xiv ACCESSING THE ONLINE VIDEO
5. Once you have signed into the site and entered the pass code, select Online Video from
the list
on the left side of the screen. You’ll then see an Online Video page with information about
the
video, as shown in the screenshot in figure 2. You can go straight to the accompanying
videos
for each topic by clicking on the blue links at the bottom of the page.

xv
Foreword
I
t is a real honor for me to write the foreword for the fourth edition of Basketball Skills &
Drills. For
more than 25 years, this book has stressed basketball fundamentals. More than 250,000
copies
have been sold, and it continues to be translated and published around the globe. To say the
least,
all of us in the game should feel a great sense of pride for the work that Jerry Krause and
Don Meyer
have done to enhance teaching, learning, and coaching the fundamental skills of basketball.
In order to be a good player and to have a good team, fundamentals must be stressed.
Basketball
Skills & Drills breaks the game into its simplest form. It is easy to understand for both
coaches and
individual players at any level. I enthusiastically recommend the book to everyone who
wants to
become a better player, coach, or teacher.
I believe that all coaches take great pride in being called Coach. I also believe that all
coaches
feel that they are teachers. The ability to fundamentally teach this game is essential for a
coach to
become better. I have benefitted greatly from reading this book and using many of its ideas
as I have
taught the game for the past four decades. Please take the time to study each of the pages in
this
treasured book. You will benefit greatly from it!
No coach in the history of the game has taught this great game better than Don Meyer. As I
read
the pages in this book, I can visualize Don teaching these fundamentals. He loved this game
as much
as anyone could ever love it.
Finally, I want to thank Jerry Krause, Don Meyer’s coach and mentor, whose love of the
game is
unmatched. Jerry, thank you for this fabulous book and video library and for what you have
done
for the game throughout your life!
Mike Krzyzewski, Head Men’s Basketball Coach at Duke University
and U.S. Olympic Coach (2008, 2012, 2016)

This page intentionally left blank.

xvii
Preface
“I seek to leave the world a little better place than I found it.”
James Naismith, inventor of basketball
B
asketball Skills & Drills rests on a foundation laid by Better Basketball Basics (Leisure
Press), which
focused only on fundamental skills of the game. That 1983 publication featured 550 sequen-
tial pictures, became extremely popular with coaches, and sold out its two editions. In 1991,
its
main concepts were refined and developed into the first edition of Basketball Skills & Drills
(Human
Kinetics). That book quickly became a best-selling reference for teaching and learning
basketball.
Today, nearly a quarter-million players and coaches around the world agree that this book
is the
simplest, most comprehensive treatment of basketball basics—the fundamental skills of the
sport.
For the second edition of Basketball Skills & Drills (1999), the addition of Don Meyer and
Jerry
Meyer as co-authors brought expertise in successful playing and coaching from two more
genera-
tions of linked experts who built their careers around successful execution of basketball
funda-
mentals. The book’s third edition (2008) had significant innovations. Specifically, it included
two
hours of video demonstrations on DVD, thus adding a new component for those who prefer
visual
learning for key skills and drills. In fact, that package provided a legacy for future basketball
players
and coaches and became the basis for a new video library made exclusively for Skill & Drills
read-
ers for this fourth edition. Readers will gain special access to an array of video clips
covering all of
the fundamental skills and the critical cues for teaching and learning them, plus selected
drills for
developing all of the basketball basics. See instructions on how to view the video clips
located on the
previous page titled Accessing the Online Video.
Thus, Basketball Skills & Drills has become the definitive source of fundamentals for
coaches, play-
ers, and parents. Improvements in this edition include the following:
• Updated and expanded primary and secondary concepts for the fundamental skills
(integrat-
ing insights from the Krause–Meyer basketball family tree, as well as drills derived from
Dennis
Hutter that are direct offshoots of our philosophy)
• Additions to the teaching methods and alternative ways to teach and learn skills more
effec-
tively for all players
• References to players and coaches who also place a special emphasis on fundamental
skills
• Addition and modification of court diagrams to ensure clear, accurate illustrations
• New focus on developing a teaching and learning community
• Addition of advanced either-pivot-foot (EPF) footwork and facing-the-basket post play
with
new “Zak-attack” techniques designed to help players attack the basket from the high post
and
short corners
• Expansion of the sequential, progressive drills for each chapter
• Revised troubleshooting sections addressing common problems and remedies
• Skill assessments, including both observational measures (in the troubleshooting
sections)
and quantitative measures of status and improvement through development and addition of

“peer-pressure” shooting drills (presented in chapter 4). These drills originated in Krause’s
year
spent with Naismith Hall of Fame coach Ralph Miller of Oregon State University in 1982-
1983.
Miller used this self-assessment technique with offensive fundamentals to set scoring goals,
as well as related drills, so that players and teams could compete against the game. He
devel-
oped a complete self-assessment system of teaching individual and team offense and
defense

xviii PREFACE
through the careful selection of six drills. These peer-pressure self-training drills are very
useful
for coaches. This technique greatly enhances coaches’ and players’ ability to help each other
in
practicing game moves at game speed.
• A special emphasis on the International Basketball Federation (FIBA) rules with the
inclusion
of EPF footwork and greater emphasis on facing-the-basket post play. FIBA footwork differ-
ences are noted, and the difference between U.S. and FIBA fundamentals are discussed.
One further note about the book’s history from the lead author, Jerry Krause. The origins of
its
first edition date back to 1982, when hall of fame player and coach John Wooden, one of my
mentors
(and the mentor of my primary coach mentor, George Sage of the University of Northern
Colorado),
hosted me at UCLA. Wooden was a gracious host and mentor, especially to young coaches—
a lesson I
never forgot. When asked how he learned the fundamentals, he told me of a continual yearly
process
of updating and researching other coaches’ ideas about fundamental skills and adapting
these ideas
for his program and teams. I adopted this approach and began compiling key concepts in
each skill
area. By 1984, this work led to the creation of my first book on the fundamental skills
(Better Bas-
ketball Basics, mentioned earlier). In recognition of Wooden’s contribution to the game and
the fact
that he inspired me to author my first book, each chapter in this edition ends with a John
Wooden
quote—a nugget of Wooden Wisdom—that has been especially meaningful in my career.
Without
Coach Wooden’s example, I would not have become the most prolific author in basketball
history.
The basic skills lay the foundation for success at all levels of basketball. For example,
Michael
Jordan, Tim Duncan, LeBron James, and Stephen Curry—four of the greatest male players
ever, as
well as female greats Courtney Vandersloot, Sue Bird, and Diana Taurasi—have all
combined great
natural ability with proper and quick execution of exceptional fundamental skills. These
superior
skills were developed through years of dedication to continuous improvement. Coach
Wooden
stated that all players must learn to execute the fundamental skills properly and quickly in
order
to succeed, both individually and as a team. Basketball Skills & Drills can help all coaches
and players
reach this goal, as coaches strive to become more effective master teachers who make the
game of
basketball simple and easy to learn, so that players can learn more effectively and
efficiently, as well
as develop their love of the game.
Wooden Wisdom
“It isn’t what you do, but how well you do it.”
—John Wooden

xix
Introduction
Developing a Teaching–Learning Community
“I’m a teacher and coach. Teaching is what I love most, the heart of my coaching
style. The best thing about my profession is that I can teach.”
Mike Krzyzewski, Duke University, U.S. Olympic coach, Naismith Hall of Fame coach
L
earning is one of the most valuable ways to spend time. In fact, life is about learning, and
players and coaches need to develop lifetime habits of learning. More specifically, they need
to commit themselves to learning constantly in order to make progress, avoid repeating
their
mistakes, benefit from others’ experience, and improve their performance—both in
basketball and
in life.
The value of learning should be appreciated both by players and by coaches. It can be
natural,
enjoyable, productive, and satisfying when approached with a positive attitude. When we
are open
to learning and growth, we will learn, and that learning enables us to achieve. We need to
make con-
nections between what we want to achieve and what we need to learn in order to be
successful. In
basketball, coaches need to make the game simple and easy to learn, and players need to be
ready and
open to learning in order to develop the foundation for success.
Knowing how to learn effectively helps both players and coaches make the most of the
instruction
offered in this book. The essential concepts are as follows:
• Admit mistakes or ignorance. Acknowledge that you don’t know something and even be
willing to look foolish while you learn and make mistakes. Fear of failure is a common trait
and must be overcome in order to maximize learning and become a lifelong learner.
Develop
a mistake mentality by asking questions and taking risks. You must make mistakes in order
to
learn. It is a necessary part of the learning process.
• Begin learning with questions. Let what you already know about basketball skills be a
start-
ing point each day. Start with a challenge, problem, or question that propels you to learn
more.
Muster the humility to use your limited knowledge as a starting point for further learning.
• Bring your knowledge to life. If you learn why you are using a skill, then that skill will hold
more meaning for you. Every skill or concept can be learned better when you know the
reason
for developing and using it. As a learner, discover the “why”; then, if you are a teacher-
coach,
communicate that “why” to your student-players. This process enhances learning as well as
providing motivation for the learning process.
• Take responsibility both for your own learning and for the learning of those around
you. The resulting synergy enables much faster learning and deeper learning on the
individual
and team levels. When a team (including both players and coaches) becomes a teaching–
learn-
ing community, learning is dramatically increased because it serves as a central focus for
both
teachers and learners. A teaching–learning community facilitates learning in all situations—
coach to player (and vice versa), player to player, and player to all other sources. These
learning
situations help develop a positive attitude that can move everyone along the path to
becoming
a lifelong learner.

xx INTRODUCTION
• Learn from experience. Turn information into knowledge by applying it and working with
it.
Use drills to develop skills that can be used to play the game better. In turn, play the game to

discover weaknesses that can be addressed through drills focused on specific skills.
• Learn from other people, especially those who are successful. Coaches can study the lives
of hall of fame coaches to learn the best ideas from the best people. For example, hall of
fame
coach John Wooden identified the attributes associated with success and created his
Pyramid
of Success based on the cornerstones of hard work and enthusiasm for learning. Players can
also
learn from each other, including, of course, from players who are older and more skilled.
Seeing
skills from someone else’s perspective is a great way to learn.
Wooden’s definition of success was developed over a long period of time during an illustri-
ous teaching and coaching career. This definition came from his frustration with academic
grades, which, in his opinion, did not allow all students who strived to do their best to
achieve
the success that they desired. He concluded that all students and athletes needed a
definition
for success where all could become successful if they learned to become their best. Thus, his

success definition became the following: “Success is peace of mind that is the direct result of

self-satisfaction in knowing you did your best to become the best you are capable of becom-
ing” (Wooden and Jamison 2004, 86-87) Our interpretation of this learning mantra could be

stated as “Do your best to become your best.” What more can we ask than to have all players

and coaches doing their best to become their best (in learning and in life)?
• Learn by teaching others. Players should be encouraged to teach and learn from each
other
(through buddy coaching) and teach younger, less experienced players. One of the best
ways to
teach others is by doing our own best, because others tend to be more interested in what we
do
than in what we say. At the same time, we ourselves never fully know something until we
teach
it to, or share it with, others. When players teach other players, the player serving as
teacher-
coach learns more than the student-player does, because serving in the role of teacher
requires
one to prepare and learn more in order to help the learner become more effective.
• Just as the teacher-coach must be prepared to teach, players must be open to learning and
ready to learn in order to accomplish learning objectives in a teaching–learning commu-
nity. As John Wooden stated, “The teacher hasn’t taught until the student has learned”
(Nater
and Gallimore 2010, 103). The real objective is for the student-player to learn and improve,
which is the ultimate test of teaching effectiveness.
• Learning is one of the keys to living a satisfying life, and learning to live (well) is best
done by living to learn. Humans are naturally curious early in life, and they almost always
respond well to the opportunity to learn. This philosophy is well expressed in the following
simple statement: Learn to live by living to learn.
• Never stop learning. When you integrate learning into all you do, you benefit immensely.
Every moment that you make learning a priority, you can bring something positive into
your
life.
Basketball Skills and Drills
Basketball Skills & Drills focuses on the fundamental skills of basketball that coaches teach
and play-
ers learn. The acquisition of basic skills depends greatly on optimizing the teaching and
learning
process to generate a successful end product—namely, athletes who have learned
basketball skills at
the highest level.
Because movement skills are learned over time, patience is essential. Any athlete brings to
the
game certain genetically inherited movement traits, which we often refer to as abilities.
These fun-
damental movement components—such as reaction time, predominant type of muscle
fibers, and
depth perception—serve as the building blocks for an athlete’s movement potential.
Teaching and

INTRODUCTION xxi
learning, however, must focus not on these abilities themselves but on the skills developed
from
them.
Coaches and basketball experts often assert that too many players focus on style over
substance
and prefer to use inherited abilities (the quick fix) rather than develop fundamental skills
(the slow
process). For instance, many players find it easier to dunk the ball than to execute a
challenging pass
and catch for a team basket. This book focuses on the controllable and gradual process
required
to teach and learn basic basketball skills—a process that depends on the substance of the
skilled
athlete rather than the flash of the stylistic athlete who relies primarily on
individual movement
abilities. Coaches and players need to focus on teaching and learning the basic skills of
basketball
and emphasize the process more than the product (i.e., single performance). They need to
build on
each player’s inherent ability base for developing basketball skills, by which we mean
learned move-
ments built on inherited abilities. This long, slow process provides the basis for individual
and team
success in basketball.
Coaches and players often use drills as necessary tools to enhance skill learning. Drills,
however,
are only tools—not the end result. Thus, the focus should always be placed not on the drills
them-
selves but on the desired skills. The drills presented in this book have been carefully
selected to help
players and coaches improve fundamental basketball skills. All coaches can benefit from
helping
their players develop or modify skills that best fit their philosophy and system of play. Skills
are best
developed by careful selection of and proper use of drills that enhance learning.
Coaches and players can modify and develop their own drills to learn basketball skills that
eventu-
ally result in performing game moves at game speed. As expressed by Naismith Hall of Fame
coach
Henry “Hank” Iba of Oklahoma State University, “Practice the game in the manner in which
it is to
be played” (personal communication, September 1969).
Levels of Learning
Movement learning experts have found that basketball skills are learned in three stages.
1. Cognitive stage: The player forms a mental picture of the skill, usually based on a
demonstration
or explanation from a teacher or coach. Because vision is usually the dominant sense,
especially
for this stage of learning, coaches should “paint perfect pictures” through their
demonstrations
and explanations.
2. Practice stage: The player imitates the demonstration, the imitations are corrected and
reinforced
by the coach, and the skills are performed repeatedly. John Wooden emphasized this critical

step when he stated that the five final learning steps are repetition, repetition, repetition,
repetition, and repetition.
3. Automatic stage: The player can perform skills without thinking; the movements have
become
habits and can be performed as game moves at game speed.
Drills should use this repetitive process to reach the final goal of achieving game moves at
game
speed.
Basic skill learning in stages can involve the senses of sight, sound, and feel.
1. The sight, or look, of a skill: A player needs to know what a skill looks like when
performed
properly, and this need can be met through partner or buddy coaching—that is, watching
teammates perform a skill, reinforcing what they are doing correctly, and correcting their
mistakes. To maximize team learning of basic skills, coaches should convince all players to
take
responsibility for their teammates’ basic skill learning. A team is only as strong as its
weakest
link, and its strength also depends on each player teaching all of the other players (e.g.,
through
echo calls [repeating back the coaches’ instructions or “critical cues”], as discussed later),
thus
enabling all players to learn more efficiently. To coach such demonstrations effectively,
coaches
must provide explanations that are precise, concise, correct, and understood by all players.

xxii INTRODUCTION
2. The sound of a skill: After players know the look of a proper skill, their focus can shift to
sound—
for instance, the sound of a dribble on the floor or of proper passing (ping) and catching
(click).
3. The feel of a skill: Feeling is the highest sensory development of a skill—for example,
when
shooting a free throw in practice with one’s eyes closed or dribbling a basketball while
keeping
one’s eyes focused on the net or rim with big vision (head up to see the whole floor).
Visualization is a mental tool that can be applied in all three sensory areas. When a player
men-
tally practices a skill by picturing perfect performance of it, the player learns in a relaxed
state. This
approach works best when players focus on mentally reviewing their own successful
performance—
how it looks, sounds, and feels. Thus, players need to become aware of the look, sound, and
feel of a
skill through both physical practice and mental practice.
Communication
One of the paramount components of teaching and learning is communication. The ability to

disseminate palatable information is a valuable tool—one that both players and coaches
need to
sharpen every day. What matters is not what coaches teach but what players learn. Players
do not all
learn in the same way or at the same speed, and what is effective for one player may not be
effective
for all. For coaches, the challenge is to know how to teach players in a way that allows them
to learn
best. Communication, like learning itself, requires patience, open-mindedness, and a
common goal
(usually that of gaining knowledge). When these elements are present, coaches, players, and
teams
create the greatest opportunity to grow and succeed through learning.
One example of an effective communication tool can be found in a practice known as echo
calls,
in which players repeat a critical teaching or learning cue or other communication from a
coach to
ensure that all players learn. This audible communication creates an environment in which
players
interact with each other. Players learn more efficiently when they teach and communicate
with each
other, and players on the floor can never communicate too much.
In order to develop communication skills, focus on the following six key areas identified by
Rainer
Martens in his best-selling book Successful Coaching (1997):
1. Credibility
2. Positive approach
3. Information over emotion
4. Consistency
5. Listening skills
6. Nonverbal communication
Let’s briefly examine each of these areas. First, credibility with players is based on respect.
Each
player should be allowed the opportunity to build self-respect and confidence during the
basketball
experience. In fact, developing self-respect while earning respect from others should be the
norm for
both players and coaches.
Second, communication between players and coaches should generally be positive—that is,
emphasizing praise and rewards more than punishment and criticism. In short, coaches
should tell
players what to do rather than what not to do. For example, when teaching shooting,
coaches might
tell players to shoot up rather than telling them that the shot is too low. Coaches should also
look
for what players are doing right instead of focusing on what they are doing wrong; this
approach is
a challenge common to most coaching paradigms or individual styles.
Third, messages to players should be filled with factual information rather than emotional
out-
bursts. Players need to know what to do correctly; they do not need to be yelled at for
making mis-

INTRODUCTION xxiii
takes. Positive emotion or praise tends to be more helpful, especially when players can
gather needed
information from it in order to learn skills or correct mistakes. Coaches can use negative
emotion
and punishment sparingly and only when the negative approach is the best or last
alternative. For
instance, the “feedback sandwich” described later offers an excellent way to provide
necessary infor-
mation. In addition, information is used best by players when it is specific. Thus the
statement
“Your head is centered” may be more effective for learning than “Great balance!” In short,
reducing
judgment and increasing information are good guidelines for coaches.
Fourth, coaches should practice consistency of communication. Players are looking for
consis-
tent messages and feedback, which provide them with a comfort zone for communication,
whether
verbal or nonverbal. Moreover, whenever possible, what coaches say should match what
they do.
Athletes are quick to sense hypocrisy, and they expect coaches to be honest and real. As
Martens
(1997, 31) states, “Be as good as your word.”
The next area of communication development—listening—is one of the most challenging.
Good
listeners maintain eye contact, constantly search for meaning, exhibit respect for the
communicator,
and practice active listening. Coaches should focus on two-way communication in which
players can
interact and voice their concerns and questions. Players’ acceptance of a mistake mentality
is help-
ful for enhancing listening and reducing the fear, doubt, and worry that can accompany
coaching
communication. Finally, effective listening also depends on nonverbal communication in the
form
of positive body language, such as gestures, appropriate touching, and voice quality.
The primary measure of communication is not what coaches know but what players learn.
In
order to enhance learning, coaches must improve their own listening skills and those of
their play-
ers. One of the most effective tools for improving communication in teaching–learning
communi-
ties is the SLANT strategy, which is used in many educational settings. This approach rests
on the
foundation of body language that facilitates active learning.
As shown in figure 1, the
SLANT strategy, as suggested
by the acronym that provides
its name, includes the follow-
ing elements: sit up (or stand
up), listen, ask questions, nod,
and track the speaker. On the
first level, sit up or stand up and
lean into learning; in other
words, be open to learning. On
the second level, do not just
hear but purposefully listen to
sounds from coaches, teachers,
and teammates. To invoke this
level, we often use the phrase
“Give me two ears.” To ensure involvement, the player must also feel free to ask questions,
thus devel-
oping an open attitude toward learning and following up when he or she does not
understand what
is being taught. The fourth level calls for the player to give feedback with a nod of the head
when
she understands and feels connected through two-way communication. Finally, the best
learning
tip is for the player to actively track the speaker (i.e., coach or teammate) with both eyes. By
applying
these SLANT techniques, student-players and teacher-coaches can enable more effective
teaching
and learning.
Feedback
The learning process goes faster when appropriate feedback about skills is provided
according to the
following guidelines:
E7294/Krause/FI.02/599564/mh-R2
Learning
S
L
A
N
T
Track speaker (focus; two eyes)
Nod when understood (two-way communication)
Ask questions when needed
Listen, not just hear (two ears)
Sit up or stand up (lean into learning)
Figure 1 SLANT learning
Adapted from E S Ellis, “A Metacognitive Intervention for Increasing Class
Participation,” Learning Disabilities Focus 5 no 1 (1989): 36-46

xxiv INTRODUCTION
• Feedback can best be provided by an experienced coach, but players also need to learn
how to provide their own feedback whenever possible. For example, a player can observe
the starting point and landing spot of the feet before and after a jump shot, both of which
are
important factors in shooting with quickness and balance (the shooter should land slightly
forward of the takeoff spot).
• Players must be told what is correct (i.e., given reinforcement) and incorrect (i.e., given
information about mistakes). Mistakes should be known, acknowledged, and understood by
players; then, a specific plan should be made for correcting those mistakes.
• Correction of player errors should be consistent. For players, the best learning approach
to mistakes is to recognize them (with the coach’s help), acknowledge them (to other
players),
learn from them, and then forget them.
• Specific information is better than general feedback. For instance, “Great full follow-
through” is better than “Nice shot.”
• Provide feedback as soon as possible after performance. Individual feedback can be given
in this manner during practice by pulling a player aside. Players readily adapt to this
coaching
technique as a personal approach to learning that gives them necessary information; they
are
also motivated by the individual attention. This technique works well for both informational

feedback about mistakes and reinforcement feedback for correct performance. One
exception
might be postgame situations, when emotions can run high for both coaches and players; in
such cases, it may be more effective to provide feedback during the next meeting or
practice.
• Use “feedback sandwiches.” As recommended by Dennis Docheff, teaching expert from
Cen-
tral Missouri University, this type of feedback includes three parts: reinforcement
(something
done correctly), information (correction regarding a skill or behavior that needs
improvement),
and praise (encouragement). For example, you might say, “Jim, on your last shot, great
follow-
through at the elbow, but you need to get lower and have your feet wider for better balance.

That’s the way to keep working at game speed.” Another way to conceive of this technique is

provided by champion college coach Mike Dunlap of Loyola Marymount University:

1. Praise—find a positive.
2. Talk and tell—prompt, correct, and tell the player the next step. Talk and tell—prompt,
cor-
rect, and tell the player the next step.
3. Leave—give the player room and time to learn and absorb information.
Feedback helps players learn faster and retain skills better.
General Tips on Teaching and Learning
1. Coaching is teaching.
• Know why you teach a skill; knowing helps both teacher and learner.
• Focus on the skill first (not on the drill or strategy).
• Focus on how well something is done rather than on what is done (execution over
repetition;
quality over quantity).
• When teaching or coaching, preview first (tell what you are going to teach), then “view”
(teach it), and then review (tell what you taught).
• Help players remove emotional obstacles to learning: fear, doubt, and worry.
2. Demonstrate and explain as follows:
• Make sure that all players can see and hear you.
• Demonstrate, correctly, to show the big mental picture.
• Repeat the demonstration; provide two angles, two repetitions, or more.

INTRODUCTION xxv
• Explain precisely and concisely (don’t talk players to death).
• Use only critical cues (don’t talk too much).
• Practice immediately—players learn by doing and may forget the demonstration and
expla-
nation unless they apply it right away.
• Emphasize repetitive practice to make behavior permanent (and beware: this process
works
for both good and bad habits).
3. Use teaching progressions.
• Go from slow to fast. Do it right, then do it quickly (the final goal is game moves at game
speed).
• Go from simple to complex; for instance, often start with footwork, then go to the whole
body.
• Teach in sequence (from start to finish), then reverse it.
4. Both players and coaches need to remain open to learning; be green and growing, not ripe
and
rotten.
• Adopt the whole skill or concept as a beginner or adapt one idea to improve if
experienced.
• Improve every day of the year (can’t maintain—must progress).
• Look for the lesson; there is always a lesson to learn (search for it).
• Learn from others—both good and bad experiences offer lessons.
• Communicate and encourage teammates (generally, coaches should criticize when neces-
sary, whereas players praise and encourage each other).
• Control what you can (all people have total control of their attitudes, actions, and
responses)
and let go of the rest.
5. Know how each player learns best.
• Visually (seeing the skill)—reading about it or seeing a demonstration
• Auditorily (hearing the skill)—getting more explanation or listening for sounds
• Kinetically (feeling the skill)—walking through the skill
6. Use the following tools:
• Word pictures (e.g., footfire for moving the feet)
• Analogies and metaphors (e.g., start quick like a sprinter)
• Critical cues (e.g., full follow-through, freeze the follow-through)
7. Teach fundamental skills and more:
• Conditioning
• Toughness and effort
• Life and character lessons
• Communication (early, loud, and often)
• How to compete
• Competitive greatness (Wooden’s Pyramid of Success )
8. Become a full-package coach who helps players learn and develop in a well-rounded
fashion.
• Physically (conditioning and skill)
• Mentally (psychologically)
• Socially (teamwork)

xxvi INTRODUCTION
10. Coaches and players both need to know themselves, develop their own unique talents,
and
serve others—which is the ultimate personal lesson.
In order to develop an effective teaching–learning community, we must focus on the
athletes and
on their learning and improvement, both on and off the court. More specifically, in order to
struc-
ture a strong development program built on a foundation of basketball fundamentals, a
coach must
develop a philosophy of teaching and learning and become a master teacher. The coach
truly is the
difference maker in any program—both as a leader and as a teacher.
Figure 2 depicts a step-by-step pathway to help coaches address critical areas in becoming a
master
teacher; this model has been developed over my lifetime of teaching and coaching. The
essential ele-
ments for success are as follows.
1. Expectations: Set goals that are high but realistic.
2. Teaching–learning community: Build a community focused on student-athletes’ learning.
3. Emphasis: Match teaching and learning with the time you spend through your words and
actions. What you teach and spend time on in practice should reflect your coaching
philosophy
and emphasis.
4. Assessment: Provide measurements of status and progress for individual athletes, for the
team,
and for members of the coaching staff in all that you do.
5. Inspiration: Motivate all to become their best by living in spirit (i.e., your emotion should
reflect your basic philosophy and intent).
6. Demand: Inspire and, as a final step, draw the leader’s line in the sand—that is, hold
everyone
accountable.
One-Minute Assessment
a What was excellent and why?
b What could be improved and how?
c Comments:
9. Evaluate all that you do as a player or coach. One quick and effective evaluation tool—the
one-minute assessment—can be used to gather information and feedback about what
players
are doing on and off the court. For instance, it can be used by coaches to evaluate a practice
session, team strategy (offense or defense), or team rule. The tool consists of three parts:
one
quality, action, or performance that is praiseworthy (and why); one element that could be
improved (and how); and relevant insights or comments. This simple format allows coaches
to
print the relevant questions on index cards or plain paper or distribute them electronically
for
use in a variety of settings.

INTRODUCTION xxvii
This book provides considerable instruction and information. The potential for teaching and

learning basketball skills depends on developing the skills to teach and learn effectively. To
gain the
most from the basketball skills and drills presented in this book, coaches and players can
use the
following guidelines:
• Develop a teaching–learning community.
• Make the game simple and easy to learn through diligent, purposeful practice of
fundamental
skills.
• Become a master teacher and learner to become the best you can be.
Wooden Wisdom
“It’s what you learn after you know it all that counts.”
—John Wooden
E7294/Krause/FI.03/599565/mh-R1
Expectations
Set high, but
realistic goals.
Teaching–learning
community
Focus on student-
athlete learning.
• Planning: Organize
and administer
the program.
• Leadership: Set the
best example and
serve others.
Emphasis
Match teaching
to what you do
(time, words,
and actions).
Assessment
Provide progress
measurements
for athletes, the
team, and
coaching staff.
Inspiration
Provide motivation
for everyone to
become their
best by doing
your best.
Demand
Draw the leader’s
line in the sand;
hold everyone
accountable.
Figure 2 Becoming a master teacher

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xxix
Key to Diagrams
E7294/Krause/F K.01/599562/mh-R4
C
(1)
X
Player with ball
Offensive player
Defensive player
Relocated player
Post player
Coach
Specific court location
Path of player
Path of ball
Screen
Dribble
Pass number (indicates
Footwork or player
Facing direction
order of passes)
positioning
(spot)
1

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1
Body Control
and Fundamental
Footwork
“Footwork and balance are necessary every moment of a game,
while ballhandling is needed less than 10 percent of the game.”
Pete Newell, Naismith Hall of Fame coach and former head coach at University of California,
Berkeley
CHAPTER
2 BASKETBALL SKILLS & DRILLS
O
ne of the foremost tasks of a coach is to teach players how to move and control
their bodies. Fundamental movements, sometimes referred to as basketball basics,
are essential tools for all players. Coaches need to teach players to move both
effectively (getting the job done) and efficiently (moving in the best way); they need
to teach players to conserve time and space and to move with purpose, thus reducing
wasted motion. In essence, basketball is a game of balance and quickness, and all move-
ments should focus on these qualities. Players should strive to “tighten” their game,
which means playing at top speed (being quick at the right time) while maintaining
body control.
As a result, developing balance and quickness should be the overall focus for coaches
and players at all levels. Balance hinges on footwork; it begins with the feet and ends
with the head. Because of the human head’s size (nearly 10 pounds, or 4.5 kilograms)
and location on the body, it is crucial to balance, and it should be centered over the
base of support. From there, the head moves in the desired direction to become unbal-
anced, thus committing the player to quick movement in that direction. Quickness is
also related to the head and the feet, but in the opposite order. Quickness is first and
foremost a state of mind (think quick, then be quick); thus it starts in the head and ends in
the feet (it depends on footwork). Both balance and quickness, then, depend on proper
footwork and relate closely to head position and state of mind.
Basketball requires quickness (of hand and foot) and speed (in overall body motion)
to be used at the proper time. Therefore, coaching should continually emphasize the
principle of doing things right, then quickly—making the right move quickly at the
right time—while developing and maintaining individual, physical, emotional, and
team balance and correct offensive and defensive position. Here again, we see that bas-
ketball is a game of balance and quickness. This idea can also be applied to learning for
all skills—first do the skill properly (slowly), then do it quickly (progress toward game
moves at game speed).
The six fundamental positions and movements of basketball are stance, starts, steps,
turns, stops, and jumps. Because quickness is so important, these basic positions are all
designated by the author with the word quick.
Quick Stance
Players need to develop the habit of assuming a good basic basketball position in order
to ready themselves for quick movements. Quick stance requires adequate levels of
muscle strength and endurance in the core area (abdominal muscles in front, lower-
back muscles behind). Teaching quick stance on offense and defense is a challenging
task, and patience is essential with younger players who may not have the strength and
muscle endurance to stay in this position very long. The most important part of a quick
stance is to achieve and maintain bent-knee and bent-elbow positions. All joints should
be flexed and ready so that the game is played low to the floor. The lower players get,
the higher they can jump, the more explosive their moves to the basket are, the quicker
they are on defense, and the better they can protect the ball. Thus play low and stay low is
a critical concept for all players.
Coaches should also teach players the feeling of quick stance—being ready for anything
and feeling quick. Maintaining this basic position requires hard work because players
must become comfortable in an awkward, unnatural, monkey-like position. Players
should sit into the stance—get low—and stay in it. Consistent and early emphasis on
quick stance teaches athletes to assume it automatically. Quickness is a combination
CRITICAL CUE
Game shots at
game spots at
game speed is the
ultimate
practice goal.
CRITICAL CUE
To attain quick-
ness and balance,
play and stay low
to the floor.

BODY CONTROL AND FUNDAMENTAL FOOTWORK 3

of thinking quick, feeling quick, and
becoming quick by improving one’s
skills. A good test for quick stance is
to imagine sitting in a chair with the
head positioned behind the knees, as
shown in figure 1.1.
Foot Position
The best foot placement in most situ-
ations is that of a slightly staggered
stance with the toes pointing slightly
outward, not straight ahead. The feet
should be about shoulder-width apart,
with the instep of the front foot along
the same horizontal line as the big toe
of the other foot (see figure 1.2). Play-
ers should use this position when they
need to move in any direction. To get
into this foot position, players should
put the feet together, move the pre-
ferred foot forward until the big toe of
the back foot is next to the instep of
the forward foot, and then step sideways with the preferred foot until the feet are about
shoulder-width apart for balance and quickness.
The parallel stance shown in figure 1.3 is best used for side-to-side movement, as well
as for catching the ball and stopping, stopping after dribbling, and responding defen-
sively when a defender moves laterally. It is also important to use for shooting because
it produces the body mechanics best suited to ensure that the shot goes straight and
deep into the basket. In time, players will become equally adept at using either stance
when needed.
Figure 1.1 Quick-stance test: Sit into the
stance (side view).
CRITICAL CUE
Quick stance:
Stagger the
stance with the
toes pointed
slightly outward.
E7294/Krause/F01.02/599567/mh-R1
Figure 1.2 Staggered stance (top view),
based on instep-and-toe relationship with
the feet shoulder-width apart and the back
foot toed slightly outward. The figure shows
offensive quick stance (right-handed player).
Figure 1.3 Parallel stance (top view),
based on a toe-to-toe relationship with
the feet shoulder-width apart and the toes
pointed slightly outward.
E7294/Krause/F01.03/599568/mh-R1

4 BASKETBALL SKILLS & DRILLS

Weight Distribution
Body weight should be evenly distributed from side to side, from front to back, and
between the feet. The heels should be down, with most of the weight (60 percent) on the
balls of the feet, although pressure should also be felt on the toes and heels. The toes
should be curled and the heels kept down on the floor.
Players may incorrectly place all of their weight on the balls of the feet with the heels
off the floor; this position is slower because the heel has to be brought down before
forceful movement can be made. A good way to teach the feeling of proper position is
to ask players to take an “eagle-claw” position, with the heels down and the toes curled
(flexed), so that they can feel the floor with their toes.
When players are on defense, they should add “footfire” to their basic quick-stance
position. Footfire involves keeping the feet active and in constant motion without
having them leave the floor by alternately lifting the weight off each foot slightly while
keeping the whole foot in contact with the floor—a technique that helps keep the leg
muscles stretched and ready for action and thus enables a defender to be quicker. Play-
ers can imagine that they are standing on a bed of hot coals, using an alternating foot
motion without letting their feet leave the floor. The weight must be on the whole foot
for either offensive or defensive quick stance.
Head and Trunk Position
For proper balance, players should keep the head centered over the support base—at the
apex of a triangle, with the legs as two equal sides and a line between the feet as the base
when viewed from the front (figure 1.4). They should also center the head from front to
back, assuming an erect trunk position, with the shoulders back and the trunk slightly
forward of vertical. The back is straight, the chest is out, and the head is slightly behind
the knees. Players should sit into this stance.
CRITICAL CUE
Weight distribu-
tion for the quick
stance: eagle-
claw stance with
weight on the
whole foot.
CRITICAL CUE
Defensive quick
stance—footfire.
CRITICAL CUE
Offensive quick
stance or triple
threat: Pit and
protect the ball.
Figure 1.4 Offensive quick stance (triple-threat position): (a) Front view—the head, the key
to balance, is carried
up and alert at the apex of the triangle. (b) Side view—sit into the stance with the back
straight, the chest out, and
the head up. (c) Pit and protect the ball.
b
c
a

BODY CONTROL AND FUNDAMENTAL FOOTWORK 5

Arms and Legs
Teach players to keep their joints (ankles, knees, hips, shoulders, elbows, and wrists)
bent and ready. Coach John Wooden suggested that all joints should be bent for quick-
ness. Players on offense can tighten their game by bending the joints and keeping the
ball close to the body—that is, pitting and protecting the ball in or near the shoot-
ing pocket. The shooting hand is behind the ball, and the offensive player is in triple-
threat position, ready to shoot, pass, or drive quickly. Defensive players can also tighten
their game (i.e., their movements) by bending the joints, keeping the arms close to the
body (with elbows bent), and adding footfire to their footwork (figure 1.5). Keeping the
hands and arms bent and close to the body enables balance and quickness. The entire
sole of each foot should be touching or close to the floor. Coaches should remind play-
ers to stay low; in order to maintain the low center of gravity needed for quickness and
balance, the angle at the knee joint in back of the legs should be 90 to 120 degrees.
Figure 1.5 Defensive quick stance with joints bent: (a) front view, (b) side view.
a
b
CRITICAL CUES
FOR SKILL
LEARNING
1. Start slow and
do it right.
2. Speed up until
mistakes occur.
3. Goal is game
movement at
game speed.
Coaching Points for Quick Stance
• Be ready for action: feet ready, hands ready.
• Keep all joints bent.
• Play low and stay low; sit into the game.
• Get in and stay in a quick stance.
• Keep the head up, the chest out, and the back straight.
• Keep body weight on the whole foot with the heels down (eagle-claw
position).
• On defense, keep feet moving (footfire).

6 BASKETBALL SKILLS & DRILLS

Quick Starts, Steps, Turns, and Stops
Starting, stepping, turning (pivoting), and stopping are the fundamental motions used
in moving effectively and efficiently in and out of quick stance for both offensive and
defensive purposes. Players should be taught to execute a skill correctly, quickly, and at
the right time every time. To do so, they need to go slow, get a feel for executing the skill
properly, find a rhythm, and then speed up progressively until they make a mistake. At
that point, they learn from the mistake and then keep moving toward developing game
moves at game speed.
A player’s overall speed—that is, ability to move the body from point A to point B—is
important in basketball, but it is not as critical as quickness, or hand and foot speed.
Therefore, coaches should strive to improve the quickness of each player. Thinking
quick and being quick should be the constant focus for both players and coaches.
Quick Starts
Starting is the first skill that players must learn using quick stance. To start quickly, play-
ers shift body weight (and the head) in the desired direction of movement. For example,
to move to the left, body weight is shifted over the left foot by leaning to the left. The
weight shift is always led by the head, which is critical to balance (see figure 1.6).
To be quick at the right time, players must remember that all motion change begins
on the floor. This means taking short, choppy steps whenever a change of motion or
quick start is needed. Players should keep their feet in contact with the floor as much as
possible and use the floor to their advantage by staying close to it.
Front (Lead) Foot First From basic (quick stance) position, players should shift
weight in the direction of the intended movement and take the first step with the foot
nearest to that direction. This movement is shown in figure 1.6, in which the left foot is
the lead foot after moving to the left. Likewise, to move to the right, take the first step
with the right foot. To move forward, take the first step with the front foot (push from
the back foot and step with the lead foot). This lead foot technique is used most often
when a player needs to focus
on quick movement on
offense or defense.
Sometimes, it is quicker
on defense to step across
with the trail (back) foot
first and run or sprint in the
desired direction of move-
ment, particularly when a
defensive player is beaten
by the opponent and must
run to recover. This tech-
nique (stepping across with
trail foot to lead with the
back foot) can also be used
on offense for moving with
the ball (i.e., making a live-
ball move) when the ball
handler uses a jab step with
the front foot (i.e., a shot
fake) and a crossover step
(break) with the lead foot.
CRITICAL CUE
“Be quick but
don’t hurry” (John
Wooden).
CRITICAL CUE
Think quick and
be quick.
CRITICAL CUE
Do it correctly,
then do it quickly.
This approach
applies to both
basketball and
life! (Derived from
the previous quote
by John Wooden.)
Figure 1.6 Moving laterally to the left: Move body weight
toward the desired direction of movement (i.e., over the left
foot).

BODY CONTROL AND FUNDAMENTAL FOOTWORK 7

Defensive Quick Start and Steps On defense, players should more often use a
sliding motion. Specifically, they should keep the feet shoulder-width apart and use
short, quick shuffle steps that allow the head to remain level. This technique is called
the push step or step-and-slide (stepping with the lead foot, sliding with the rear foot). The
lead foot moves in the desired direction from the force of the trail foot at the same time
that a short, quick push step (lead foot first) is taken (figure 1.6). The force for the push
step comes from a power push from the trail foot, which moves the body and transfers
the weight to the lead foot. It is quickly followed by a pulling slide step taken with the
trail foot to regain basic position without bringing the feet together. Players should keep
their feet wide at all times. The lead step and the pull and slide steps are short (1 to 2
feet, or 0.3 to 0.6 meters), and the stance is low and wide: Step and slide, low and wide; can’t

get too low, can’t get too wide.

Players should learn to execute defensive starts and slides in side-to-side, forward,
backward, and diagonal directions (figure 1.7)—all while keeping the head level. Head
bounce shows that a player is rising out of the stance instead of using a push step or
slide step. Such a bounce, known as a bunny hop, brings the feet
together in the air, thus losing the advantage of floor contact for
producing motion change, wasting time and space, and reduc-
ing quickness of motion. The head must be kept level. Players
can imagine a steel plate above the head during all push-step
motions to help them stay down in defensive quick stance, which
produces low and level motion in which the head remains in a
horizontal plane.
One exception to the step-and-slide footwork technique for
defense occurs when a defender on the dribbler cannot stay in
proper position ahead of the dribbler. When this happens, the
defender guarding the dribbler should turn to face the direction
of the sliding movement, sprint ahead of the dribbler in correct
ball–defender–basket position, then return to basic stance and
the step-slide technique. This method, also referred to as run-to-
recover, is preferred by some coaches as their basic defensive move-
ment to cover change-of-direction dribble moves. Consequently,
they teach run-to-recover instead of step-and-slide.
Offensive Quick Start (Permanent Pivot Foot) On offense, players with a live
ball (i.e., who still can dribble) can execute a quick start from triple-threat position using
the lead foot first. On live-ball moves, offensive players should establish a permanent
pivot foot (PPF; left foot for right-handed players, right foot for lefties) and a permanent
stepping foot for use either in dribble-driving past a defender or when the ball is held.
Using the PPF, a player can do a quick start with the stepping foot (front foot first). These
live-ball moves can be either direct drives (to the strong or preferred side) or crossover
drives (to the nonpreferred side); these two types of moves are shown in figures 1.8 and
1.9, respectively.
The primary advantage of PPF footwork in live-ball situations is that it is simpler and
easier for younger players to learn with the ball in triple-threat position. Also, using the
PPF direct drive and crossover drive to get past a defender on the dribble relies on the
safest driving footwork on the crossover drive (by protecting the ball from the defender
with the crossover leg), which requires dribbling with the nonpreferred hand (figure
1.9). The PPF direct-drive move uses a direct step forward with the lead foot (figure
1.8). In contrast, when executing the PPF footwork on the crossover drive, the offensive
player must move the ball across to the opposite side of the body (from pit to pit) while
also making the crossover step to the nonpreferred side of the body in order to dribble-
drive past the defender (figure 1.9). Either way, PPF provides a simple, quick method for
attacking the front foot of the defender.
CRITICAL CUE
Quick steps: Play
and stay low to the
floor (the floor is a
friend).
CRITICAL CUE
Defensive quick
steps: Keep the
head low and
level.
CRITICAL CUE
Defensive quick
steps (push
steps): Step and
slide, low and
wide; can’t get too
low, can’t get too
wide.
E7294/Krause/F01.07/599574/mh-R3
Forward
Figure 1.7 Defensive directions for
starts and steps.

8
Figure 1.8 Live-ball move—direct drive (PPF footwork): (a) offensive quick stance (triple-
threat position), (b)
first step—long and low.
a
b
Figure 1.9 Live-ball move—crossover drive (PPF footwork): (a) triple-threat position, (b)
circle-tight with ball
(pit to pit), (c) long and low crossover step.
b
c
a

BODY CONTROL AND FUNDAMENTAL FOOTWORK 9

Figure 1.10 PPF direct drive: (a) win the battle, and (b) win the war.
a
b
CRITICAL CUE
Live-ball moves:
Attack the front
foot.
The advantages and disadvantages of
PPF technique are shown in figures 1.10
and 1.11 and summarized in the follow-
ing list.
• Direct drive: Quick-step forward
to “win the battle” of the first step; get
the foot by on the side of the defend-
er’s front foot (preferred). As shown in
figure 1.10, this technique allows the
driver to win the battle but not the war
(establishing inside hip protection of
the ball). For beginning players, how-
ever, this disadvantage of less ball pro-
tection is offset by the more comfort-
able advantage of using the preferred
stepping foot and the preferred drib-
bling hand.
• Crossover drive: A quick cross-
over step to the nonpreferred side of the
ball handler allows him or her to attack
the defender’s front foot (figure 1.11).
Even though the nonpreferred driving
side is not as comfortable, the crossover
driver uses the recommended footwork
to get the nonpreferred foot past or to
the side of the defender’s front foot, thus winning both the battle of the first step and
the war of inside hip contact and ball protection on the first dribble by the front foot.
Figure 1.11 PPF crossover drive (win the
battle and the war).

10 BASKETBALL SKILLS & DRILLS

Quick Steps
Quick steps are the basic motion changes that allow players to use speed and quick-
ness to complete plays and execute offensive and defensive strategies. They consist of
changes in speed or pace and in direction (usually at 90 or 180 degrees to the original
motion direction). Quick steps are usually slow-to-quick moves that use quickness at
the right time.
Change of Pace and Change of Direction Change-of-pace steps, including
running or sliding at different speeds, are important skills of body control designed to
apply the concept of quickness at the right time. For example, an offensive player might
Coaching Points for Quick Starts
• Be ready to start by getting into and maintaining a quick
stance.
• Using the floor works to your advantage—keep the feet on
the floor when starting.
• Shift body weight in the desired direction and lead with the
head.
• Stay down and pump the arms when starting (arms lead the action).
• Use the principle of front (lead) foot first.
• On direct or crossover drives with the ball, use a long and low first step to move in
a straight line toward the basket and by the defender. Reduce lateral motion.
• For defensive slides, use the push-step technique. Slide, don’t hop, and keep the
feet wide. Step and slide, low and wide: push (from trail foot), step (with lead foot),
and slide (with trail foot to quick stance) unless using run-to-recover movement to
regain correct defensive position.
• Start and move in straight lines when possible.
Coaching Points for Live-Ball Moves
(PPF)
• Start from offensive quick stance or triple-threat position.
• PPF direct drive: Go long and low on the first step past the
defender by using the front foot and straight-line move-
ment. The driver must win the battle on the first step—get-
ting the head and shoulders past the defender—and then win the
war on the second step with hip contact on the defender to prevent recov-
ery of the defensive position.
• PPF crossover drive: Circle tight from pit to pit (armpit to armpit in front of the
body) while changing hands behind the ball without a foot fake. Step long and
low, with the stepping foot in a straight line, and drive past the opposite side of the
defender, all in the first step. The PPF crossover drive more easily allows the driver
to win the battle and the war through inside hip contact and ball protection on the
first step.

BODY CONTROL AND FUNDAMENTAL FOOTWORK 11

be running or dribbling at a moderate speed and then use a burst of speed to get past
a defender. Likewise, a defender could be sliding along and then accelerate quickly to
establish a legal position in the path of an offensive player in order to disrupt movement
or take the charge.
Change-of-direction steps are also designed to apply quickness at the right time.
For instance, when players are running down the floor on offense and then need to
change to defense, they can use a stride stop, change direction by 180 degrees (i.e., make
a 180-degree cut), and sprint quickly back in the opposite direction. Another change-of-
direction step is the V-cut, which is a sharp side movement performed by going into the
cut slowly, changing direction at a sharp angle, and accelerating quickly out of the cut.
V-cuts are also called L-cuts, 7-cuts, and fake-and-break moves, depending on the angle of
change and on how they are used. They can be used on either offense or defense.
Live-Ball Moves (PPF) A player with the ball who hasn’t dribbled can execute quick
steps called live-ball moves: direct drives (to the preferred or dominant side; figure 1.10)
and crossover drives (to the nonpreferred or nondominant side; figure 1.11) (see chapter
5 for a full description). From a quick stance, live-ball moves allow the player with the ball
to move quickly past the defender on the dribble drive. This is a straight-line move to the
basket to penetrate the defensive perimeter with the use of a long, low, quick first step.
By rule, the player with the ball needs to get the head and shoulders past the defender’s
trunk in order to gain an advantage legally on the quick first step. The driver then tries
to get near-hip contact with the defender in order to maintain the positional advantage
while moving past the defender to penetrate the defense and force another defender to
help, thus creating an advantageous 2-on-1 for the offense. Note that PPF technique
requires two steps to use the inside hip with a direct drive (i.e., strong-side dribble) but
only one step to get inside hip contact with a weak-side dribble.
Offensive Quick-Start Live-Ball Moves (Either Pivot Foot) This footwork
alternative is recommended for advanced players and coaches who prefer the approach
of using either pivot foot (EPF). It offers the advantage of using a protection (or inside)
foot as the primary stepping foot to
move past the defender guarding the
ball. The recommended footwork for
EPF moves begins with a more parallel
stance (figure 1.12), which is conducive
to attacking either side of the defender
with a preferred crossover move. The
critical cue for the live-ball offensive
player is to attack the front or forward
foot of the defender, and this goal can
be accomplished by using a jab step
forward and toward the defender’s
back foot. If there is no defensive
response, drive past the front foot with
a crossover move while protecting the
first dribble with the stepping leg and
getting the head and shoulders by the
defender in order to dribble-drive to
the basket (figures 1.13 and 1.14). This
move allows strong ball protection by
the crossover leg to “win the battle and
the war” by using EPF techniques to
either the left or the right.
CRITICAL CUE
Change-of-pace
steps require
changes of speed,
especially slow-to-
quick moves.
Figure 1.12 Triple-threat starting stance and
footwork.

12 BASKETBALL SKILLS & DRILLS

Figure 1.13 Live-ball EPF drive. Attack the defender’s right front foot: (a) jab right,
and (b) cross over to the left to drive.
Figure 1.14 Live-ball EPF drive. Attack the defender’s left front foot: (a) jab left, and
(b) cross over to the right to drive.
a
a
b
b
Quick Turns and Pivots
Turning, or pivoting, rotates the body in a circular fashion around the ball of one foot
while the player maintains basic position, or quick stance (figure 1.15). Sixty percent
of body weight should be on the ball of the pivot foot as the heel of the turning foot
BODY CONTROL AND FUNDAMENTAL FOOTWORK 13
is lifted slightly to pivot on the ball of the
foot. Players on offense should use a PPF
and a permanent stepping foot, especially
when they have the ball as beginners.
As the basic skill used for initiating all
changes in motion, the pivot, or turn, is one
of the most important tools for quickness
and balance. It is also one of the least-used
and most poorly learned skills in basketball.
Pivoting can be done with either foot serv-
ing as the stationary center of rotation, but
a PPF is recommended for beginners with
the ball. When the body is rotated toward
the front—a pivoting motion that moves
the trunk forward around the pivot—the
pivot is a front turn (see figure 1.16). Simi-
larly, a rear turn is used to pivot a player’s
backside to the rear (figure 1.17).
Players on offense must learn to make pivots both with and without the ball. For
instance, when a player with the ball is closely guarded but wants to face the basket, a
rear turn on the nondominant foot (as the PPF) is usually used to clear space, though
some coaches prefer a front turn. On defense, players use the pivot as the first move
when changing from one position to another and when rebounding, as shown in
figure 1.18; this move is sometimes called a swing step.
Figure 1.16 Right-foot pivot—front turn: (a) starting position, (b) ending position.
E7294/Krause/F01.15/599587/mh-R1
Front turn
Rear turn
Pivot
area
(ball of foot)
Figure 1.15 Pivot or turn: Rotate the
body around the ball of the turning foot (lift
the heel of the turning foot and put more
weight on that foot).
CRITICAL CUES
FOR QUICK
TURNS
• Keep the head
low and level.
• Use big vision
and keep the
eyes up.
• For a rear turn,
lead with the
elbow.
• For a front turn,
punch into the
turn or lead with
the hand (fist).
Stepping
foot
Stepping
foot
Turning
foot
Turning
foot
a
b
Stepping
foot
Stepping
foot

14 BASKETBALL SKILLS & DRILLS

When catching the ball, especially under pressure, it is always recommended that the
ball handler catch and face—that is, catch the ball (preferably with feet in air) and face the
basket using a quick turn. This technique allows the ball handler to use big vision to see
the whole floor before deciding what to do with the ball (e.g., pass, drive, fake a pass).
Figure 1.17 Left-foot pivot—rear turn: (a) starting position, (b) ending position.
Coaching Points for Quick Turns
• Stay down in basic stance and keep the head level and low for
quickness.
• Lead with the elbow of the stepping foot (for a rear turn) or
punch into the turn with the fist (for a front turn).
• Keep the feet shoulder-width apart for balance.
• Maintain balance and keep the head up.
• Pivot quickly but properly.
• Use the pivot to go as far as half a turn (180 degrees); use repeat pivots as neces-
sary.
• Use a rear turn to face the basket when closely guarded (to clear space).
• With the ball, use a front or rear turn to face the basket.
• When catching the ball, face the basket with a front or rear turn while using big vi-
sion before dribbling (pass first, dribble last).
a
Stepping
foot
Stepping
foot
Turning
foot
Turning
foot
b
Stepping
foot
Stepping
foot

BODY CONTROL AND FUNDAMENTAL FOOTWORK 15

Figure 1.18 Defensive rebounding: (a) front turn, (b) rear turn, (c) blockout contact.
When in shooting range, the ball han-
dler can quickly use small vision to focus
on the shot target (i.e., back of the rim
or upper corner of the backboard) and
shoot the ball. When catching and facing
the basket, players should follow the rim–
post–action (RPA) vision progression:
R: Use big and then small vision to see
the rim.
P: Use big and then small vision to
look inside for a teammate posting
up or cutting to the basket.
A: Use big vision and respond to what
is seen by taking appropriate action—
shooting, driving, or passing.
Players should learn this progression and
follow it quickly and automatically when
catching the ball anywhere except the low
post (with the back to the basket).
a
Stepping
foot
Stepping
foot
Turning
foot
Turning
foot
b
Turning
foot
Turning
foot
Stepping
foot
Stepping
foot
c

16 BASKETBALL SKILLS & DRILLS

Quick Stops
To be quick with balance and control, players must be able to use quick stance, start
properly and quickly, move quickly (by stepping, running, turning, or sliding), and stop
quickly in a balanced position. The two recommended basic basketball stops are the
one-count quick stop and the two-count stride stop.
Quick Stop The preferred stop for most situations—the quick stop—is executed at the
end of a running or sliding motion. It should not be called a jump stop (jumping results
in slower stops and too much air time). When running, a player does a quick stop by
hopping slightly from one foot, skimming the floor surface, landing in a parallel or
slightly staggered stance (basic position, or quick stance; figure 1.19), and sticking the
landing with soft feet. Both feet hit the floor at the same time in a one-count motion: Hop
from and skim the floor with one foot and land on two feet simultaneously.
The quick stop conserves time and space and can be used on either defense or offense
(and with or without the ball); it complements the quick turn, which is one of the pri-
mary tools of body control and movement. Basketball rules allow a player with the
ball to use either foot for pivoting after a quick stop. This freedom gives players a wide
variety of motion possibilities with control and balance and prevents them from trav-
eling with the ball if the incorrect foot is chosen as the turning foot. For instance, the
quick stop is important for getting players into a quick stance for shooting, passing, or
dribbling when receiving a pass. The critical cue on the quick-stop landing is to stick
the stop (similar to a gymnastics dismount) with soft feet, which means landing on the
whole foot while stopping firmly but softly in a balanced position.
Stride Stop The stride stop, shown in figure 1.20, is a two-count stop executed by
landing on the rear foot (first count) with the front foot hitting immediately afterward
(second count). Its primary use is to reverse direction when players are running forward
(and in certain other situations, for advanced players). For all other motion situations,
players should use the quick stop. When using the stride stop, players should keep the
body weight back and sit on the rear foot.
Figure 1.19 Quick stop: (a) Hop from one foot (left or right) and (b) land softly on two feet.
b
CRITICAL CUE
Quick stop: Hop
from one foot,
stay close to floor,
and stick the stop
with soft feet in a
one-count quick
stance.
CRITICAL CUE
Stride stop: Sit on
the back foot—
hips down on the
plant foot.
a
Hop
foot
Hop
foot

BODY CONTROL AND FUNDAMENTAL FOOTWORK 17

Quick Jumps
Jumping is an especially important skill in a sport that uses an elevated goal. Coaches
often consider jumping a natural ability that cannot be taught and that players either
do or do not have. Nothing could be further from the truth.
The basic principles for improving jumping skill include being in quick stance and ready
to jump in order to jump quickly in any situation. In addition, players can jump higher
if they increase the muscle strength in their legs. Therefore, coaches should help players
improve leg strength through resistance training as well as improve the jumping skill.
Figure 1.20 Stride stop: (a) back-foot plant to pivot (staying low to slow down) and
(b) shooting (planting and pivoting or using a step-plant move).
b
Coaching Points for Quick Stops
and Stride Stops
• Use the quick stop unless changing direction (180 degrees)
when running; in that case, use the stride stop.
• On a quick stop, stick the landing with soft feet (land on
the whole foot).
• On a quick stop, hop from one foot and land in quick stance on two
feet at once (one count). Stay close to the floor.
• On a stride stop, stay low and sit on the back foot. The rear foot (which hits first)
must be used as the pivot foot when the player turns with the ball after using a
stride stop.
• In most cases, players should use the quick-stop technique even though some
coaches prefer the stride stop for outside shooting, in which case it is called the
plant-and-pivot (planting the back foot and pivoting into the shot with the stepping
foot) or the step-plant jump shot.
a
Plant/step
Pivot/plant
Plant/step
Pivot/plant

18 BASKETBALL SKILLS & DRILLS

How players land after a jump determines how quick and how high the next immedi-
ate jump will be. It is best to land in quick stance with balance and a wide base, which
readies the player to jump again with balance
and quickness. Body position and control are
best taught when players have first learned to
jump using both feet and both arms. The sec-
tions that follow explain how to execute two-
foot power jumps, quick jumps, and one-foot
jumps; they also address when to use each
type of jump in game situations.
Two-Foot Power Jumps
A two-foot takeoff for jumping is slower but
more stable than jumping from one foot on
the move. As a slow but strong explosive move
from a balanced position, it is best used in
high-traffic situations (such as battling for
a rebound) or on power layups with close
defenders.
In the jumping position for power jumps
(figure 1.21a), the arms are ready to be swung
forcefully forward and up. The feet should
be planted firmly before the jump (players
should visualize stamping their feet through
the floor) to enable maximum contraction of
Figure 1.21 Power jump for 2-and-2 rebounding: (a) preparation; (b) two hands, two feet
(tall and
small); and (c) landing on two feet (big and wide)
a
b
c
BODY CONTROL AND FUNDAMENTAL FOOTWORK 19
the leg muscles. It is even better to quick-stop into the jump. In fact, whenever possible
(i.e., whenever time and space permit), players should use the forward momentum of
a running jump with forceful quick-stop contact on the takeoff and swing the arms
forcefully upward to add to the body’s momentum.
Two-foot power jumps are almost always required for successful rebounding. The
players who are best at rebounding do so from two feet with two hands, which is called
2-and-2 rebounding. The critical cue for this technique is combined with another criti-
cal cue for teaching proper technique: “go up tall and small” (i.e., with two hands fully
extended toward the ball) and “come down big and wide” (doing a quick stop on two
feet). See figure 1.21b and 1.21c.
Quick Jumps
Quick jumps are the best compromise between conserving time and space and main-
taining body position and control. A quick jump should be used wherever there is con-
gestion, contact, or a contested jump around the basketball. For instance, repeated
jumps in rebounding are usually quick jumps. Before performing a quick jump, the
player should hold the hands near shoulder height, the upper arms nearly horizon-
tal, and the forearms vertical. Figures 1.22 and 1.23 show two-foot jumps that use two
hands (i.e., 2-and-2 jumps) and start without momentum from a quick stance.
In addition to rebounding using the quick-jump technique, John Wooden empha-
sized one basic rule for both offensive and defensive rebounding: Get the hands up (at
least to shoulder height) to be ready to rebound.
The critical cue for successive quick jumps is a circle-tight move to add arm momentum
to the quick jump. From the ready position (figure 1.22a), the hands are circled slightly
down, inside, and up (figure 1.22b) to the “tall and small” jumping position.
CRITICAL CUE
Power jump: Two
hands, two feet—
use arm momen-
tum or swing for
maximum height.
Figure 1.22 Quick jumps: (a) hands up, (b) inside circle move with the hands for
momentum.
a
Circle
Circle
b

20
Figure 1.23 Quick-jump rebounding: (a) blockout with hands up, (b) 2-and-2 rebounding
to pursue the ball, (c) capture and protect the ball, and (d) pivot to turn away from
pressure.
a
c
d
b

BODY CONTROL AND FUNDAMENTAL FOOTWORK 21

One-Foot Jumps
Jumping from one foot is beneficial when a player needs maximum forward momentum
to produce higher vertical jumping movement and maximum height. Players should
know how to use one-foot takeoffs in order to attack the basket on layups and jump
high toward the basket or backboard (jumping high, not long). One-foot jumps involve
opposition, stamping hard on the jumping foot and raising the opposite foot or knee;
for a high jump, stamping the jumping foot and using the opposite leg drive to produce
a vertical rather than a horizontal or long jump. The shooting hand and knee are con-
nected as though on a string; both of them come up together. The ball is brought up
with two hands, and the finish or shot is performed with one hand (usually).
Coaching Points for Jumps
• Get in quick stance to be ready to jump, then land in quick
stance for best rebounding in contested and congested situ-
ations.
• For power jumps and quick jumps, jump from two feet with
two hands (i.e., use 2-and-2 jumps) most of the time, espe-
cially when rebounding.
• Whenever possible, use quick jumps with a tight circle-hand move-
ment for repeated jumping efforts.
• For power, balance, and control, use a two-foot takeoff (2-and-2 rebounding); for
speed and height, use a one-foot takeoff (layups).
• Whenever time allows, maximize power jumps by using momentum transfer from
running forward and swinging the arms upward.
• When taking a jump shot, use a quick stop and a quick jump.
• For maximum height and quickness, use a one-foot opposition jump.
Troubleshooting
Most problems in learning and teaching basic body-control moves relate to balance and
quickness—that is, unbalanced moves executed too quickly. Therefore, in the beginning,
players should slowly imitate the demonstration (focusing on doing it right) and get
the feel of the move (get a rhythm). Then they can increase quickness until they make
mistakes. Players should note and acknowledge mistakes, correct them, learn from them,
and then forget them (i.e., develop a mistake mentality). This process is the best way to
learn basketball skills, and it must be taught and retaught until it becomes automatic.
Basic Body-Control Drills
These drills can be used to develop and maintain the basic athletic stance for basket-
ball—the quick stance—and to teach players to move and stop quickly during basket-
ball play. The idea is to move with balance and quickness while maintaining control.
Achieving the goal of performing game moves at game speed always requires proper
skill development.

22 BASKETBALL SKILLS & DRILLS

Quick-Stance Check
Purpose: To develop the skills of recognizing various basic stances, getting into a basic
stance quickly, and maintaining that stance
Equipment: Half-court floor space (minimum)
Procedure: Players spread out on the court facing the coach, assume a basic stance
variation as directed (offensive or defensive quick stance on the ready command), and
maintain the stance while it is checked by a coach or learning partner. Players need to
respond quickly to the command, know the look of a quick stance, and know how to get in
and stay in the stance. When learning partners are used, they should focus on one critical
cue each time the stance is assumed.
Coaching Points
• Sit into the stance with the head behind the knees.
• Keep body weight on the whole foot with the toes pointed slightly outward.
• Keep the butt down, the chest out, the back straight, and the arms ready.
• When using defensive quick stance, add footfire.
• When using offensive quick stance, pit and protect the ball (or imaginary ball) while
keeping the hands (and ball) close to the trunk.
Quick-Stance Mirror
Purpose: To self-evaluate variations in stance by recognizing the look of a correct stance
Equipment: Player and a full-length mirror or a partner
Procedure: Each player checks all stance variations in front of a mirror or with a learning
partner. Each basic stance is held for at least five seconds and evaluated from both a front
and side view. If a mirror is not available, a partner system can be used.
Coaching Points
• Match what you think you are doing with what you are actually doing.
• Sit into the stance with the head behind the knees.
• Keep body weight on the whole foot with the toes pointed slightly outward.
• Keep the butt down, the chest out, and the back straight.
• When using defensive quick stance, add footfire.
• When using offensive quick stance, pit and protect the ball (or imaginary ball).
Mass Quick Moves
Purpose: To develop the skills of recognizing various basic stances, getting into a basic
stance quickly, and maintaining that stance
Equipment: Half-court floor space (minimum)
Procedure: Players spread out on the court facing the coach, assume a basic stance
variation as directed (offensive or defensive quick stance on the ready command), and

BODY CONTROL AND FUNDAMENTAL FOOTWORK 23

maintain the stance while it is checked by a coach or partner. Players need to respond
quickly to the command by getting into a quick stance. The coach should evaluate each
player’s ability to get into a quick stance by implementing the quick-stance critical cues:
weight on whole foot, leg and arm joints bent, head up and centered over base, back
straight, and chest out. To check the look of the stance and test balance, the coach can
push on a player’s shoulder area (push forward, back, right, and left). The coach can eval-
uate the stance by look and sound (e.g., the quick stop) while the player focuses on the
feel of the stance. This approach can help players develop more awareness of the skill.
Players can be directed by specific commands to carry out the basic quick moves.
1. Live-ball PPF direct and crossover moves: ready, direct drive with long and low
step, move, crossover drive with long and low step, move (see figures 1.8 and 1.9
earlier in this chapter)
Coaching Points for Live-Ball PPF Direct and Crossover Moves
• Start from triple-threat position.
• Focus on quickness and balance with economy of motion.
• Step long and low past the imaginary defender.
• Use a straight-line attack (to the basket or toward the coach) and make
contact with the imaginary defender.
• Use the following commands:

− Direct drive, long and low, go

− Crossover drive, circle tight (ball), long and low, go

2. Live-ball EPF drives to left and right: jab step and opposite-side crossover
moves (see figures 1.13 and 1.14 earlier in this chapter)
Coaching Points for Live-Ball EPF Drives to Left and Right
• Start from a quick-stop triple-threat position while catching a pass (from self
or a passer). Catch the ball with the feet in the air, land with parallel stance
at a spot 15 to 18 feet (4.6 to 5.5 meters) from the basket or at three-point
field-goal distance, and use RPA vision progression.
• Focus on quickness and balance.
• Jab-step and recover to shoot or use a crossover live-ball move to the op-
posite side (offensive player is limited to one or two dribbles).
• Complete the play with a jump shot after a jab step or one dribble or with
a basket-completion move after one or two dribbles. A step-back move
requires at least two dribbles.
3. Quick jumps (three consecutive jumps) and power jumps: quick-jump position,
jump; power-jumping position, jump (see figures 1.21, 1.22, and 1.23 earlier in this
chapter). For power jumps, add an imaginary ball and 2-and-2 rebounding. Go
up tall and small and come down big and wide. This drill can also be done with a
partner toss-up to simulate a rebound or a toss against the wall or backboard.
Coaching Points for Quick Jumps and Power Jumps
• Circle tight with the hands for quick jumps (keep the arms up and the el-
bows at right angles).
• Jump quickly with a pop; land ready to repeat for quick jumps.

24 BASKETBALL SKILLS & DRILLS

• Coil and gather with the arms low; the arm explosion triggers the leg explo-
sion for power jumps.
• Commands: quick jump or power jump position, jump.
4. Quick stops: Step right (with right foot) and low-hop into a quick stop (command
is move); step left (with left foot) into a quick stop (command is move); see figure
1.19 earlier in this chapter.
Coaching Points for Quick Stops
• Stick the landing with soft feet (stick the stop).
• Land on a one-count (both feet at the same time).
• Land in a balanced quick stance.
• Commands: right-foot step, move; left-foot step, move.
• Add half turns (front, rear) and increase the pace of turns until mistakes are
made.
5. Quick turns: ready, front turn, move; ready, rear turn, move. See figures 1.16 and
1.17 earlier in this chapter.
Coaching Points for Quick Turns
• Front turn: Lead with a punch.
• Rear turn: Lead with an elbow.
• Stay low and keep the head level.
• Commands (PPF or EPF footwork): front turn, move; rear turn, move.
Line Drill: Quick Starts, Steps, Turns, and Stops
Purpose: To develop skill in starting, stepping, turning, and stopping
Equipment: Full court (preferred) or half court
E7294/Krause/F01.24/599608/mh-R2
12'
19'
19'
C
Figure 1.24 Line drill: starts, steps,
turns, and stops.
Procedure: Players are divided into four groups
behind the baseline at one end of the court with
the coach in the middle of the court (figure 1.24).
The groups are spaced 15 to 18 feet (4.6 to 5.5
meters) apart from each other from side to side
along the baseline. The coach calls out options
for players to perform. Coaches teach offensive
spacing and timing concepts before and dur-
ing the drill using the 12-by-19-foot (3.7-by-5.8-
meter) free-throw lane as a reference. Coaches
start the first four players (first player from each
line) together; for optimal spacing, the next
four players start when the players ahead have
moved 15 to 18 feet up the court.
Options
• All players use a quick-start technique
from a quick stance. When players step
on the court, they should be ready and in
a quick stance. They can use PPF or EPF
footwork.

BODY CONTROL AND FUNDAMENTAL FOOTWORK 25

• Stutter steps: Players start from the baseline and go to the half-court line opposite
end line, keeping the hands up and making the shoes squeak. Instruct players to
use the floor to their advantage by taking short, choppy steps.
• Change-of-pace moves: Players alternate two or three slow and fast moves after a
quick start. They should be quick and use a varied number of steps (avoid following
the same pattern).
• Quick stops: Players perform quick stops at the free-throw line, half-court line, op-
posite free-throw line, and opposite base line (if full court).
• Quick turns: Players perform full front and rear turns (i.e., two half turns) after quick
stops.
• Split-vision jog: Four players start simultaneously and jog at half speed, focusing on
the far basket while using big vision to stay in a straight line from side to side.
• Stride stops and 180-degree change of direction moves: Four players move down
the court in four lines. On the command “change,” all four make a stride stop and
180-degree change of direction until the players finish at the opposite baseline.
• Progressive stride stops: Players make progressive forward stride stops and back-
ward moves from the baseline to the free-throw line (stride stop, reverse), back to
the baseline (reverse), from the baseline to the half-court line (reverse), back to the
free-throw line, to the opposite free-throw line, back to the half-court line, and then to
the opposite baseline (figure 1.25).
• Spacing jog (advanced skill that can be used with change-of-pace moves): The first
four players start on command and move at their own pace, staying even with the
leader (usually from the left or right outside line). For proper spacing, the next person
in each line starts when the player ahead has moved 15 to 18 feet (4.6 to 5.5 me-
ters) away and maintains that distance. This spacing jog is especially challenging
in combination with change-of-pace moves. The four players stay in a line from left
to right and are spaced 15 to 18 feet apart from side to side and behind the group
ahead of them.
The coach can hold players in any quick-stop position to check position and correct
mistakes. For offensive quick stops, players may simulate dribbling a ball or sprinting
without the ball. If defensive quick stops are used, the feet should be active at all times.
E7294/Krause/F01.25/599609/mh-R2
Figure 1.25 Progressive stride stops.

26 BASKETBALL SKILLS & DRILLS

The coach can also advance to a whistle-stop drill: Four players start and, on each
short whistle, stride-stop (or quick-stop), then reverse (on quick stops follow with a half-
turn) and sprint until the next whistle. The next group of four players always starts on the
second whistle after the previous group’s start. The drill continues until a player reaches
the opposite baseline and all players have run the floor. This is an excellent conditioning
drill.
Coaching Points
• Each variation is done in one circuit (down and back).
• The first player in each line should come to a quick-stance position on the baseline
and be ready before being asked to move. Players should listen for the go command
and direction from the coach.
• When initiating movement, players should keep proper floor spacing, both from side
to side and down the court.
• Unless directed otherwise, subsequent groups of four begin moving when the previ-
ous group reaches the near free-throw line (i.e., about 15 to 18 feet, or 4.6 to 5.5 me-
ters, apart).
• All groups move to the opposite baseline and re-form; the first player in each group
gets into a quick stance, ready to come back in the opposite direction.
• Review critical cues for starts, steps, stops, and turns.
Line Drill: Quick Jumps
Purpose: To develop basic jumping skills for rebounding and shooting
Equipment: Half-court floor space (minimum)
Procedure: Players are grouped in four lines on the baseline with the coach near the half-
court line. One down-and-back circuit of quick jumps at the free-throw line, half line, oppo-
site free-throw line, and opposite baseline can be completed as a warm-up. Then the first
wave of four players sprints forward from basic position on the go command. Whenever
the coach gives a thumbs-up signal, players execute a quick stop into a quick jump. They
continue to repeat quick jumps in place until the coach signals them to run forward again.
On that signal, the first group sprints again, and the next group starts from basic posi-
tion on the end line. This pattern is repeated until all groups reach the opposite end line.
The coach must be in front and visible so that all groups of players can see the signals.
One alternative approach is to require a quick jump at the free-throw line, the half-court
line, and the opposite free-throw line. Another option is for players to perform a regular
power-rebound jump and chin the ball (with both hands under the chin) at the free-throw
line, half-court line, opposite free-throw line, and opposite baseline, thus resulting in four
rebounds for each floor length.
Coaching Points
• For quick jumps, circle tight inside with the hands.
• For power jumps, use arm pumps (down and up) followed by 2-and-2 power jumps.
• Jump quickly with a pop and land ready to repeat.
CRITICAL CUE
Arms up, hands
above the shoul-
der to quick-jump.

BODY CONTROL AND FUNDAMENTAL FOOTWORK 27

Line Drill: Rebound Jumping and Turns
Purpose: To develop jumping skills for rebounding situations
Equipment: Ball for each line
Procedure: The first person in each line steps forward with a ball. Using basic jumping
techniques, players toss a ball in the air in front of them, pursue and capture the ball using
the 2-and-2 rebounding technique and angle jumping to rebound out of their area to cap-
ture and chin the ball. The players’ elbows should be up and out in order to protect the ball
while they land in a quick stance. They should then execute a rear turn or front turn (using
either PPF or EPF footwork) before stepping and passing to the next player in the line.
Coaching Points
• Coil and gather with the arms low; arm explosion triggers leg explosion for power
jumps.
• Capture and chin the ball.
• Rear turn: Lead with an elbow; front turn; punch into the turn. Use a front or rear turn
after the rebound using PPF or EPF footwork.
• Stay low and level on all turns.
Line Drill: Quick Stance, Starts, Steps, Jumps, Turns,
and Stops
Purpose: To develop body-control movements by executing all skills properly, quickly,
and at the right time (an ideal practice warm-up drill)
Equipment: Full-court floor space (preferred) or half-court space
Procedure: Players stand in three or four lines on the baseline. The coach is positioned
in the midcourt area and commands a half or full circuit of body-control moves. Players
get into and maintain a quick stance, then play and stay low as they execute a variety of
combinations as directed by the coach. The step choices are change-of-pace and V-cut
fake-and-break moves (i.e., slow-to-quick moves).
Coaching Points
• Emphasize the appropriate critical cues for the chosen skills.
• Start all variations with an offensive quick stance.
Line Drill: Starts, Stops, and Turns
Purpose: To set the foundation of quick stance, quick starts, quick stops, quick turns, and
passing and catching skills without the ball in a combination warm-up drill (ball added
later)
Equipment: Baseline area and floor space to the top-of-the-key area
28 BASKETBALL SKILLS & DRILLS
Procedure: Players stand in four lines on the baseline with at least two players per line.
On the ready command, the first player in each line steps onto the court in an offensive
quick stance (an imaginary triple-threat position) without the ball. To start the action, the
coach specifies the drill as either direct drive, go or crossover drive, go using either PPF
footwork or EPF footwork with jab and crossover (right or left). The first player executes
a direct drive (long and low) with an imaginary dribble using the preferred hand for two
dribbles, then makes a quick stop (chinning the ball or staying in triple-threat position).
The player then executes a rear turn and an imaginary one-handed push pass (stepping
and passing, then freezing the follow-through). The next player in line is in a quick stance
with the hands near their respective shoulders, thus providing two targets for the imagi-
nary pass. The player assumes the two-handed catch position with both feet in the air (i.e.,
ball in the air, feet in the air), then repeats the direct-drive move. Next, the coach moves
on to the crossover drive, dribble, and pass. For a right-handed player, this sequence in-
volves a crossover drive to the left side, a left-handed dribble, a quick stop, a rear turn on
the PPF, and a crossover imaginary one-handed push pass using the nonpreferred hand.
After teaching or reviewing passing and catching, the coach should use starts, stops,
and turns in a progression drill when the ball is added. The rule for learning body-control
movement on the nonpreferred side is to perform three times as many repetitions as on
the preferred side. Advanced players might use EPF footwork in this drill.
Coaching Points
• Passing: Pass with the feet on the floor, pass with a step, pass with a ping to a hand
target, and freeze the follow-through.
• Catching: Catch with the feet in the air, catch with a click (two hands and two eyes),
and land in a quick stance.
• Emphasize the critical cues for starts, steps, stops, and turns.
Full-Court Team Rebounding
Purpose: To develop body control (spacing and timing) using rebounding jumps (from
one or both feet) to keep the ball live with consecutive two-handed tips by all players. A
quick stop and quick turn can be added between jumps.
Equipment: Full-court space, two baskets, two balls, and at least ten players
Procedure: Start with one player and half of the other players spaced evenly facing one
basket. The remaining players form a line and face the other basket (toward the oppo-
site end of the court). The two players with a ball start the drill simultaneously by using
a two-handed tip to the upper corner of the basket (right side counter-clockwise and left
side clockwise when all team members are moving counterclockwise or vice versa). After
executing the two-handed controlled tip to the backboard, players can be asked to move
toward the opposite side of the free-throw lane and execute a quick stop and rear turn
before sprinting toward the opposite basket. Depending on the number of players, the
coach can add one or more body-control moves between baskets. The object is to keep
the two balls in play on each backboard with continuous two-handed controlled tips. Keep
the ball in play for a designated minimum period of time (1 to 5 minutes) or until any team
member is unsuccessful at completing any assigned body-control move. The drill setup
is shown in figure 1.26.

BODY CONTROL AND FUNDAMENTAL FOOTWORK 29

Coaching Points
• Control each two-handed tip near the upper corner of the backboard (using a power
jump or a one-foot quick jump).
• Complete each body-control move properly and quickly.
• Team goals: Don’t let your teammates down (have their back).
• Skills and goals can be adapted as appropriate for players’ age level (e.g., younger
players might use correct layup technique on the backboard: one-handed speed or
two-handed power layins).
Wooden Wisdom
“If you don’t have time to do it right, when will you have time to do it
over?”
—John Wooden
E7294/Krause/F01.26/599610/mh-R2
Quick stop
and turn
Quick stop
and turn
Start
Figure 1.26 Team-rebounding tip drill.

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2
Advanced
Body Control
“Players who concentrate on the little things get better little by little.
One of those little things is moving without the ball (100 percent on defense
and at least 20 percent on offense). The little things are the big things.”
Dan Hays, hall of fame coach and former head coach at Oklahoma Christian University
CHAPTER

32 BASKETBALL SKILLS & DRILLS

O
ne of the most difficult coaching tasks is to teach players to carry out actions that
don’t involve the basketball—the magnet of the game. This is no small matter:
An individual player on offense plays without the ball more than 80 percent
of the time. With that reality in mind,
this chapter addresses the importance
of individual skills that do not involve
possession of the ball.
Many coaches find that young
players on offense are almost obses-
sively attracted to the ball (figure 2.1).
Therefore, time must be spent teach-
ing them that movement without
the ball and proper offensive spacing
and timing can be just as important
as moves made with the ball in terms
of setting up scoring opportunities. If
coaches help players understand that
proper spacing and timing are crucial
to successful team offense, then they
can motivate players to move purpose-
fully without the ball.
Concepts of Moving Without the Ball
on Offense
To move effectively without the ball, players must master and remember certain funda-
mentals on the court:
• Be alert and remember that all moves begin on the floor.
• Move with authority (make distinct moves) and with balance and quickness.
• Move with purpose and with proper spacing and timing. Be aware of teammates’
movements and maintain focus on the offensive strategies of the whole team.
• Read the defense and the ball. All individual movement, which is dictated by the
team-play situation, must be carried out in relation to the position and movement
of both the ball and the defense. Get open by moving to clear areas on the court
for receiving passes.
• Communicate all cuts and moves both by voice and with the hands. Players cannot
talk too much.
• Get open or get out. The primary purpose of movement without the ball is to get
open to receive a pass from the ball handler. Try to get open; if that is not pos-
sible, get out of the way. Maintain proper spacing—at least 15 to 18 feet (4.6 to 5.5
meters) apart (12 to 15 feet [3.7 to 4.6 meters] for younger players; 18 to 21 feet
[5.5 to 6.4 meters] for college or professional players).
• Get open in the perfect catching position—again, generally 15 to 18 feet (4.6 to
5.5 meters) from the ball handler—and, ideally, in a floor position that affords the
option to pass, shoot, or dribble. Catch the ball facing the basket or catch the ball
and then use a turn (pivot) to face the basket. Players should be taught catch-and-
face technique for use in the frontcourt in the following sequence: rim (look at
E7294/Krause/F02.01/599611/mh-R2
3
2
X1
1
5
4
Magnet
Figure 2.1 Ball magnet and team spacing.

ADVANCED BODY CONTROL 33

the rim for the shot and see the whole floor), post
(look inside to feed the post or a cutter in the post
area), and action (move the ball or dribble-drive to
the basket). To be effective, this rim–post–action
(RPA) sequence must become automatic and be
executed very quickly in proper order. Players
should use it with big vision every time they catch
the ball.
• Be an actor. Movement without the ball amounts
to a continuous competition between offensive
and defensive players. To keep opponents guess-
ing in this ongoing contest, players must use
believable fakes (and give the opponent time for
reaction), thus baiting the defender and playing
the role of decoy.
• Lose the defenders. Move out of their field of
vision and force them to turn their heads. Most
defenders have their backs to the basket and
their eyes on the ball; therefore, offensive play-
ers should move behind them to the baseline
and away from the ball (see figure 2.2). Cuts can
best be made from this position, where defenders
cannot easily anticipate moves. This technique
is especially effective against zone defenses that
focus on the ball.
• Run through the ball. When moving to catch a
pass, players should maintain the open position
by moving toward and meeting the pass, unless
they are making a breakaway move ahead of the
defender or a back cut to the basket behind the
defender (figure 2.3). Beat the defender to the ball.
• Get close to get open. Because this rule goes
against common sense, players often make the
mistake of trying to free themselves by staying
away from a defender. It is actually more effective
to stay close and then break away quickly to get
open, as shown by players O2 and O3 in figure 2.4.
This technique allows the offensive player to exe-
cute an action move that precedes and is quicker
than the defender’s reaction move. This kind of
move—such as an effective fake-and-break V-cut
or L-cut to get open—are often slow-to-quick
moves.
• While applying all concepts, keep proper spac-
ing (more than 15 to 18 feet, or 4.6 to 5.5 meters,
apart unless cutting or screening) and make
moves at the right time (better late than early).
On offense, proper spacing starts with big vision
to see the whole court (keep the head up and face the
big part of the court).
E7294/Krause/F02.02/599612/mh-R2
2
X2
X1
or
1
E7294/Krause/F02.03/599613/mh-R3
2
X
X
Breakaway move
Back cut
4
3
1
(3 pass options)
E7294/Krause/F02.04/599614/mh-R2
1
X1
X2
To back
cut
X3
3
3
L-cut
V-cut or
or
2
V-cut
or
L-cut
Figure 2.2 Lose the defenders (move
behind or out of their field of vision), then
make a quick cut to get open.
Figure 2.3 Run through the ball and
meet the pass (player O2 in the diagram).
Figure 2.4 Get close to get open. O3
moves close to X3, then makes a quick
V-cut or L-cut move to get open to receive a
pass. Elsewhere, O2 moves toward X2, who
overplays the pass from O1, whereupon O2
back-cuts to the basket.

34 BASKETBALL SKILLS & DRILLS

Basic Moves or Steps Without the Ball
Basic moves without the ball require players to be deceptive in order to fool the defense.
When first learning these moves, players need to go slow and be correct, then they move
progressively quicker until they make mistakes, then correct their mistakes, and con-
tinue until they can make correct game moves at game speed.
V-Cuts
Special-purpose cuts or moves (quick steps) include fake-and-break moves or V-cuts—
basic zigzag or change-of-direction cuts that form the shape of a V. To execute a V-cut,
place body weight on the foot opposite the desired direction of movement (sink the
hips into the cut), point the lead foot, and step with that opposite foot in the desired
direction. For example, plant and push from the right foot and step to the left with the
left foot. Usually, one side of the V involves a move to the basket, away from the basket,
or to the defender. The other side of the V involves the quick change-of-direction cut to
get open. Beginners can also use short stutter steps during the fake (for balance), fol-
lowed by a quick plant-and-break step at a right angle.
When teaching young players, use the term fake-and-break for the V-cut to get open.
The first part of the V-move (the fake) goes toward the basket or the defender; it should
be carried out slowly (the fake) and quickly (the break to get open) followed by the last
part of the V (the break) to get open. On the break, both hands are usually thrown up
in the direction of movement. This motion is needed in order to catch the ball—and to
communicate that the player is open by holding the open hand up and away from the
defender—when using a screen or preparing for a shot. The break move usually goes
toward the ball but can also go toward the basket, as shown earlier in figure 2.4 (O2’s
back-cut move on X2’s overplay). The V-cut is a sharp change-of-direction cut ranging
from 60 to 90 degrees (the 90-degree version is called an L-cut).
Because the head leads a weight shift as a key to balance, the head leads the change of
direction. For example, on a fake-and-break or V-cut move, the head first moves slightly
in one direction (the fake) and then moves quickly in the direction of the intended
movement (the break) to lead the desired
cut.
As shown in figure 2.4, back cuts are
important moves—made 15 to 18 feet (4.6
to 5.5 meters) away from the ball—when
defenders overplay the passing lane. To
execute this type of move, the cutter should
get close to get open, make a slow-to-quick
V-cut or L-cut move directly to the basket
(i.e., a rim cut), and communicate with the
outside hand (arm down and fist closed)
on the fake and with the lead hand on the
break (elbow bent, hand open, and shoul-
der high). This move is shown clearly in
figure 2.5, where the cutter moves inside-
out on a V-cut and is still overplayed. The
cutter needs to create enough space on the
perimeter for the back cut by baiting the
defender, at least to the three-point arc,
while maintaining 15 to 18 feet of spacing
from the passer. Players should make back
E7294/Krause/F02.05/599615/mh-R2
X2
a
c
b
2
1
Figure 2.5 Backdoor cuts: (a) V-cut to
get open; (b) “baiting” the defender and
signaling the fake before the back cut
(outside fist closed and pointed down); (c)
back cut to rim and signaling open with the
lead hand up.
CRITICAL CUE
Always make a
back cut; never
fake a back cut.

ADVANCED BODY CONTROL 35

cuts (hard and fast) but never fake back cuts; faking them usually confuses the passer
and can lead to a turnover. To execute effectively, they should make a sharp, quick back
cut on the fake-and-break move.
Front and Rear Cuts
These types of V-cut moves are made after
a player has passed the ball to a teammate
and wants to challenge the defense by cut-
ting to the basket (making a rim cut) for
a possible return pass. The pass-and-cut
move—sometimes called a give-and-go—was
the first two-player offensive move devel-
oped in the game, and it remains one of the
most valuable offensive moves. The give-
and-go takes two forms: the preferred front
cut, which allows the offensive player to
receive the ball in front of the defender (an
excellent scoring position), and the rear cut,
which lets the offensive player cut behind
the defender to gain an advantage going
to the basket (figure 2.6). A front cut uses
a V-cut to set up the defense, whereas a rear
cut is a direct, straight-line cut used as a change-of-pace or slow-to-quick move. Both
front and rear cuts go to the rim and end exactly in front of the basket. The front or lead
hand on the cut is held out in front at shoulder height to indicate the cutter’s intention
to the passer (i.e., communicate the cut with the lead hand), as shown in figure 2.7. On
the rim cuts, advanced players can finish with either hand on either side of the basket
using the rim to protect the shot from the defender.
E7294/Krause/F02.06/599616/mh-R2
X3
X4
3
1
2
1
4
X1
X2
2
Rear cut
Front cut
Slow
Slow
Quick
Quick
Figure 2.6 Front and rear cuts—give-
and-go basketball.
CRITICAL CUE
Communicate cuts
with the hands—
lead hand open
and up.
Figure 2.7 Rear cut: (a) Communicate the cut with the lead (open) hand, and (b) receive the
pass.
a
b

36 BASKETBALL SKILLS & DRILLS

Decoy Moves
Decoys are basic moves used to keep defenders busy—for example, distracting defensive
players from helping to defend against a ball handler or trap the ball. Players should
learn to be actors and distracters, misleading defenders with deceptive eye movements,
physical bluffs, and other visual or auditory distractions. They should also use unpre-
dictable change-of-pace moves.
Shot Moves
When the ball is in the air on a shot attempt, all offensive players either should move
to a rebounding position or go to a defensive assignment, depending on their position
and role. Players need to make decisive moves when a shot is taken rather than merely
standing and watching the ball. Spectators are rightly ball watchers, but players should
be movers. They should always assume that the shot will be missed and that they need
to either rebound or get back on defense in order to do their job every time a shot is
taken on offense. These offensive rebounding or offense-to-defense transition moves
are explained in chapter 8 and utilize fake-and-break moves to execute the appropriate
task.
Assigned Moves
Assigned moves are individually designated cuts in a system of play for special situa-
tions. Coaches make specific assignments for rebounding, jump balls, out-of-bounds
plays, free throws, and set patterns. All players must carry out individual assignments
properly, quickly, and at the right time. How well this is done matters just as much as
what is done; proper spacing and timing are essential.
Screen Moves
Setting a screen to get a teammate open for a pass or drive is an unselfish team move and
an essential skill of individual offense. Instruction in setting and using screens should
usually not begin until the secondary school level; elementary school players should
concentrate instead on learning more basic moves and concepts without the ball.
Types of Screens
Screens can be classified according to three criteria (figure 2.8):
E7294/Krause/F02.08/599619/mh-R2
1
X1
X2
Ball
screen
3
4 X4
4
X4
X3
X5
5
2
Off-ball
down
screen
Off-ball
back
screen
Figure 2.8 Types of screens.
• Location—on or off the ball
• Type of body contact—front or rear
• Use—back screen (back to the basket, set behind or on
the blind side of a defender) or down screen (back to
the ball, set in front of or to the side of a defender)
Coaches should develop their own theories for how
screens should work: screening a certain spot or area on
the floor (position screen) or screening the defender (player
screen). A player screen is usually more effective in free-
ing the offensive player, but it may result in more fouls for
illegal screens, or blocks. Overall, the authors prefer player
screens: Screen an opponent rather than a certain spot on
the court or location near a teammate.

ADVANCED BODY CONTROL 37

Setting Screens
Setting a screen is a basic move. Players should use a noisy quick stop with the feet
shoulder-width apart and the hands out of the screen (figure 2.9). The screen should be
set perpendicular to the expected path of the defender and be forceful enough for the
defender to see and hear it. Screening players should be loud, low, and legal—the screen
should be set with a quick stance after a quick stop and should be heard when it is set
and when the defender makes contact with it. The screening player should play and stay
low, sit into the screen, and be ready for contact. A legal screen includes correct position
(being stationary) and legal use of the hands. A down screen can be set skin-to-skin,
but a back screen should allow at least one step for the defender to change direction.
To avoid illegal hand contact, a player should use one hand to grasp the other wrist
(usually of the shooting hand, for protection) and place the hands in front of the body
over the vital parts (crotch area for men, chest area for women). Against good defensive
teams, the cutter is usually covered, but the screener is often open during a defensive
switch or help move when cutting back to an open spot.
Other tips include using down screens (toward the basket) when defenders are sag-
ging, back screens (away from the basket) when the defense is exerting pressure or
defenders are overplaying, and flare screens (away from the ball and the basket) when
defenders are collapsing inside. Players should alert teammates that they are screening
by giving a hand or voice signal.
Figure 2.9 Front screen: Use a noisy quick stop with a wide base and keep the arms out
of the screen. (a) Men grab the shooting wrist over the groin area; (b) women cross the
arms
over the chest area (with the shooting arm next to the body for protection).
a
b
CRITICAL CUE
Set screens that
are loud, low, and
legal.

38 BASKETBALL SKILLS & DRILLS

Using Screens
The most difficult screening skill is that of preparing or
setting up the defender to run into the screen (players
should use a teammate as a screen or obstacle) with a V-cut,
which usually starts toward the basket as shown in figure
2.10. An important cue is to wait for the screen. Coaches
can require the cutter to wait until the screener calls go
as the user comes to the screen on a V-cut. This move is
advocated by Tommy Lloyd of Gonzaga University. Other
coaches insist that the cutter grasp the jersey or trunk of
the screener before cutting. These techniques force the
cutter to wait and read the screen. This aspect of screening
is so important that some coaches teach the screener to say
“wait, wait, wait” before using or cutting by the screen.
Players should cut razor close so that they brush shoul-
ders with the screener. On screens away from the ball, play-
ers should be in a low position with the hands up as they go by the screen, ready to
receive a pass. Players should throw the hands up as they move past the screener on the
break. Timing is crucial in effective screen plays: Players must wait for the screen to be
set before making moves; they must also read the defender’s position with big vision to
make the correct cut opposite the defender’s stance and position.
When two players set and use a screen, they both represent scoring options. The
cutter reads the defender’s position while waiting, then cuts accordingly to get open.
For example, a defender trying to get through a screen causes a pop-cut (outside-shot)
move with a reaction inside (a low cut) by the screener. The two scoring options are usu-
ally inside-and-low and outside-and-high moves by the cutter and screener (in response
to the cut). With less determined or less skilled defend-
ers, the cutter is usually open. With great defenders, the
screener is usually open for the score on a screen-and-flash
(or pop) cut.
On-the-Ball Screens
The pick-and-roll is a basic two-person play used at all
levels of basketball. This play was a staple for one of the
best inside–outside combinations in basketball history:
Karl Malone and John Stockton of the Utah Jazz. Pick-and-
roll occurs when a screen is set on the ball handler. When
an effective screen is used and defenders do not switch, the
dribbler is open for a shot (dribble-drive layup or set or
jump shot). As shown in figure 2.11, the sequence occurs
when O1 V-cuts to get open as O2 passes and sets the ball
screen on defender X1 (O2 sprints to set the screen quickly).
In this option, X1 tries to fight through the screen (the
defenders do not switch assignments) but is impeded, and
O1 is free for the shot (layup or jump shot).
When a screen (pick) is made on the ball handler and the defenders switch assign-
ments or hedge (help), the screener is open on a roll move to the basket. The pick-and-
roll for the screener is shown in figure 2.12. When the ball handler uses the screen, the
screener makes a half rear turn and shuffle-slides to the basket, staying between the
ball handler and the original defender (X1). The screener should use a proper rear turn
E7294/Krause/F02.10/599622/mh-R2
2
3
1
Wait & walk
forward
X1
E7294/Krause/F02.11/599623/mh-R2
2
X1
1
Layup
shot
X2
Set/jump
shot
Figure 2.10 Using the screen: O2 waits
before the V-cut is made.
Figure 2.11 Pick-and-roll with defenders
staying (no switched assignments).
CRITICAL CUE
Always look for
two scoring op-
tions on all screen
plays—cutter first,
screener second.
CRITICAL CUE
To use a screen,
wait, use a V-cut,
and listen for the
go command from
the screener (or
grab and brush
the screener on
the cut).

ADVANCED BODY CONTROL 39

E7294/Krause/F02.12a/599624/mh-R2
a.
1
X1 X2
2
Rear turn
Shuffle
slide with
both hands
up
E7294/Krause/F02.12b/599625/mh-R2
b.
1
X1
X2
2
Figure 2.12 Pick-and-roll with defenders switching: (a) screen (pick) set and rear turn
on the left foot as the dribbler clears the screen on a two-dribble draw; (b) roll pass to the
screener rolling to the basket.
a
b
in order to maintain vision on the ball at all times. The ball han-
dler must make at least two dribbles past the screen to draw the
switching defender (X2)—especially when the screener’s defender
is hedging (helping). This dribble move (usually a hesitation
dribble) gives the dribbler time to execute a dribble draw—then
make a pass (usually a bounce pass) to the screener on the roll
move to the basket. On occasion, the defenders may double-
team or trap the ball handler; if so, the screener should “pick and
pop”—that is, step back and outside for the return pass and the
outside shot.
When an effective screen is made, two scoring options are
always possible: The nonscreener is open if the defenders don’t
switch, and the screener is open if the defenders do switch or
hedge. Advanced players should be taught to look for both scor-
ing options.
Another advanced option on all two-person screen plays is
for the screener to “slip” the screen, or fake it, and cut to the
basket as the defenders choose to switch defensive assignments
in early anticipation of the faked screen. This option for on-the-
ball screens is shown in figure 2.13. The slip move by the screener
is an essential scoring tool to challenge defensive timing and
execution of their tactics (especially when helping or switching).
An advanced on-the-ball screening technique that has devel-
oped for the middle-of-the-court high ball screen or screen–
rescreen is typically used between a larger post player and an
exceptional ball handler. It depends on forcing the perimeter
defender to fight over a screen, thus falling into a compromised
defensive position for following the penetrating dribbler. The
dribbler uses the penetrating principle of winning both the
battle (of the first step) and the war (of body contact in an advan-
tageous position) by using a hesitation dribble to allow their
defender to catch up from behind in a compromised defensive
position (basket-ball-defender) (figure 2.14). When this happens,
E7294/Krause/F02.13/599626/mh-R2
1
X
Slip
1
2
X2
Figure 2.13 Slipping the screen.
E7294/Krause/F02.14/599627/mh-R2
1
4
X4
X1
Figure 2.14 High ball screen (no-switch
defense).

40 BASKETBALL SKILLS & DRILLS

the screener or roller going to the
basket forces his or her defender into
a 2-on-1 situation (figure 2.15). The
defender must switch to the penetra-
tor, which opens up a high pass to the
inside player for an easy backboard
shot (or dunk shot) or a bounce pass
to the player rolling to the basket
for the backboard shot. If the inside
defender doesn’t switch, the offensive
perimeter player can use a long-layup
technique to score off the backboard
with the defender in a disadvantaged
position.
Off-the-Ball Screens
This type of screen is set away from the ball and occurs as a basic two-player pattern plus
the passer. Off-the-ball screens are classified according to the cutter’s reaction to the
defender’s choice for combatting the screen. Possibilities include the pop cut, curl cut,
flare (fade) cut, and back cut.
A pop cut is used when the defender tries to fight through the screen (figure 2.16). Spe-
cifically, O1 passes to O2 and screens away from the ball on the defender of O3 (defender
X3). If no defensive switch is made, then O3 gets an open shot outside (figure 2.16a). If X1
does switch defensive assignments, then the screener (O1) gets the open shot inside by
cutting (flashing) to the ball as the switch is made (figure 2.16b). Players should com-
municate the cut with both hands up while coming past the screen, or at least with the
open hand showing where the pass is needed.
In contrast, a curl cut is used when the defender trails the cutter around the screen
(figure 2.17). In the first option (figure 2.17a), the defense stays and the cutter (O3) gets
the open shot inside (curling to the basket). If the defenders switch (figure 2.17b), the
screener (O1) gets the outside shot cutting to the ball. Larry Bird, former Boston Celtic
and hall of fame player, executed this screen cut to perfection. Players should commu-
nicate the cut with the inside (lead) hand forward when coming around the screen.
If the defender anticipates the pop cut, then a flare or fade cut can be used (figure
2.18). When the defenders stay (no switch), the cutter can get open by flaring away from
the ball and to the outside (figure 2.18a). As the cutter pushes off the screener on the
E7294/Krause/F02.15/599628/mh-R1
X1
1
X4
4
Figure 2.15 High ball screen (2-on-1).
E7294/Krause/F02.16a/599629/mh-R2
a.
2
X1
X2
1
3
X3
E7294/Krause/F02.16b/599630/mh-R2
b.
2
1
3
X3
X1
X2
Figure 2.16 Pop cut: (a) no-switch defense, (b) switching defense.
a
b

ADVANCED BODY CONTROL 41

E7294/Krause/F02.17a/599631/mh-R2
a.
2
X1
X2
1
X3
3
Curl
cut
E7294/Krause/F02.18a/599633/mh-R2
a.
X1
X3
3
X2
1
2
U-cut
E7294/Krause/F02.17b/599632/mh-R2
b.
2
X1
X2
1
3
X3
Pop
cut
E7294/Krause/F02.18b/599634/mh-R2
b.
X1
X3
3
1
2
X2
U-cut
Slip cut
by O1
Figure 2.17 Curl cut: (a) no-switch defense, which leaves O3 open to curl-cut to the basket;
(b) switching defense, which allows a pop cut by the screener, O1.
Figure 2.18 Flare cut: (a) no-switch defense, (b) switching defense.
a
a
b
b
flare cut, the screener may reset the screen to pin the defender inside. If the defenders
do switch, then the screener is open (figure 2.18b) on the inside flash cut (slip) to the
ball. The cutter communicates the U-cut (flare cut) by backing out with both hands up.
If the cutter makes a pop cut and the defender fights through the screen, then a back
cut can be used (figure 2.19). If the defense does not switch (figure 2.19a), the cutter
E7294/Krause/F02.19a/599635/mh-R2
a.
X2
X3
2
1
3
X1
E7294/Krause/F02.19b/599636/mh-R2
b.
X1
X3
3
1
2
X2
In
Out
In
Back screen
and pop cut
Figure 2.19 Back cut: (a) no-switch defense; (b) switching defense, which enables O1 to
back-screen and pop-cut.
a
b

42 BASKETBALL SKILLS & DRILLS

makes the pop cut, is overplayed, and reacts
by making a cut to the basket using the
back screen by O1. The movement sequence
for the cutter involves going to the basket
(in), making the pop cut (out), and back-
cutting (in) to the basket. If, on the other
hand, no switch is made, then the cutter
gets the shot inside going to the basket. If
the defense does switch (figure 2.19b), the
screener O1 gets the shot by flashing to the
ball from outside as the switch is made. The
back cutter communicates the cut using
the outside hand with a closed fist down as
the out move is made. The back cut can also
be done without the use of the pop cut: As
the cutter waits while moving toward the
screen, the defender anticipates the pop cut and cheats over the screen (figure 2.20).
When the screener says go, the cutter makes a quick back cut directly to the basket with
a front-hand target communication for the layup. On the switch, the screener may slip-
cut to the free-throw lane area. An important reminder for players using a back-cut
option is to always make the back cut—never fake the back cut.
Special Screening
Situations
Screen–Rescreen
This screening technique is sometimes
used against player-to-player defenses
that defend screens by fighting over
the perimeter screen in order to avoid
switching. Specifically, the defender
guarding the screener helps (hedges
up) to discourage the cutter from
using the screen to turn the corner
toward the basket (figure 2.21a). This
E7294/Krause/F02.20/599637/mh-R2
X2
2
Figure 2.20 Quick back cut.
CRITICAL CUE
Make the back
cut; never fake the
back cut.
a
b
c
E7294/Krause/F02.21a/599638/mh-R1
X4
4
X1
1
E7294/Krause/F02.21b/599639/mh-R1
X4
4
X1
1
E7294/Krause/F02.21c/599640/mh-R2
Pop
Jump
shot
Attack
Slip
1
4
Figure 2.21 Screen–rescreen: (a) Defense shows and fights over screen; (b) O4 turns and
rescreens X1; (c) scoring options are created.
ADVANCED BODY CONTROL 43
a
b
c
E7294/Krause/F02.22a/599641/mh-R1
X4
X2
2
4
E7294/Krause/F02.22b/599642/mh-R2
X2
X4
2
4
E7294/Krause/F02.22c/599643/mh-R1
X2
Roll to
basket
X5
2
4
or
Figure 2.22 Screen angles: (a) player-to-player icing technique; (b) changing the screen
angle to combat icing; (c) O2 using an angle screen to drive to the baseline.
hedge helper recovers to a ball–you–basket position as O4 then rescreens X1, who has just
fought over the original screen and is not ready to fight over the rescreen (figure 2.21b).
In this technique, screener O4 then pivots and steps up to rescreen X1. O1 spin-dribbles
or goes between the legs with big vision to reverse direction and use the screen from
O4. Both defenders will have difficulty defending the rescreen with the same technique
(figure 2.21c). As a result, O1 will have scoring options using a jump shot or basket drive
as the screener reads the defense and either rolls to the basket or pops back for a jump
shot. The screen–rescreen technique is best used in the middle of the floor and against
the fight-through-and-hedge defensive technique.
Changing the Screen Angle
Defenses often try to undercut screens by using a technique known as icing, in which
defenders corral the ball handler to the sideline in order to keep the ball on one side
of the floor while also defending against the perimeter screen on the side of the court
(figure 2.22a). One way for the offense to counter this defensive tactic is to change the
screening angle to allow the ball handler an advantage toward the baseline. As shown in
figure 2.22b, O2 makes a soft drive or hesitation dribble move to the baseline to create
a 2-on-1 situation with screener O4. When the defense is trying the icing technique,
a helping defender will usually be positioned at the basket, so O2 will have scoring
options—taking a pull-up jump shot using the backboard just outside the free-throw
lane or passing to O4 if the safety (X5) helps up to the ball to defend O2 (figure 2.22c).
Thus screeners should always look for the
best angle in setting the screen to counter
the position of the defender being screened.
Running to the Basket After a High
Middle Screen
On most ball screens set in the high middle
of the floor, the screener rolls to the basket
when the dribbler uses the screen (figure
2.23a). This movement is done using a rear
turn and a side shuffle in order to maintain
vision on the ball. A common alternative to
the roll is illustrated in figure 2.23b. In this
version of the high pick, the screener sets a

44 BASKETBALL SKILLS & DRILLS

high pick (loud, low, and legal) and then, without rolling or pivoting, runs to the oppo-
site side of the basket in preparation for a lob pass over the defense, which can produce
an easy shot off the backboard or a dunk shot.
E7294/Krause/F02.23a/599644/mh-R1
X1
Side
shuffle
1
5
E7294/Krause/F02.23b/599645/mh-R1
1
5 X5
X1
Figure 2.23 High middle screen options: (a) high pick and roll to the basket, (b) high pick
and run to the basket.
a
b
Coaching Points for Moving Without
the Ball
• See the whole floor (teammate and defender) with big vision.
• Use the floor when beginning a move (slow–quick changes
with foot-based push off).
• Move with authority.
• Move with purpose.
• Read the defense and the ball with big vision and respond accordingly.
• Get open or get out of the way; don’t stand still.
• Know and use the perfect catching position: 15 to 18 feet (4.6 to 5.5 meters) from
the ball. Catch the ball, face the basket, and use RPA progression with big vision.
• Be an actor—take the initiative and use believable fakes.
• Lose the defender (by getting away or moving out of his or her field of vision).
• Run through the ball (meet the pass).
• Get close to get open and use V- or L-cuts.
• Alert a teammate with a voice or hand signal when setting a screen.
• Set screens that are loud, low, and legal; sprint to set a screen.
• Set a pick or screen at a right angle to the expected path of the defender.
• When using screens, wait for the go signal, use a V-cut or go to the screener, and
brush past the screen (with shoulder-to-shoulder contact).
• The two scoring options for on-the-ball screens come from the pick-and-roll.
• Off-the-ball screen cuts include the pop, curl, flare, and back cuts.
• Two scoring options on every screen are the cutter and screener.
• Make the back cut; never fake the back cut.

ADVANCED BODY CONTROL 45

Drills for Moving Without the Ball
These drills are designed to teach players the most challenging moves—those made
without the ball. Players tend to be eager to develop ball skills but reluctant to drill on
moves without the ball. These moves require careful team coordination, usually with
two or three players working closely together.
Line Drill: Moving Without the Ball
Purpose: To teach basic moves without the ball
Equipment: Full court
Procedure: Players form up in a basic four-line drill position on the baseline. The first
player in each line moves down the court without the ball, imagining the ball to be in the
center of the court (figure 2.24). The coach calls out one of the four moves—V-cut, back-
door cut, front cut, or rear cut—and the players echo (repeat the verbal call) and then
Troubleshooting
Moves made without the ball—where spacing and timing are critical—are considered big-
picture moves. These advanced team plays are difficult and require patience, attention to
detail, and the ability to see the whole floor with big vision. It is usually better to be too late
than too early on most screens, so the offensive player has less time to read the defenders
and execute the correct response. This especially applies to cutting moves.
Movement mistakes occur when an error is made by a player without the ball. Players
need to focus their attention on recovery, call out for help from teammates when needed,
and get into position immediately for the next play—especially when an offensive error
results in a steal. Players should avoid making two mistakes in a row and should learn to
play through their mistakes. Granted, mistakes are necessary for learning, but they should
be analyzed and then forgotten. To summarize this mentality, use the acronym NBA: What
is the next best action after a mistake?
E7294/Krause/F02.24/599646/mh-R2
V-cuts
V-cuts and
backdoor
cuts
Front cuts
Rear cuts
Pass
Pass
Pass
Pass
Change-of-pace
Change-of-pace
Change-of-pace
Change-of-pace
Figure 2.24 Line drill: V-cuts, backdoor cuts, front cuts, and rear cuts without the ball.

46 BASKETBALL SKILLS & DRILLS

execute the cut as they move to the opposite baseline and return to their starting positions
(a down-and-back move) in four lines using proper spacing and timing.
Options
• V-cut to get open (to the basket and to the ball, or to the defender and to the ball):
Players perform repeated V-cuts, followed by quick stops to simulate catching the
ball, for the length of the court; they communicate the cut by holding the proper hand
up.
• V-cut to get open, followed by a backdoor cut: Players should use proper footwork
and hand position and communicate with the hands—up when getting open, outside
hand down and fist closed for the backdoor cut.
• Front cut: A simulated pass to the center of the court is followed by a front cut (V-
cut—moving away slowly, then cutting fast to the ball) and quick stops at the free-
throw lines and the half-court line. Players communicate with the inside hand across
and up.
• Rear cut: A simulated pass to the center of the court is followed by a rear cut (change-
of-pace, from slow to fast) and quick stops at the free-throw lines and the half-court
line. Players communicate with the hands up using the lead hand (forward and up).
Quick stops are used at each free-throw line and at the half-court line. Upon completing
each quick stop, players should challenge the imaginary defense by using a catch-and-
face move—first a quick stop, then a pivot in order to face the basket and see the whole
court.
V-Cut
Purpose: To teach players the basic moves without the ball in a 2-on-0 or 2-on-2 situation
Equipment: One ball per basket per group
Procedure: The basic two-line formation for this drill includes one line of guards or point-
position players out front and a line of forwards or wing-position players on the side—in
other words, two lines of outside players. Coaches can also develop “positionless” skills
by using all players in both lines.
Options
• Use a forward V-cut to get open (fake and break) and, after receiving the pass from
the guard, use a catch-and-face RPA move (i.e., facing the basket).
• The guard can make a front or rear cut to the basket (cut to the rim) to catch the
forward-to-guard return pass and then go to the end of the forward V-cut line (give-
and-go); alternatively, the forward can make a live-ball, dribble-drive move to the
basket (figure 2.25a).
• The forward then rebounds the ball, passes to the next guard in line, and goes to the
end of the guard line.
• Figure 2.25b shows a forward backdoor move (advanced skill) performed during a
guard dribble move (the key is to dribble at an overplayed teammate). The ball han-
dler, dribbling toward (dribble at) the overplaying defender to signal the backdoor
cut; alternatively, the receiver, with the outside hand down (closed fist), can key the
cut. The forward backdoor cut should be made outside the three-point field-goal
line; spread the defense and back-cut.

ADVANCED BODY CONTROL 47

The forward V-cut may entail a fake to the basket and a break either to get open or to
the imaginary defender to get open (L-cut, get close to get open). When players have
reached acceptable skill levels, add two defenders and use the drills in a 2-on-2 situation.
Players should communicate cuts with the hands (figure 2.26).
E7294/Krause/F02.25a/599647/mh-R2
a.
1
2
2
or
or
Pass and use
a front or rear cut
“give-and-go” move
Wing—use
L-cut or V-cut
E7294/Krause/F02.25b/599648/mh-R2
b.
1
2
Wing—back cut
Figure 2.25 (a) V-cut drill and (b) backdoor option (O2 V-cuts with the outside hand down
as the key).
a
b
Figure 2.26 Communicate cuts with a hand or both hands: (a) V-cut to get open, and (b)
front cut give-and-go
(lead hand).
a
b

48 BASKETBALL SKILLS & DRILLS

2-on-2 Offense and Defense
Purpose: To provide a progression drill for the V-cut
Equipment: One ball per basket per group
Procedure: This is a live offense-and-defense progression that restricts the offense to
individual live-ball moves and pass-and-cut options.
Options
• Start with any set: G-G, G-F, both sides, perimeter–post.
• The offense must use only live-ball moves and pass-and-cut moves. Restrict the ball
handler to three dribbles with the ball. The offense starts with a live ball.
• The drill can utilize two lines per offensive possession; players rotate from offense
to defense to the back of the line. Other options include playing games to 3 or 5,
playing make-it-take-it, or having the offense stay on offense until the defense gets
a stop.
• Defensive variations can include applying different levels of pressure.
4-on-4 Half-Court Offense and Defense
Purpose: To teach players to use good timing and spacing while making basic team-
offense moves in an unstructured half-court situation
Equipment: One ball per basket per group (eight to twelve players) and a half-court area
Procedure: Players are grouped in fours on the half-court: four on offense, four on de-
fense, and four waiting off the court (if available). They work through the following varia-
tions:
• Offense variations: Individual live-ball moves, on-the-ball screens, off-the-ball
screens, and live rebounding
• Defense variations: pressure variations, switch and no-switch screen defense, and
post defense
• Varied sets: 4-out, 3-out and 1-in, 2-out and 2-in
• Outcome variations: rotation after one possession (offense to defense to waiting),
make-it-take-it, rotation when defense gets a stop
4-on-4 Defense-to-Offense Transition
Purpose: To teach players to make effective and efficient transitions (from defense to of-
fense)
Equipment: One ball per court with 12 players (4 on offense, 4 on defense, 4 waiting)
Procedure: Four-player teams begin on the half-court using a coach-designated offen-
sive set and fundamental variations. When a shot is taken, the offensive players carry out
designated roles.
• Three rebounders go to a gap with hands up to get an offensive rebound. One player
serves as a fullback (safety), whose goal is to get to the center circle with big vision
before the ball hits the rim or net.

ADVANCED BODY CONTROL 49

• Two of the offensive rebounding players serve as rebounders, one as a fullback
(safety), and one as a halfback who moves to the free-throw area for a long rebound
and then picks up the ball handler coming up the court on a made shot or on a
defensive rebound and break. The third offensive rebounder transitions with vision
(three sprint steps).
When the four defenders get the ball after a basket or on a defensive rebound, they
bring the ball up quickly to test the opponent’s offense-to-defense transition. If they can
score on a fast-break shot or early in a set offense, then they stay on offense. If the four
who were originally on offense make a successful transition, then they go back to offense.
Players rotate from offense to defense to out on a defensive stop.
One-Minute Continuous Game
Purpose: To teach players to play full-court 3-on-3 offense and defense and use ad-
vanced moves without the ball
Equipment: One ball per court with 6 players (3-on-3); two courts for a team of 12, three
courts for 18, and so on
Procedure: Minute-long games are played simultaneously, one on each court. Play can
start with a jump ball or by other means (e.g., coin flip for possession). Dribbling is not
allowed (creates an automatic turnover); all other moves are allowed. Full-court denial de-
fense is required. Otherwise, all regular rules apply. This gamelike drill places a premium
on fundamentals: timing and spacing, getting open, catching and facing the basket, and
all defensive fundamentals. Play at least three 1-minute games. After each game, winners
play winners, and losers play losers. Winners take the ball out first on their next game
(coach determines if teams are waiting after a 1-minute game).
Pick-and-Roll
Purpose: To teach players the screening and cutting options for on-the-ball screens
Equipment: One ball per basket per group (four or more players per group)
Procedure: Two lines of outside players, positioned 15 to 18 feet (4.6 to 5.5 meters) apart,
use the screening pattern of passing the ball and then screening the ball handler’s de-
fender. The progression should be as follows:
• 2-on-0: cutter (dribbler) scoring option alternating with screener scoring option (roll-
ing or stepping outside for a shot on a pick-and-pop)
• 2-on-2: defense staying (offense trying to score on the pick) alternating with defense
switching (offense trying to score on the roll or stepping outside for a shot or pick-
and-pop)
-
Live offense and defense
-
Player rotation: offense to defense to the end of the opposite line
• 3-on-3
-
Live offense and defense
-
Make-it-take-it; rotation when defense stops offense

50 BASKETBALL SKILLS & DRILLS

3-on-0 Motion
Purpose: To teach both scoring op-
tions on screens away from the ball;
two-ball shooting drill
Equipment: Two balls per basket per
group (six players preferred) and two
passers (coaches or program assis-
tants)
Procedure: At first, the coach deter-
mines the cut, and the cutters echo it
(repeat coach’s verbal call). Then two
defenders are added, and the screen-
er or cutters must read the defenders
and cut accordingly while calling their
cut (see figure 2.27).
E7294/Krause/F02.27a/599651/mh-R2
C
C
E7294/Krause/F02.27b/599652/mh-R2
C
C
E7294/Krause/F02.27c/600043/mh-R2
2
1
3
X1
X2
X
X
X
X
X
X
X
3
Figure 2.27 3-on-0 motion drill: (a) basic setup, (b) pass and screen away, (c) 3-on-3
motion offense and defense.
b
a
c
3-on-3 Motion Screen
Purpose: To teach players the screening and cutting options for off-the-ball screens
Equipment: One ball per basket per group (six or more players per group); alternatively,
use two balls so coach can pass to both scoring options
Procedure: Three lines of outside players, positioned 15 to 18 feet (4.6 to 5.5 meters)
apart, use the following options to pass and screen away from the ball: pop-up, curl cut,
flare cut, and back cut. The progression should be as follows:
• 3-on-0
-
Pop cut: Cutter cuts outside, and screener cuts and slips inside.
-
Curl cut: Cutter curls inside, and screener pops outside.
-
Flare cut: Cutter U-cuts outside, and screener slips inside.
-
Back cut: Cutter back-cuts inside, and screener pops outside.

ADVANCED BODY CONTROL 51

• 3-on-3
-
Defense does not switch (cutter options).
-
Defense switches (screener options).
-
Play uses live offense and defense.
-
Play is make-it-take-it.
Coaching Points
• Sprint to set a screen as you signal.
• Cutter waits for the screen (verbal go signal).
• Set screens that are loud, low, and legal.
• Signal all cuts with the hands and use verbal calls on all cuts.
• There are two scoring options on each screen.
Wooden Wisdom
“It’s the little details that are vital. Little things make the big things
happen.”
—John Wooden
This page intentionally left blank.

3
Ballhandling
“Passing and catching are offensive team skills, while dribbling is an individual
offensive skill; therefore, the pass should be the primary offensive weapon.”
Ralph Miller, Naismith Hall of Fame coach and former head coach at Wichita State
University,
University of Iowa, and Oregon State University
CHAPTER

54 BASKETBALL SKILLS & DRILLS

B
allhandling encompasses all offensive actions with the basketball—passing, catch-
ing, dribbling, shooting, making individual moves, and rebounding. This chapter
addresses the first three—passing, catching, and dribbling (the others are covered
in separate chapters).
The arm mechanics of passing, dribbling, and shooting are almost identical—the arm
and hand motions are the same for each (for one-handed and two-handed techniques).
Passing and catching are the most important individual offensive fundamentals with
the ball; shooting can be considered as a pass to the basket and passing as a shot to a
catching teammate. Dribbling, which can also be considered as a pass to the floor, is a
secondary offensive weapon that should not be misused or overused, though it often is.
Players should pass first and dribble last.
In order to achieve balanced development of ballhandling skills with the dominant
and nondominant hands, players must also apply another ballhandling principle: Work
on the weak hand three times as much as on the strong hand.
It should become automatic for players to get into triple-threat position (offensive
quick stance), from which they can shoot, pass, or dribble (see figure 3.1). In triple-
threat position, the player with the ball pits and protects the ball—that is, pulls it close to
the armpit (or above) in order to protect it from the defender. Players should avoid dan-
gling the ball away from the body; they need to keep their game tight. This protected
area is also called the shooting pocket.
Players should always use the catch-and-face move with the ball: catching it, moving
it to triple-threat position, and then pivoting and facing the basket to see the whole
floor with big vision (especially open teammates who may serve as partners for passing
and catching). It is possible to catch and face in one motion by catching a pass with
the feet in the air and landing facing the basket using the rim–post–action (RPA) rule
(see the RPA discussion in the Passing–Catching Principles section a bit later in this
chapter). In this position, offensive quick stance is attained with quickness and balance.
Players must think quickly, move at top speed under control, and be ready to pass or
CRITICAL CUE
Practice ballhan-
dling skills (pass-
ing and dribbling)
on the nondomi-
nant side three
times as much as
on the dominant
side.
Figure 3.1 Triple-threat position (offensive quick stance with the ball): (a) side view,
(b) front view.
a
b

BALLHANDLING 55
catch first and dribble last. When players become ball handlers, they should first look
to pass the ball to a teammate (unless they are open for a scoring opportunity within
their range) before choosing to dribble, which is the final option for moving the ball.
The primary movement concepts of quickness and balance dictate the preferred order:
be prepared (with feet and hands) to shoot in the frontcourt (see the big part of the
floor and look with small vision on the shooting target), then prioritize passing before
dribbling (pass first, dribble last). The shot is most often the first pass to look for (the
first catching priority).
Passing and Catching
Passing and catching are the most neglected fundamentals in basketball. Players must
develop these skills in order to mount a successful team offense. Effective passing and
receiving in the form of the scoring assist are measures of offensive teamwork and
important tools for controlling game tempo on offense. More specifically, one impor-
tant measure of offensive team efficiency is the number of scores made from assists (i.e.,
team scores resulting from passing or catching) as compared with the number of scores
made from dribble drives or offensive rebounds (i.e., individual plays). The number of
team scores should always exceed the number of individual scores. Another measure of
unselfishness is the ratio of assists to turnovers. For unselfish teams, this ratio will gen-
erally be greater than 1; in other words, the team will have more assists than turnovers
(the number of assists divided by the number of turnovers is greater than 1).
Players who are good passers and catchers, or receivers, have an excellent chance of
serving as important team members. From a coaching perspective, good passing tends
to take the pressure off of a team’s defensive play and break down the opponent’s
defense. Because passing is the quickest way to move the ball and challenge the defense,
it should be the primary weapon of offensive attack, thus applying the priority prin-
ciple of balance and quickness.
Earvin “Magic” Johnson led his college and NBA teams to championships by becom-
ing one of the greatest passers in the history of the game. John Stockton led the great
Utah Jazz teams of the 1990s by doing the same thing. Stephen Curry of the Golden
State Warriors does it for his NBA championship team. Sue Bird of the UConn Huskies
and the WNBA’s Seattle Storm had a career assist-to-turnover ratio of more than 2 to 1.
Coaches should work to convince players that passing and catching are primary
offensive team plays. They are, in fact, the most effective ways to achieve the offensive
objective—to get a good shot on each possession by moving the ball quickly and getting
it to an open player to set up a scoring opportunity.
Principles of Passing and Catching
The overall goal of passing and catching is for both the passer and the catcher to pro-
duce passes that are on time and on target. Table 3.1 presents three key passing principles
and three related catching principles.
Players need to look for the pass before dribbling. When catching, players should
follow the rim–post–action (RPA) rule: When they catch the ball within the operating
area near the offensive basket, they should catch the ball and face the basket to look for
the shot (rim or backboard spot), look to pass to a cutter in or near the post area or an
inside post player (post), and then move the ball (action). A player’s natural preference,
or first instinct, however, is to dribble, which is an individual skill and thus tends to be
practiced each time a player touches the ball. Overcoming this instinct requires con-
tinual emphasis on the shot and pass options.
CRITICAL CUES
Whenever you
have the ball, get
into triple-threat
position, pit and
protect the ball,
and face the bas-
ket using a front or
rear turn. Follow
the RPA rule with
big vision.
CRITICAL CUE
Passes need to
be on time and on
target.
CRITICAL CUE
See the whole
floor with big vi-
sion; look to pass
first and dribble
last.

56 BASKETBALL SKILLS & DRILLS

Players can make good passes only when coaches teach the fundamental elements of
passing, including the three passing rules:
• Footwork: Pass with the feet on the floor in most situations. Pass with a quick step
for quickness and power (using the stepping foot). When possible, the catcher should
catch the ball with the feet in the air. This is critical for avoiding traveling violations;
when a player lands with a one-count quick stop, either foot can be used legally as a
pivot (turning) foot.
• Target: Each pass must be thrown accurately to a spot target. The target is usually
provided by the catcher in the form of a raised hand away from the defender. When pos-
sible, players should hold both arms up when catching—one to provide a target hand
and the other to ward off the defender (figure 3.2). The catcher must give a spot target
whenever possible.
• Speed of pass: The ball must be passed quickly, before the defender has time to react.
The pass should be snappy and crisp—neither too hard nor too easy. A quick step is
usually made in the direction of the pass to provide added force. The concept of pass-
ing with a ping was made popular by Fred “Tex” Winter, hall of fame coach and long-
time assistant coach for the Chicago Bulls and Los Angeles Lakers. The most important
part of the successful pass and catch is the second part—the catch. Most of the time,
the catcher should catch with a
click (getting two hands on the
ball). In contrast, if the ball is
thrown too hard, it slaps loudly
as it is caught; when thrown
too softly, no sound is heard.
A proper catch can be made
in one of two ways: blocking
with the outside spot hand
and securing the ball with the
other hand, or just getting two
hands on the ball as soon as
possible when catching it.
Here are three more passing
recommendations.
Table 3.1 Primary Passing–Catching Principles
Passing
Area
Catching
Pass with the feet on the floor
(using a stepping foot for
power).
Footwork
Catch with the feet in the air and
make a quick stop. Be ready to
shoot (pass first to the basket).
Pass to a spot (usually an open
hand).
Target
Give a spot target (usually the
catching hand).
Pass with a ping.
Speed of pass (sound)
Catch with a click (two eyes and
two hands).
Figure 3.2 Getting open: Keep both arms up.
• Timing: The ball must be
delivered when the receiver is
open—not before or after. Pass
with a ping at the right time.
When learning to pass, exag-
gerate the follow-through.

BALLHANDLING 57
• Deception: The passer must use deception to confuse the defender, who is reading
the passer (especially the eyes) and anticipating the pass. Use ball fakes and use vision to
see the whole floor (big vision) while focusing on the spot target.
• Meeting the ball: Catchers should shorten all passes (i.e., run through the ball) by
meeting or coming toward the ball. (This does not apply, of course, on a breakaway, in
which the player moves to the basket ahead of the defense.)
Passers should visually locate all teammates and defenders—seeing the rim of the
basket when in the frontcourt and the net when in backcourt—while concentrating on
the potential receiver without staring. This awareness can best be achieved by survey-
ing the whole floor area (using big vision) with the ball in triple-threat position. When
catching a pass, players should always be prepared to shoot (catch the ball and face the
basket) if open and within range; if unable to shoot, they should try to pass to an open
teammate before dribbling (rim–post–action).
Players must learn to give up the ball unselfishly by passing to an open player. Ball
handlers can also dribble-drive and pass (i.e., penetrate and pitch)—that is, create assist
opportunities by making dribble moves to the basket that allow them to pass to open
teammates who can then score. When players are passing, they should choose to make
the easy pass through or by the defender. Coaches should teach players not to gamble
on passes; they should be clever but not fancy. Most of the time, a player making a drib-
ble drive should use a quick stop before passing the ball at the end of the penetration or
drive, staying under control (maintaining balance) and avoiding the offensive charge.
This technique applies the rule of passing and stopping with the feet on the floor. John
Stockton, all-star guard for Gonzaga University and the Utah Jazz, became the all-time
assist leader in the NBA by making the easy pass (i.e., the simple play). His counterpart
at Gonzaga, Courtney Vandersloot, a first team All-American and WNBA all-star was
also an unselfish passer known for making the simple play.
Choosing the Correct Pass
The quickest passes are air passes. Simple
geometry—the shortest distance between
two points is a straight line—proves that the
air pass is quicker than either the lob pass
or the bounce pass, as shown in figure 3.3.
Therefore, the air pass is the primary pass
to use. Almost all perimeter passes around
the defense should be two-handed or one-
handed air passes from the chest.
Lob passes are used only when passing
to teammates on a breakaway fast break,
where the lob allows them to run to catch
up with the ball; when teammates are being
fronted while playing a low-post position;
or when they offer the best way to get the
ball past an overplaying defender. The lob
is always a slower pass.
Bounce passes are used only when passing out of an emergency situation or to a
player who is
• in the post position and smaller than the defender,
• open on the baseline side of a defender, or
• making a backdoor cut.
CRITICAL CUE
Make the easy
pass.
E7294/Krause/F03.03/599657/mh-R1
Lob
Air
Bounce
A
B
Figure 3.3 Types of passes, their paths,
and distances traveled.

58 BASKETBALL SKILLS & DRILLS

Special Passing Situations
Some potential passing situations require special consideration.
For instance, the ball should not be passed across the court under
the defensive basket because an interception in that area usually
results in a score by the opponent. Other danger areas are found
along boundary lines and in court corners (figure 3.4). In addi-
tion, when a pass comes back out on the perimeter from the base-
line, players should reverse the ball quickly to the other side of the
court to test the defense and check the defenders’ alertness on the
help side (test the second side or reverse [swing] the ball to make
defenders move out in order to cover more court area).
Types of Passes
The type of pass used must fit the situation. For example, chest
air and one-handed baseball passes are best used in open-court or
perimeter situations in which speed is paramount, but the one-
handed push pass is the preferred close-quarters or backdoor pass
and the preferred perimeter pass.
Chest Pass
The chest pass is the basic air pass for effective, efficient ball move-
ment when an offensive player is guarded loosely or in an open-
floor area. It can be used for longer distances because the start-
ing position is reached by using power from both arms to quickly
move the ball from triple-threat position to the center of the
chest, close to the body, in a thumbs-up position. To throw the
pass, a player extends the elbows and pronates the arms (i.e., rotates them inward) to a
thumbs-down ending position. The player should push the thumbs through the ball to
put backspin on the ball. When there is time, the player should also take a quick step
forward to pass, even though passing without stepping is quicker. Most of the time,
the player should step quickly and pass. For longer passes, the ball is rolled in a circular
move—out, down, and toward the body—to gain momentum before release.
The target of the pass should be either the receiver’s throat or neck area if the receiver
is stationary and defended from behind (aim for the face or slightly below) or the receiv-
er’s outside hand (away from the defender, as with the left hand in figure 3.2) if the
receiver is near a defender. Also, during practice drills, the catcher should use two hands
as practice targets outside the shoulders to teach passers to choose a hand for the target.
Chest Bounce Pass
This pass is recommended primarily for contested perimeter plays, backdoor moves,
and emergencies when the passer must get out of a trap or when the defender is play-
ing in the passing lane. Passing tips include making the pass to a target spot located
two-thirds of the way to the receiver and following through (as when making a chest
pass) to that spot on the floor. The pass should be thrown hard enough that it bounces
up to the receiver at hip level. Starting with the ball in a thumbs-up position, passers
should push the thumbs through the ball and follow through to a thumbs-down posi-
tion (figure 3.5). The backspin produced by this technique is important in this move-
ment because it increases the angle of rebound on the bounce pass, thus making it
E7294/Krause/F03.04/599658/mh-R2
1
2
Defensive basket
Figure 3.4 Danger areas for passing or
catching.
CRITICAL CUE
Chest pass—
thumbs-up to
thumbs-down
position.
CRITICAL CUE
During practice
drills, freeze the
follow-through.

BALLHANDLING 59
easier for the catcher to handle. A good bounce pass will bounce higher and “comes up”
to the catcher’s hands. For power, players may also step forward (using the stepping
foot) with the pass.
Overhead Pass
When a player catches the ball, it should always be moved quickly to triple-threat posi-
tion (catch and face the basket; follow the RPA rule). The ball can then be moved quickly
overhead to pass over the defense when needed. A pass over the defense to reverse the
ball to the second side of the floor (called a skip pass) is especially effective against zone
defenses. The position of the ball allows the passer to show the ball and make effective
pass fakes. Players need to keep the ball up, starting with and keeping the elbows locked
or extended, and throw the pass with the wrists and fingers; the ball should be overhead
with little or no windup behind the head. Throughout, players should remain in a bent-
knee ready position.
Figure 3.5 Bounce pass: (a) thumbs-up starting position (targeting a spot on the floor) and
(b)
thumbs-down ending position (freezing the follow-through to the spot) and catcher
receiving the pass
with the feet in the air.
a
b

60 BASKETBALL SKILLS & DRILLS

The technique involves starting with the thumbs back, pushing the thumbs through
the ball, and finishing with the thumbs forward (figure 3.6). The overhead pass tends
to drop, so the ball should be thrown to a high target (usually the receiver’s head); oth-
erwise, the pass is hard to handle when dropping. For more power, players should step
forward with the pass and freeze the follow-through.
Figure 3.6 Overhead pass: (a) thumbs-back starting position (ball up, elbows
locked) and (b) thumbs-forward and palms-out ending position (using the wrists and
fingers, keeping the ball up).
a
b
A distinction should be made between overhead passes for longer and shorter dis-
tances. Longer overhead passes usually occur on a defensive rebound and outlet, a skip
pass from one side of the court to the other (e.g., corner to opposite wing, wing to oppo-
site wing), or in certain other long-pass or over-the-top situations. Shorter overhead
passes include high-post to low-post or top-down perimeter-to-post passes and other
perimeter-passing situations, most often to the adjacent perimeter receiver. Longer
overhead passes necessitate a power step with the pass, as well as full use of both the
arms and the thumbs and a complete follow-through (freeze it). Overhead passes should
be used as air passes, not bounce passes, because of the high starting position of the
release.
One-Handed Baseball Pass
A baseball pass is used to throw a long pass (usually more than half-court length) with
the dominant throwing arm. Players should keep two hands on the ball as long as pos-
sible and use a stance in which the feet are parallel to the baseline (i.e., pointing toward
CRITICAL CUE
Overhead pass—
thumbs back to
thumbs forward,
ball up, elbows
kept locked.

BALLHANDLING 61
the sideline). They should then plant the back foot, point and step with the front foot,
and throw the ball from the ear, similar to the way a baseball catcher throws. Proper
follow-through includes carrying out a full pronation and extension of the arm, ending
with the thumb down (figure 3.7). Players should throw this pass only with the domi-
nant arm; the other hand can be used in the case of a fake pass to catch and stabilize
the ball. The turning (pivot) foot for this pass is always the back foot, and the stepping
foot is the front foot (an exception when using the PPF concept). Use EPF footwork for
proper starting position.
One-Handed Push Pass
The one-handed push pass, or flick pass, is the most important pass for interior offense
passing. It is a quick pass used to move the ball through or by a closely guarding
defender. It is used both near a defender and when a teammate is at the 15- to 18-foot
(4.6- to 5.5-meter) distance (perimeter or post). It can be made as either an air or a
bounce pass, and it should be used from the triple-threat position; the key is the bent-
elbow starting position, which is needed for power. The passer should work one side
of the defender’s body, especially past the ear, where the biggest gap usually appears,
and make the pass above or below the defender’s arm after finding an opening. Vertical
fakes can be used as the passer reads the defender (figure 3.8). Players should fake low
and pass high (air pass) or fake high (maybe with a shot fake) and pass low (bounce
pass), reading the defender’s arm position and making short, quick fakes. The first look
is always past the ear, using an air pass when the defender’s arm is down on either side
of the defender’s body (figure 3.8).
CRITICAL CUE
Baseball pass:
both hands on the
ball as long as
possible.
CRITICAL CUES
Pass quickly by
the defender’s
ear hole when the
arms are down.
Work the ball verti-
cally on one side
of the body (pass
low when the arm
is up).
Figure 3.7 Baseball pass: (a) starting position (by the ear, both hands on the ball), (b)
pulling the string (or fake
pass from this position), and (c) pronation (thumb down) on release.
a
b
c

62 BASKETBALL SKILLS & DRILLS

When players move from the preferred side in triple-threat position, the ball is moved
quickly (ripped through) from side to side (pit to pit) in order to work the other side of
the defender’s body: a circle-tight move is preferred to a high or low sweep to move the
ball from side to side with quickness and balance.
Catching Principles
Catching the basketball requires a player to be ready to receive it. To be effective, poten-
tial pass receivers should be open, be in quick-stance position with one or both hands
up, and give a target away from the defender at the right time.
Another receiving rule calls for catchers to “run through” the basketball by meeting
the pass (unless the player is cutting to the basket on a backdoor cut or in a break-
away situation). When defended, the receiver must move toward the ball until contact
is made with the ball to ensure possession. Players should make a cut to finish running
through the ball, about 15 to 18 feet (4.6 to 5.5 meters) from the ball, thus shortening
the passing lane.
Players should catch the ball with the feet slightly in the air whenever possible. Spe-
cifically, the receiver should catch the ball with both feet in the air, then come to a quick
stop with the ball in either triple-threat position (in normal conditions) or chin-it posi-
tion (if under duress). This technique enables the player to maintain body control and
ball possession and make a quick return to quick stance, where either foot can be used
as the pivot foot; this is the quick-stop advantage. Finally, all catchers should catch (the
ball) and face (their offensive basket) in order to use big vision to see the whole floor
and the rim first for a possible shot (or backboard).
Figure 3.8 Push or flick pass: (a) Use the triple-threat position to work on the side of the
defender’s body; when
the defender’s arm is down, pass high, near the hole by the ear (fake low, pass high when
needed). (b) Use vertical
fakes (fake high, pass low) when the defender’s arm is up.
a
CRITICAL CUE
Catch the ball with
the feet in the air.
b
Vertical
fake
Vertical
fake

BALLHANDLING 63
Two-handed basketball for both passing and catching is a good habit to develop in
players. In fact, they should always catch the ball with both hands. Of the three meth-
ods for catching the ball, the first is to catch with two hands up (thumbs together); this
method should be used when the pass is near the middle of the body and above the
waist (figure 3.9a). The second method is to catch with two hands down (thumbs apart);
Figure 3.9 Catching the ball: (a) above the waist, (b) below the waist, (c) one-handed
block, and (d) two-handed tuck.
a
c
d
b
CRITICAL CUE
Catch with a click;
use both hands
and both eyes
when catching
(look the ball into
your hands).

64 BASKETBALL SKILLS & DRILLS

it should be used when the pass is near the middle of the
body and below the waist (figure 3.9b). The third method
is the block-and-tuck, which is used when the pass is made
to either side of the body. Specifically, the catcher blocks
the ball with one hand and tucks it with the other; both
hands should immediately be placed on the ball in any way
possible (figure 3.9c and 3.9d). The block-and-tuck tech-
nique is more commonly used with a one-handed target
catch. The primary objective is to pass and catch simply
and safely with two hands when possible.
As the pass is caught, the receiver should let the wrist
and elbows give, which is sometimes referred to as using
soft hands. The receiver should also focus the eyes on the
pass until it is in both hands; in this way, the player needs
to “catch” the ball with the eyes. The combination of catch-
ing with two hands and using both eyes is called catching
with a click. When possible, the catcher should catch the
ball with the wrist back and move the ball to the shooting
pocket as quickly as possible (figure 3.10). This “loads” the
ball into the shooting pocket for a quick shot. Finally, the
pass catcher should meet the pass or shorten the passing
lane by coming toward the ball to catch it with the feet
in the air (except on a breakaway or backdoor cut to the
basket on a defensive overplay).
Here are the three primary rules of pass catching:
• Catch with the feet in the air.
• Catch by giving a spot target.
• Catch with a click (two eyes, two hands).
Figure 3.10 Catch the ball with the wrist back
and ball loaded; be ready to shoot (triple-threat
position).
Coaching Points
for Passing and Catching
• Use triple-threat position; pit and protect the ball while turn-
ing to catch and face up the floor using the RPA progres-
sion.
• Help passers develop quickness, the ability to use a spot
target, and pass with proper timing.
• Pass with the feet on the floor and with a ping.
• Pass and catch with two hands on the ball as long as possible.
• Catch the ball with the feet in the air (ball in the air, feet in the air).
• Catch with a click (two eyes, two hands).
• Protect the ball by moving it to the shooting pocket (load the ball) or chinning posi-
tion after a catch.
• Catch and immediately scan to see the whole court; catch and face the basket, or
catch the ball with the feet facing the basket and follow the RPA rule.
• Be ready for bad passes and stay in a quick stance with the hands up and the feet
and body ready to move quickly. Always follow the rule of “possession over posi-
tion.” The priority is always to get possession of the ball on the catch rather than
maintain your catching position.

BALLHANDLING 65
Review table 3.1 earlier in this chapter for a visual reminder of essential passing and
catching principles (see the Passing–Catching Principles section at the start of the chap-
ter).
Communication
in Passing and Catching
The passer and the catcher share responsibility for completing the pass; in this endeavor,
they should strive for perfection but settle for success. Successful passes depend on
communication, especially by the catcher. Every potential pass receiver should always
be ready to catch a pass (in quick stance with the hand(s) up), to call the passer’s name
to show openness, and to communicate with the hands (e.g., both hands up when
open, one hand inside for a curl cut, closed fist down by the knee with the outside hand
for a back cut, and an open hand up away from the defender when open to catch the
ball). Always use one hand to give a target, and the other hand may be used to ward off
defenders. The passer, of course, must decide whether to make the pass. Some coaches
prefer to have the passer call the catcher’s name just before the pass is made, others
prefer the catcher to call the passer’s name when open, and some prefer both to talk. In
any case, passers need to make eye and voice contact with catchers both before and as
the pass is made. Players cannot communicate too much in this critical area.
Dribbling
Dribbling is not a sight skill but a touch skill. Players should learn to dribble up the
court without watching the ball by focusing on the offensive basket (seeing the rim or
net) and looking over the whole court (using big vision). Seeing the net in the backcourt
allows the dribbler to see the whole court and open teammates. Seeing the rim in the
frontcourt establishes the shooting and passing guide to be ready to shoot (when in
range) and allows players to see the whole floor (to pass); it gets players in the habit
of looking for the shot every time they catch the ball (rim–post–action). The primary
objective in the frontcourt is to create a move that allows a player to pass to a teammate
for a score. When players are dribbling, this move might entail a live-ball move, a basket-
penetration move past an opponent using a dribble drive to the basket, or ball move-
ment in the form of passing to get a teammate open. Dribbling is an acceptable option,
preferably for advancing the ball up the court when a pass is not available, maneuvering
to get in a better position for a pass to a teammate, executing an offensive play or pat-
tern, or getting out of heavy defensive traffic or a trap situation (two defenders on the
dribbler).
Dribbling Technique
Players should execute the dribble by first extending the elbow and then flexing the
wrist and fingers, thus dribbling with the wrist, hand, and a little forearm motion. The
dribble is really a pass to, and catch from, the floor. The fingers and pads of the hand
control the ball (the ball should be kept off of the heel of the hand), and the fingers
should be spread comfortably and cupped around the ball (figure 3.11). Players should
massage the ball, dribble it firmly, and stay low and sit into the game while dribbling.
They should make the dribble a short pass for quickness.
Players should maintain maximum contact with the ball. The rules require the hand
to stay on top of the ball: The dribble is legal as long as the hand does not leave its
CRITICAL CUE
Passers should
call the catcher’s
name when open;
both passer and
catcher should
communicate (ver-
bally or nonver-
bally).
CRITICAL CUE
Dribble with a
purpose—only to
make a live-ball
move, penetrate
the defense, get
a teammate open,
advance the ball,
execute a play, or
get out of trouble.

66 BASKETBALL SKILLS & DRILLS

vertical position to get under and carry the ball and as long as the ball is
not cupped by a large hand (figure 3.12). When a player starts a dribble on
a live-ball move, the ball must leave the hand before the pivot foot leaves
the floor (U.S. rules), and the ball must be on the floor before the pivot foot
leaves the floor (FIBA international rules).
It is strongly recommended that players use the quick stop to terminate
the dribble, especially in traffic (figure 3.13). This is the best way to avoid
traveling violations and protect the ball while conserving critical time and
space for passing or shooting. In traffic, players should pick up the dribble,
use a quick stop, and chin the ball. When chinning the ball, players should
get into a quick stance with the ball under the chin, the fingers up, and the
elbows out and up (in this way, they make themselves big and protect their
territory). On a dribble drive penetrate-and-pitch move, after a quick stop
the ball handler can also pivot and pass to a teammate following behind
into the driving pathway for an open shot (usually a three-point field goal)
on what is often called a “crack-back” move.
Players should learn to use either hand to dribble, developing the weak hand but
using the preferred hand whenever possible. They should practice three times more
with the nonpreferred hand. When dribbling while closely guarded, they should always
dribble with the hand away from the defender and protect the ball with the body and
the opposite hand (with an arm bar). They should maintain big vision while keeping
the ball low and to the side of the body and staying in a quick stance by sitting into their
game (figure 3.14).
Dribbling Strategies
The general dribbling rule is this: When the ball is put on the floor, the dribbler should
always be moving purposefully. On drives to the basket, for instance, the dribbler goes
past the defender. The primary objective is to use one dribble to score in the frontcourt;
however, bouncing the ball once or dribbling while not changing floor position (called
a
b
Figure 3.11 Dribbling: (a) using the fingers and pads of the hands, (b) using elbow extension
and wrist and
finger flexion to push the ball to the floor.
E7294/Krause/F03.12/599676/mh-R1
Legal
Illegal
Figure 3.12 Dribbling rules:
hand position.

BALLHANDLING 67
dropping the ball) should be discouraged. A dribble penetration (penetrate-and-pitch) is
best
accomplished just after the player has received a pass in order to avoid forcing the drib-
ble into defenders who are prepared for the penetration.
One key guideline is for players to stay away from trouble while dribbling. Thus they
should avoid dribbling into traffic (between two defenders); they should also keep alert
for traps by watching all defenders and avoiding the corners of the court (figure 3.15).
Minimize the dribble while attacking the defense to score.
Figure 3.13 Terminate the
dribble with a quick stop and chin
(or triple-threat position).
Figure 3.14 Closely guarded dribbler: Protect the
ball with the body and the opposite hand while keeping
tension in the legs and staying in quick stance (for
a low or control dribble). Use the body to control the
defender.
CRITICAL CUE
Dribbling is a
touch skill; see the
net and the whole
court or the rim
and the big part of
the court.
E7294/Krause/F03.15/599679/mh-R2
Figure 3.15 To stay out of trouble, avoid the corners of the court when
dribbling.

68 BASKETBALL SKILLS & DRILLS

Players should keep the dribble under control and conclude a dribble with a pass
or shot, preferably after a quick stop. A dribbler should use the right move at the right
time and see the whole court, as well as teammates and defenders, with big vision.
Types of Dribble Moves
The right type of dribble should be used at the right time. A low or control dribble
should be used around defenders when the dribbler is closely guarded, whereas a high
or speed dribble should be used in the open court when a player is advancing the ball. All
dribble moves should change directions at sharp angles using a slow-to-quick motion.
Low Dribble A control or low dribble is the first and easiest dribble to teach players.
They should use a staggered stance—bent knees with the ball-side foot back. The
opposite hand (as part of an arm bar) is used to protect against the defender, but not
to push the defender back or hook the defender—only to protect the ball. The basic
body motion for dribbling is a sliding movement similar to defensive slides or short
steps with a running motion. Players protect the ball by dribbling on the side of the
body away from the defender, keeping the ball low, and dribbling hard and fast near
the back foot.
Power Dribble An advanced version of the low or control dribble, known as the power
dribble, is executed by using a sliding foot (step-and-slide or push-step) motion and a
low dribble so that the ball is protected by the front leg and hip and the front arm bar.
The ball is dribbled below the knee, near the back leg, as far away from the defender as
possible. The dribbler advances up the court with push-step moves. As the player goes
forward, the ball is near or just in front of the back foot (figure 3.16a); as the player goes
backward, the ball is near or just behind the back foot (figure 3.16b). From this position,
a player can use advanced dribble moves (described later), such as a pull-back crossover,
spin dribble, or fake spin dribble, to create space and attack the basket. Players should
maintain big vision up the floor over the lead shoulder—seeing the net when in the
backcourt and seeing the rim when in the frontcourt, both of which allow the dribbler
to see the whole floor ahead of him or her.
Speed Dribble For a speed or high dribble, players should push the ball out in front
and run after it, keeping it ahead of them. The ball can be dribbled higher—near waist
level—to attain more speed. The faster the movement is, the farther out in front and the
higher the player should dribble the ball.
Change-of-Pace Dribble A change-of-pace dribble, or dribble hesitation, is accom-
plished by changing speeds from a low or control dribble in a stop-and-start motion.
When slowing or stopping, dribblers should straighten up slightly to relax the defender.
This technique should be used to move past defenders who take the slow-pace or stop
fake. This is another slow-to-fast move that can be used to get dribblers in the clear and
to keep them open.
On the change-of-pace or hesitation dribble, players can make it look like they are
going to shoot or pass as they hesitate and straighten up the head and trunk. If players
are within shooting range, they can fake pulling up for a jump shot; if out of shooting
range, they should look to the other side of the court as if they are rising up to pass to
that side.
Crossover Dribble A crossover or switch dribble is a basic move used in the open
court when sufficient room is available between the dribbler and the defender and the
dribbler has sufficient momentum to move by the defender (figure 3.17). Players should
never cross the ball over in front of the legs (front crossover) on a stationary defender.
CRITICAL CUE
Use a power
dribble when
dribbling against
extreme defensive
pressure.
CRITICAL CUE
Change-of-pace
is a slow-to-fast
move.

BALLHANDLING 69
Figure 3.16 Power dribble: (a) shuffle forward, (b) shuffle backward.
Instead, they should attack one side of the defender and use the crossover dribble when
the defender has slowed or stopped the initial attack.
In this dribble, the ball is pushed low and quickly across the body. The proper tech-
nique is to push the ball from right to left (or vice versa) when a zigzag move or V-cut is
CRITICAL CUE
Cross over quick,
low, and close to
the body.
a
b

70 BASKETBALL SKILLS & DRILLS

made from right to left (or vice versa)
(figure 3.18). This move is used when
the defender overplays the path of
the dribbler on the ball side. Play-
ers should be taught to make the
move before a defender gets too close
(they need some room to use a front
crossover) and to explode past the
defender as the move is made.
Head-and-Shoulders Move The
head-and-shoulders or in-and-out
move is an advanced option for getting
around a defender while using the
preferred hand (figure 3.19).
Players should dribble the ball
with the preferred hand, then con-
tinue the move by making a fake
opposite to the nonpreferred side
with a zigzag move on the opposite
foot. At the same time, a head-and-shoulders fake is made to that side, keeping the ball
in rhythm with the move. The move past the defender is made with the preferred foot.
The rhythm is right-left-right to step by for right-handers and left-right-left for left-handers.

The advantage of this faking move is that the dribbler can face and see the defense
while executing a dribble move to get around a defender with the preferred hand. The
sequence for a right-handed person, then, is to push from the right foot as the dribble is
made; fake left with the left foot, head, and shoulders; extend the right foot with a long
step forward and past the defender as the ball is pushed out in front; and step with the
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1
Figure 3.18 Crossover dribble from right to left: offensive zigzag
pushing off of the right foot and stepping with the left foot as the ball is
crossed over (low and quick) from the right hand to the left hand.
Figure 3.17 Front crossover dribble: (a) low dribble, (b) low crossover in front of the body,
and (c) low dribble
(opposite hand).
a
c
b

BALLHANDLING 71
Figure 3.19 Head-and-shoulders (in-and-
out) move: (a) weight on the right foot while
dribbling the ball on the right side, (b) zigzag
on the left foot with a head-and-shoulders
fake to the left (in), and (c) moving past the
defender with the right foot (out).
a
c
b
left foot and go to the basket and past the
defender using hip contact to protect the
ball (win the battle to get by the defender
and win the war by using the inside hip to
control the defender).
Head-and-Shoulders Crossover
Move The head-and-shoulders (in-and-
out) crossover, another advanced move, is
a dribble move to cross the ball over from
the preferred hand to the other hand while
moving past the defender on that side and
still facing the defense (figure 3.20). This
move begins like the head-and-shoulders move. The crossover dribble is kept low and
made across the body at the same time that the zigzag move is made from the preferred
side to the other side. The footwork is right-left-right-left, in order to cross over from right
to left (reverse when going from left to right). The dribble rhythm is timed with the foot-
work movement. The move must be made before the defender is close enough to reach
the crossover dribble. The sequence for a right-handed person is to move the foot, head,
and shoulders left; come back right (short step); take a short step with the left foot as
the ball is crossed over in front of the body from right to left; and bring the right foot
across and go to the basket past the defender.

72 BASKETBALL SKILLS & DRILLS

Spin Dribble A spin or whirl dribble is used for maximum ball protection when the
ball handler is closely guarded and the dribbling path is cut off by the defender. During
this move, the body is kept between the ball and the defender, as shown in figure 3.21.
The disadvantage of this move is that the ball handler briefly loses sight of portions of
the court and of defenders and teammates and therefore may be susceptible to blind-
side traps or double teams. Spin-dribble footwork uses quick-stop, rear-turn-pivot, and
sharp-angled-zigzag moves from right to left (or vice versa). As the 270-degree rear turn
is made on the left (or right) foot, the right (or left) hand pulls the ball with the pivot
until the turn is completed, and the first step is made with the right (or left) foot. The
ball is kept close to the body—the pull is similar to pulling a pistol from a holster. Players
should keep the ball tight near the hip and leg to avoid defenders’ reach-around or
slap-around moves. After the rear turn is completed, the ball is switched to the opposite
hand, and full-court big vision is regained. This move changes direction from forward
Figure 3.20 Head-and-shoulders (in-and-out) crossover move: (a) weight on the right foot
while dribbling the
ball on the right side, (b) zigzag to the left on the left foot, (c) weight back to the right foot,
(d) ball crossover in front
of the body from right to left, and (e) explosion to the basket using the left-handed dribble.
d
a
e
b
c
CRITICAL CUE
Pull the ball to the
hip on the spin
dribble; keep it
tight to the hip or
leg on the spin.

BALLHANDLING 73
right to forward left (or vice versa) as the ball is changed from the right hand to the left
hand (or vice versa).
Back Dribble The back dribble, or rocker dribble, is used to back away from trouble,
defensive traffic, or a trap. When dribbling with the right (or left) hand, players should
be in a low control or power-dribble position with the left (or right) foot forward into
the trouble and then explode back (make an out move) with a sliding power-dribble
movement to create space and get away from the defense (out of trouble). After players
have reestablished space away from the defense, any dribble move may be used to
penetrate
or go by the defender. The crossover dribble is especially effective following the rocker or
back dribble. The move is into the defender, back out, and then by the defender with a
sharp-angled move. When players are crossing over in traffic, it is best to go between the
legs or behind the back to protect the ball instead of using the front crossover, especially
when facing a closely guarding defender.
Figure 3.21 Spin or whirl dribble: (a) low dribble, (b) quick stop (rear turn), (c) pulling
the ball (keeping it in the holster and tight to the hip), and (d) changing hands and
moving past the defender.
d
a
b
c
CRITICAL CUE
Move in and
out on the back
dribble and go by
low and hard.

74 BASKETBALL SKILLS & DRILLS

Pull-Back Crossover Another important advanced dribble move involves using
the power dribble (into trouble, traffic, or a trap) followed by the back dribble (out
of trouble or to create a gap) and then the crossover dribble going between the legs
and advancing past one defender (figure 3.22). This move allows the dribbler to meet
defensive challenges while seeing the whole floor; it also allows a less athletic ball
handler to compete well against aggressive, quicker defenders. The dribbler needs to
move under control until trapped or in trouble, then back-dribble out hard to create
space, and then attack the other (usually outside) defender by
crossing over with the ball and going by quickly (thus it is an
in-out-by move).
Behind-the-Back Dribble The popular behind-the-back
dribble is used to change hands (usually from preferred to
nonpreferred) and go past a defender who is overplaying on one
side. This goal is achieved by changing direction slightly to the
left (or right) and going by on the dribbler’s left (or right) side.
The dribbler plants the inside foot and steps past the defender
with the outside leg. As the left (or right) foot is moved forward,
the ball is moved from right to left (or vice versa) behind the back,
coming up under the left (or right) hand for a continuation of
the dribble. Players can learn to coordinate the dribble and the
footwork by doing a stationary side yo-yo V-dribble (figure 3.23),
in which they use one hand to dribble back and forth with the
opposite foot forward. When the ball is controlled from front to
back, it can be moved behind the back as a step is taken with the
left or right foot (figure 3.24).
Figure 3.22 Pull-back crossover dribble: (a) When in the trap, use a low control dribble. (b)
To get out of
trouble, power-dribble to retreat using backward sliding steps. (c) Cross over and go by the
defender.
a
b
c

75
Figure 3.23 Progression for behind-the-back dribble: (a, b) front-to-back yo-yo (on the side
of the body), (c)
back yo-yo (from side to side behind the back).
Figure 3.24 Behind-the-back dribble (right to left hand): (a) Dribble with the right hand, (b)
move the ball from
right to left behind the back, and (c) continue the dribble with the left hand and move past
the defender.
c
a
c
a
b
b

76 BASKETBALL SKILLS & DRILLS

Between-the-Legs Dribble The between-the-legs dribble is used to avoid an
overplay and to change the ball from one side (i.e., hand) to the other. If the ball is
being dribbled with the right hand, it can be changed to the left hand between the legs
when the left or right foot is forward (best with the right foot forward); the move is
reversed if beginning with a left-handed dribble. The ball is kept low and crossed over
between the legs with a quick, hard push across (the ball is snapped between the legs
as the player steps with the other foot) (figure 3.25). Players can learn to coordinate the
dribble and the footwork by walking forward slowly as the ball is crossed over between
the legs during each step.
Figure 3.25 Between-the-legs dribble: (a) Dribble with the right hand and (b) push between
the legs when one
foot is forward.
CRITICAL CUE
Use a one-foot
quick stop, then
snap the ball
down on the
between-the-legs
dribble.
Coaching Points for Dribbling
• Keep the head up to maintain big vision. In the backcourt, see
the net and the whole court; in the frontcourt, see the rim and
the half court.
• Control the ball with the fingers and the pads of the hands.
• Massage the ball and dribble firmly; pass and catch to the
floor.
• When around or close to defenders, stay low and protect the ball (sit
into the game, keep tension on the legs, and use an arm bar).
• Use a quick stop and chin the ball when ending the dribble, or pit and protect the
ball (triple-threat), and be ready to pass after the quick stop—to the side, to an
open post player (especially when the post defender helps up), or behind (when a
teammate fills behind where you have driven on a rear turn pivot and crack-back
pass).
• Catchers should always be prepared for a shot (hands and feet ready) then pass
first; dribble last.
a
b

BALLHANDLING 77
The move is really a one-foot quick stop on the outside foot as the ball is snapped
between the legs and a sharp-angled step is made to go by the defender as the ball is
switched to the other hand. The planted outside foot is then pulled past the defender to
protect the ball. The between-the-legs dribble is the best dribble move to combat pres-
sure, see the whole court, and move past a defender.
Basic Ballhandling Drills
These drills for ballhandling skills are usually enjoyed by players. Coaches need to insist
on quick and proper execution and timing. Players tend to learn to execute these skills
at a slow speed and then progress too quickly to moving at game speed. Instead, they
should increase speed gradually until they can achieve game moves at game speed.
Ballhandling
Purpose: To teach players to control the ball and become familiar with it (see it, hear it,
and feel it)
Equipment: One ball per player and a 6-foot (1.8-meter) circle of floor space per player
Procedure: Players spread out in their areas and execute the following drill options, work-
ing first for proper execution and then for quickness.
• Figure-8 speed dribble: Players start the drill with either the right or left hand. They
start dribbling in and out between the legs in a figure-8 pattern. They should start
slowly and keep the ball as low as possible at all times. They can gradually pick
up speed after they begin to master the drill. There is no time limit, though 20 times
around in 1 minute is excellent (or 10 times in 30 seconds).
• Blur: Players start the drill with the legs about shoulder-width apart and one hand
on the ball in front of the legs. They flip the ball in the air, reverse the position of the
hands, and catch the ball in the fingertips. They should try to go as fast as possible
for 30 seconds. When the move is executed properly, the ball appears to sit between
the legs. Assessment: 81 to 100 is excellent, 61 to 80 good, and 40 to 60 fair.
• Straddle flip: Players start with the legs shoulder-width apart, the knees bent, and
the hands in front holding the basketball. They let go of the ball or flip it very slightly
up in the air between the legs, then bring the hands to the back of the legs and catch
the ball before it hits the ground. Next, they flip the ball again in the air and bring
the hands back to the front as quickly as possible. They should drill as fast as pos-
sible without dropping the ball. Continue the drill for 30 seconds. Assessment: 81 or
higher is excellent, 61 to 80 is good, and 40 to 60 is fair.
• Rhythm: Players take the ball around the right leg, grab it with the left hand in front
and the right hand in back, and then drop it. They quickly reverse hands and catch
the ball after one bounce, then move the ball back to the start around the left leg.
The drill can also be done starting with the ball in the left hand. Continue the drill for
30 seconds. Assessment: 33 to 40 is excellent, 21 to 32 is good, and 10 to 20 is fair.
• Double-leg and single-leg: Players take the ball behind the legs and around the
front. When the ball reaches the right hand, they spread the legs and take the ball
around the right leg only. Next, they close the legs and take the ball once around
both legs, then open the legs and take the ball around the left leg once and back to
two legs again. The ball always moves in the same direction. Players then start with
the ball in the left hand. Continue for 30 seconds. Assessment: 51 to 70 is excellent,
36 to 50 is good, and 25 to 35 is fair.

78 BASKETBALL SKILLS & DRILLS

• Around the waist: Players take the ball in the right hand, move it behind the back,
and catch it with the left hand; then, in one continuous motion, they bring the ball
around to the front to the right hand. They do the drill continuously for 30 seconds, as
fast as possible, then execute it by starting with the ball in the left hand. Assessment:
51 to 70 is excellent, 36 to 50 is good, and 25 to 35 is fair.
• Around the head: Players place the ball in the right hand. With the shoulders back,
they take the ball behind the head, catch it with the left hand, and bring it around to
the front to the right hand in a continuous motion. The opposite drill is to start with
the ball in the left hand. Continue the drill for 30 seconds. Assessment: 51 to 75 is
excellent, 41 to 50 is good, and 30 to 40 is fair.
• Figure-8 from the back: Players start with the ball in the right hand, then take it be-
tween the legs to the left hand. Next, with the ball in the left hand, they take it behind
the left leg and between the legs to the right hand. The opposite drill is a figure-8
from the front, which takes the ball from the right to the left hand through the front of
the legs. Continue the drill for 30 seconds. Assessment: 66 to 85 is excellent, 46 to
65 is good, and 30 to 45 is fair.
• Figure-8 with one bounce: Players start with the legs shoulder-width apart and the
knees bent. With the ball in the right hand, they bounce it between the legs and
catch it with the left hand behind the legs. Then, with the ball in the left hand, they
bring it around to the front, bounce it between the legs, and catch it with the right
hand. The opposite drill is to take the ball behind the legs and bounce it to the front
right and then left hand. Assessment: 41 to 50 is excellent, 31 to 40 is good, and 20
to 30 is fair.
• Individual ballhandling warm-up sequence (Stephen Curry style): This individual
ballhandling-and-shooting routine is offered as an example of purposeful practice
that can be used as an individual drill, a pregame routine, or a warm-up drill for a
team of players working at multiple baskets. It exemplifies the “game shots at game
speed” practice habits that must be developed by all successful players. It consists
of the following elements:
1. Two-ball stationary dribbling: two balls in front, V out-in (side to side), V up-back,
V between the legs
2. Near-the-basket one-handed touch shooting: one-handed catch and underhand
feel shot off the board at a 45-degree angle
3. Midrange shots to finish at the basket: one-handed set (jump) shots and live-ball
attack and finish
4. Corner shots: three-point field goals
5. Distance shots: starting inside and moving outside the arc using a hop-back or
step-back move for three-point field goals
6. Back-to-basket from 20-foot (6.1-meter) range: starting with a spin pass to self
and simulating soft 1-on-1 defense

− Catch-and-face choices: drives, one-dribble pull-ups, and dribbles to step-

back three-point field goals

− Spin moves to attack the basket with a one-handed runner shot

7. Three-point field-goal catch-and-shoot: around the arc, some dribbling varia-
tions, and one dribble after a jab fake
8. Super three-point field goals: moving 6 to 10 feet (1.8 to 3 meters) outside the arc
9. Free throws
10. High-elbow attack move from near the free-throw line
11. Three-point field goals around the arc: baseline corner to baseline corner

BALLHANDLING 79
Line Drill: Passing and Catching
Purpose: To teach passing and catching techniques and
all basic passes
Equipment: Half-court floor space and one ball per line
of players
Procedure: Players are positioned in four lines behind the
baseline at one end of the court, and the coach is posi-
tioned at the top of the key to direct the drill. The first play-
er in each line starts at free-throw line distance facing the
baseline as the first catcher (in a ready-to-catch stance).
The ball starts with the player on the baseline in each line.
Passes are made as the passer moves quickly to replace
the catcher. Critical cues are for players to pass with the
feet on the floor and catch with the feet (slightly) in the air;
for passers to exaggerate the follow-through (freeze it),
pass with a ping, and pass to a spot; and for catchers to
give a target, catch the ball with the eyes and both hands
(catch with a click), and play two-handed basketball. Play
should be proper first and quick second. Suggested pro-
gressions are as follows (also see figure 3.26):
• Chest pass (air, bounce)
• Push or flick pass
-
Pass to right side (air, bounce) or left side.
-
Pass to left side (air, bounce) or right side; go pit to pit quickly (circle tight).
-
Read the defense; look by the ear first with an air pass (either fake high and
pass low or fake low and pass high).
-
Pass and assume a defensive position (with designated hand position).
• Overhead pass
-
Catch, pit, and protect the ball.
-
Put the ball overhead.
• Baseball pass (increased distance)
-
Pass with the dominant hand only.
-
Face the sideline and step with the pass (move to the top of the key or a
longer distance).
-
Fake the pass into the nonpassing hand and then pass.
Two-Player Passing and Catching
Purpose: To teach passing and catching with a push pass from either hand after a dribble
Equipment: Full-court floor space and one ball per pair of players
Procedure: Players are positioned in four lines behind the baseline at one end of the
court. The players in the middle lines each have a ball and are partnered with the players
in the outside lines. Each player with a ball pits it and executes a dribble drive with the
hand opposite the partner, who moves parallel to the dribbler. The dribbler makes a quick
stop and, if using the EPF approach, makes a push pass to the partner using the closest
hand. If using the PPF technique, a right-hander on the right side steps across to use the
left-handed pass with the left PPF. On the left side, that player would step with the right
foot (left PPF) and pass with the right hand. The partner catches the ball with the feet in air
E7294/Krause/F03.26/599709/mh-R1
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(1)
(2)
(1)
(2)
(1)
(2)
(1)
(2)
Figure 3.26 Passing and catching.

80 BASKETBALL SKILLS & DRILLS

and repeats the dribble-drive cycle. Each time, the catcher calls the passer’s name before
the pass is made. The complete sequence is shown in figure 3.27. The next pair begins its
passing and catching sequence when the previous pair is 15 to 18 feet (4.6 to 5.5 meters)
ahead (near the free-throw line).
This pairs passing drill can be modified using EPF footwork. In that variation, partners
dribble-drive and quick-stop, then use the inside pivot foot (toward the partner) to step
across and make a two-handed chest pass to the partner. The partner catches the ball
with the feet in the air and repeats the dribble-drive sequence with an outside-hand drib-
ble and quick stop. The ball handler pass fakes away, then pivots on the inside foot, steps
across, and makes a two-handed pass to partner. Catchers should use proper timing and
spacing with the partner.
Coach Beilein’s Perfect Passing
Purpose: To develop basic passing and catching skills at game speed with high stan-
dards of excellence
Equipment: One ball per half court and groups of four offensive players on the court
Procedure: The first four players (two guards and two forwards or four positionless play-
ers in those spots) use 4-on-0 offense in the half court. Players must complete 10 passes
while running any offensive moves selected by the coach without making any passing or
catching mistakes within 30 seconds. Use only pass-and-cut, give-and-go, and dribble-at
backdoor moves. All basics must be done correctly:
• Pass with the feet on the floor.
• Catch with the feet in the air (quick stop).
• Give a spot hand target.
• Pass to the target hand.
• Pass with a ping; catch with a click.
• Catch and face (follow the RPA rule).
When a mistake is made before 30 seconds, four new players rotate in to run perfect
passing while the original players run sideline sprints for 30 seconds.
E7294/Krause/F03.27/599710/mh-R2
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XXXX
Right-hand
pass
Left-hand dribble
Quick
stop
Quick
stop
Left-hand
pass
Left-hand dribble
Right-hand dribble
Left-hand
pass
Right-hand
pass
Right-hand
dribble
Figure 3.27 Two-player passing and catching.

BALLHANDLING 81
Gonzaga Team Pass–Catch (Around the World)
Purpose: To assess team performance on passing and catching efficiency as
well as proper footwork (advanced drill)
Equipment: Two balls per team on a half court
Procedure: Players are divided equally into four groups
positioned in a diamond formation (figure 3.28). For a timed
1-minute drill, all passes are made in a counterclockwise
direction using a two-handed air pass to the right, after
which the passer goes to the back of the line.
Players must perform all techniques correctly or
face a consequence (e.g., doing push-ups or
sit-ups, running circuits, or restarting the drill).
The team goal is to make 65 passes (women) or
75 passes (men) in 1 minute.
Coaching Points
• Feet: Pass with the feet on the floor; catch
with the feet in the air.
• Target: Pass to an open hand; give a lead-
hand target.
• Sound: Pass with a ping; catch with a click.
On successful completion of the drill in 1 minute, start over and pass clockwise (i.e., to
the left). The goal may be modified based on age, skill, and grade level.
2-On-1 Keepaway Passing
Purpose: To teach passing and catching between partners who must pass by a defender
Equipment: One ball per three players and floor space of 15 to 20 feet (4.6 to 6.1 meters)
Procedure: Players are grouped in threes—two offensive players 15 to 18 feet (4.6 to 5.5
meters) apart with a defender between them (figure 3.29). Defensive players rotate out
each 30 seconds or after making an interception or defensive ball touch. The following
progression is recommended:
• Defender in position and using des-
ignated hand position (up, down)
• Defender either close to or away
from the passer (thus teaching
the passer to take the ball to the
defender in order to reduce reac-
tion time)
• Live defense and offense
• Passer using vertical fakes, using
quick moves to pass to one side
of the defender’s body (work-
ing one side), and reading the
defender’s hand position on that
side (fake low and pass high or
vice versa).
E7294/Krause/F03.28/599711/mh-R3
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Figure 3.28 Gonzaga team pass–catch drill.
E7294/Krause/F03.29/599712/mh-R2
1
X
X
4
3
or
2
X
X
5
6
X
X
Figure 3.29 2-on-1 passing.
CRITICAL CUES
Pass with the feet
on the floor, take
the ball to the de-
fender, use vertical
fakes, be quick and
accurate, catch
with the feet in air,
and maintain spac-
ing of 15 to 18 feet
(4.6 to 5.5 meters).
82 BASKETBALL SKILLS & DRILLS
Moving Pairs Passing
Purpose: To teach partner passing and
catching skills while players are moving and
playing against an imaginary defender
Equipment: One ball and floor space of 15
to 18 feet (4.6 to 5.5 meters) in diameter for
each pair of players (eight players per half
court)
Procedure: Organize players in pairs (one
passer and one receiver each) and provide
each pair with a ball and sufficient court area
(figure 3.30). The receiver gets open against
an imaginary defender, receives the pass
with the feet in the air, quick-stops, catches
the ball, and faces the passer in a triple-
threat position. The passer then becomes
the next receiver; thus the drill involves con-
tinuous passing and catching. All passing and catching rules are practiced. For example,
players pass with the feet on the floor and catch with the feet in the air. Another phase can
use the following sequence: catch, dribble drive, quick stop, and pass. Catchers need to
time their cuts to get open against the imaginary defender just before the passer is ready
to pass the ball.
Wall Passing
Purpose: To teach players passing and catching without a teammate
Equipment: One ball per player and a wall space or toss-back rebounding device
Procedure: All basic passes can be practiced against a wall or target. The toss-back
or pass rebounder—a commercial rebound device—is especially helpful for this drill. It
rewards a good pass by returning the ball on target, thus effectively informing the ath-
lete when an inaccurate pass is made. The following passes should be practiced: chest,
bounce, overhead, baseball, and push. Players should pass the ball with the feet on the
floor and catch the ball with the feet in the air. The toss-back device can be used to in-
crease speed and intensity gradually until a mistake is made (thus indicating learning).
Players should work toward making game moves at game speed.
Line Drill: Stance, Starts, and Skill Breakdown
Purpose: To teach players to carry out selected footwork skills from a quick stance and a
quick start (direct drive, crossover drive)
Equipment: One ball per line (four lines on the baseline)
Procedure:
First Sequence—Without the Ball
• Quick start and quick stops at the free-throw line, centerline, opposite free-throw
line, and opposite baseline
• Quick start and quick stop into a 2-and-2 rebound (at the same four locations)
E7294/Krause/F03.30/599713/mh-R2
3
4
5
2
7
8
6
1
Figure 3.30 Moving pairs—passing and
catching.

BALLHANDLING 83
• Quick start and quick stop after two imaginary dribbles, rear turn on PPF, and step
and imaginary pass to the next person in line
Second Sequence—With the Ball
• Same variations, with emphasis on a first step that is long and low (direct drive or
crossover drive) and using PPF or EPF footwork on live-ball moves
Line Drill: Starts, Stops, and Turns
Purpose: To teach players to combine dribbling, starting, stopping, passing, catching,
and turning skills (recommended drill for all levels of play)
Equipment: One ball per line
Procedure: The first player in each of four equally spaced lines on the baseline assumes
an offensive quick-stance position with the ball (triple-threat position). On command, the
player takes two or three dribbles forward, past the free-throw line distance, does a quick
stop, uses a rear turn on the PPF (nondominant foot), faces the catcher on the baseline
(the next person in line), steps and makes a push pass, and then goes to the back of the
line. The coach can designate any pass to be used and either direct drive or crossover
drive when starting the play. PPF or EPF footwork may be used.
Mass Dribbling
Purpose: To teach the basic ballhandling skills of dribbling
Equipment: One ball per player (or one per pair of players—one dribbler and a buddy
coach) with players spread out on a half court
Procedure: All players have their own dribbling space and face the center circle. Players
start with an overhead toss and trap the ball as it comes off the floor to begin the low drib-
ble. Each player follows the coach’s commands to execute the following dribble moves:
1. Stationary control and low dribble
• Right-hand control and low (command: right low)
• Change from right to left (command: change)
• Left-hand control and low (command: left low)
2. Moving low with power dribble
• Right-hand low (command: right low)
• Change from left to right (command: change)
• Left-hand low (command: left low)
• Shuffle-slide forward (command: forward)
• Shuffle-slide backward (command: back)
3. Rhythm push-and-pull (yo-yo)
• On the sides of the body (command: side yo-yo)
• In front of the body (command: front yo-yo)
• Between the legs laterally (command: side to side)
Coach commands should be given slowly at first to ensure proper technique at a slower
speed and with a higher dribble. Commands can then favor increasing speed and lower
dribbling until mistakes are made. Players should use the nonpreferred dribbling hand

84 BASKETBALL SKILLS & DRILLS

two or three times more often than the preferred hand. Coaching emphasis is for players
to sit into the game (stay low) with the head up (see the net) and dribble hard and low
(pound the ball); to perform correctly first and then go faster until mistakes are made; and
then to continue progressing toward making game moves at game speed.
Full-Court Dribbling
Purpose: To teach the ballhandling skills of dribbling
Equipment: One ball per line (minimum) on a half court (minimum)
Procedure: Using the line-drill formation, players should form four lines on the baseline.
The dribble moves of the drill are then practiced for one circuit. Players concentrate on
maintaining eye contact with the net on the opposite end of the court. Coaches can also
use two lines (the sidelines) to give players feedback on ball location, going by the posi-
tion of the defender and by player location on the court. Cones can be spaced on the
court to simulate defenders.
Options
• High or speed dribble: Players dribble down the court with one hand and then return
while dribbling with the other hand.
• Change-of-pace dribble: Players move down the court while alternating high drib-
bles for speed with low dribbles for control; they use the opposite hand on the return.
• Between-the-legs dribble: Players use this move to travel down the length of the
court.
• Back dribble and crossover (pull-back crossover): Players dribble into and out of
imaginary traps at the free-throw line, the half-line, and the opposite free-throw line,
then finish with a quick stop and a ball chin.
• Pull-back crossover repeated, three forward dribbles, two back dribbles, crossover,
and go: Players repeat the sequence over the whole floor.
• Coach’s signal: Players use a specified dribble and quick-stop under control.
• Zigzag or crossover dribble or spin dribble: Players start in triple-threat position and
then dribble down the court in a zigzag pattern while using V-cuts and a crossover
or spin dribble.
• Two-ball dribbling (advanced): Players dribble two balls while executing these se-
lected dribble moves: low rhythm (both hands), low nonrhythm (both hands), high
rhythm (both hands), high nonrhythm (both hands), and high to low (right high and
left low and vice versa). Players should start dribbling hard and low, then dribble
high, then alternate rhythm (one high, one low), then add changes of direction and
speed, and, finally, use various combinations. The two-ball dribbling progression
should include the following:
-
Stationary: low rhythm, low nonrhythm, high rhythm, high nonrhythm, high to
low and reverse, windshield wipers (side yo-yo), front-to-back yo-yo.
-
Dribbling on the move to half-court (using all dribble move combinations).
-
Dribbling from the centerline to the baseline (using all five combinations as
well as changing sides or hands with the balls).
• Dribble drills
-
Offense–defense zag (1-on-1 offensive dribbler with defender).
-
1-on-1 attack to score: Dummy defender at top of key, add defensive hoop

BALLHANDLING 85
player near basket; line defense at top of key, add defensive hoop player
near basket.
-
1-on-1 full-court (offensive player with one or two balls): Goal is to get past
the free-throw lane line (live offense and live defense).
Wall Dribbling
Purpose: To teach ballhandling skills in a challenging format
Equipment: Flat wall surface and two balls per player
Procedure: In a line at each wall location (where wall space is available), players perform
the following options using both preferred- and nonpreferred-hand dribbling against the
wall.
Options
• One hand and one ball (left and right)
-
Pound
-
Around the world (circle pattern)
-
High to low and low to high
• Two hands or two balls (one ball dribbling with each hand)
-
Pound
-
Around the world
-
High to low; low to high
-
Two-ball stutter (nonrhythm)
-
Two balls (one pounding, one moving)
-
Two balls (both circling)
Basic Ballhandling Drill
Purpose: To develop basic dribbling, passing, and catching skills
Equipment: Basketballs, tennis balls, floor space
Procedure
1. Taking infield: This is a favorite ballhandling drill from baseball hall of famer Ozzie
Smith. To adapt it to basketball, players find a wall space and get into a low, wide
quick stance with the toes pointed slightly outward and positioned about 20 feet
(6.1 meters) from the wall. Players then throw a tennis ball hard against the wall
6 inches (15 centimeters) above the floor and catch it with a click (two hands,
two eyes) when it caroms off the floor. Players gradually move toward the wall to
increase the difficulty. They should always throw sidearm during this exercise, not
overhand, to protect the rotator cuff muscles.
2. Dribble and juggle: This drill works on nonpreferred-hand dribbling and requires
players to avoid watching the ball while dribbling. The player dribbles a basketball
with the nonpreferred hand while tossing and catching a tennis ball. Players can
increase the difficulty by tossing the tennis ball higher and catching it in different
ways and by adding various dribble moves while the tennis ball is in the air. Teach-
ing tips are to get low and wide and pound the dribble hard. Players should keep
control of the dribble at all costs, even when they lose control of the tennis ball; they
should never give up their dribble.

86 BASKETBALL SKILLS & DRILLS

3. Partner dribble and toss: Pairs of players talk to each other while dribbling with the
nonpreferred hand and playing underhand toss. Players should never give up the
dribble.
4. Partner dribble and throw: Pairs of players throw the ball overhand to each other
while dribbling with the nonpreferred hand. To increase the difficulty, they should
move away from each other in a random fashion.
5. Partner three-ball passing: Players can use two basketballs and one tennis ball, or
two tennis balls and one basketball. They pass to each other with a one-handed
push or flick pass, using the preferred hand to begin with and then switching to-
gether to the nonpreferred hand in order to increase the difficulty. Talking is critical.
The ball is in the air (no bounce passes), the feet are in the air on the catch, and the
pass should be made to the nonpassing shoulder of the catcher. The player who
starts with two (of the three) balls starts the drill with the first pass.
6. Partner bad-pass reaction: Pairs of players (each pair with its own ball) are posi-
tioned 15 to 20 feet (4.6 to 6.1 meters) apart from each other. The partners make
sharp, crisp, inaccurate passes to each other. The catcher catches with a click,
then captures and chins the ball. To test the catcher, the coach or partner may also
throw underhand (softball-style) bullet passes. The catcher should be in a quick-
stance catching position. Players should move the feet, get the body in front of the
pass, and catch the ball with the feet in the air.
7. Partner back to the passer: Pairs of players (each pair with its own ball) are posi-
tioned 15 to 20 feet (4.6 to 6.1 meters) apart from each other. The player without the
ball has his or her back to the passer and assumes a quick-stance catching posi-
tion. The passer makes a crisp pass while calling the catcher’s name. The catcher
makes a quick jump turn to face the passer and catches the ball with both hands.
The players then exchange roles and repeat the sequence. They should pass as
fast as needed to test their teammates. Each catch should be made with a click.
8. Pull-back crossover progression: With one ball each, players start in a stationary
position with the foot opposite the dribbled ball forward. They implement the follow-
ing sequence (pointing the lead foot in the direction of travel):
• Push-pull on the right side; get a rhythm.
• Cross over to the left side; repeat.
• Push-pull two or three times, cross over, and repeat.
• Perform the same sequence as in preceding moves but with a baby step,
then do a lunge step forward.
• Dribble forward two or three times, dribble back two or three times, cross
over, and repeat.
Gonzaga Full-Court Footwork and Layup
(Peer-Pressure Drill)
Purpose: To teach and review EPF inside pivot footwork and two-handed passing and
catching in pairs with 15-to-20-foot (4.6-to-6.1-meter) spacing and timing
Equipment: One ball for each pair of players and a full-court space
Procedure: Players form two lines starting on the baseline at one end of the court. They
run the drill in pairs (one player from each line). The player with the ball passes diago-

BALLHANDLING 87
nally ahead to the partner and moves up the floor with two-lane fast-break spacing. The
catcher makes a two-handed catch with a quick stop. This process is repeated until the
pair completes a two-lane fast break from the top-of-key area. The remaining pairs fol-
low in the same manner, and the sequence is then repeated to move back to the starting
basket. After catching with a quick stop, players should establish an inside pivot foot and
step across diagonally to make the next pass; see figure 3.31. Players should use proper
spacing and timing and run the drill in circuits (down and back) according to the following
progression:
• Circuit 1 (pass-and-catch only): Catch with the feet in the air, quick-stop, establish
EPF inside pivot foot to step across, and make the next pass. (Note: This is the circuit
shown in the online video.)
• Circuit 2: Some coaches may prefer to use this PPF version. Catch with a quick stop,
make a two-dribble move to the outside and quick-stop, then use PPF pivot-foot
technique to step across and use a one-handed pass to the teammate, who repeats
the sequence.
• Circuit 3: Use the same technique as in circuit 2 but finish with a dribble-at backdoor
layin.
E7294/Krause/F03.31/599714/mh-R1
Layup
Quick stop and
establish inside
pivot foot
Wooden Wisdom
“Do not let what you cannot do interfere with what you can do.”
—John Wooden
Figure 3.31 Full-court layup drill.

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4
Shooting
“The main thing on offense is that we get a good shot every time down the floor.”
Pete Carril, former Princeton University men’s basketball coach, Naismith Hall of Famer
(from Pete’s Principles)
CHAPTER

90 BASKETBALL SKILLS & DRILLS

S
hooting is probably the best-known fundamental skill in basketball—every player
is interested in scoring. If given a basket and a ball, even a novice invariably drib-
bles and shoots.
Shooting, the fundamental skill that players enjoy and practice most, can be prac-
ticed alone because it produces immediate feedback. Most coaches contend that all
players can become good shooters through long hours, days, and years of practice. Of
course, great shooters must also possess special physical talents. Any player, however,
can become a good shooter, and an excellent free-throw shooter, with enough purpose-
ful practice.
One of the two basic objectives of basketball is to get a good shot in order to score a
basket (the other objective, of course, is to prevent the opponent from doing the same).
This chapter presents guidelines for teaching players how to get a good shot on every
attempt and how to become better scorers (making a high percentage of shots taken)
through physical practice (with proper technique) combined with mental practice to
build confidence.
Field-Goal Shooting
Players and coaches should realize that field-goal and free-throw scoring percentages
are the most important statistical factors related to winning, both on offense and on
defense (for more on defense, see chapters 7 and 10). Therefore, it is critical for players
to build shooting confidence over time through careful preparation and by shooting
with proper mechanics at game speed while using proper mental techniques. Players
literally cannot overpractice shooting (physically or mentally) as long as they are taking
game shots at game spots at game speed in order to prepare properly for competition.
Because coaches cannot provide enough shooting time during team practices, players
need to understand the necessity of individual shooting practice in order to reach their
shooting-percentage goals. The key to building confidence for becoming a better scorer
is proper preparation—that is, purposeful practice. In his book Outliers: The Story of Suc-
cess, Malcolm Gladwell (2011) states that full potential in any skill depends on purpose-
ful practice for at least 10,000 hours. This can be accomplished in ten years of practice
for four hours per day and five days per week. This is a tough task that few players will
accomplish (unless they become professionals). Remember, though, it’s not where you
are but which direction you are going and how fast you are getting there!
General Concepts
Coaches should teach players to become scorers, not just shooters. Anyone can shoot,
but considerable skill is required to score consistently in game situations. To maximize
scoring-to-shooting ratio, players must learn when to shoot, when to pass, what their
shooting range is, and from which spots on the court they can consistently make field
goals. The recommended minimal-percentage guidelines for all players are shown in
table 4.1. Practice goals should be set at least 5 percent higher than game goals to allow
for expected “game slippage” in shooting percentages due to competition. Even-higher
goals need to be set by elite players who want to become great scorers.
Practice and game shooting percentages provide a bottom-line feedback measure for
shooting effectiveness, and players need to pay attention to both. In particular, begin-
ners and any other players who shoot below the desired percentages for their age group
should adopt the guidelines completely. Players who shoot near or above the percent-
age goals should adopt one new goal to add to their game. Players should always use
percentages as self-feedback on their practice and game shooting habits in order to
CRITICAL CUE
The ultimate
practice goal is to
take game shots
at game spots at
game speed.
SHOOTING 91
assess status and progress. They must learn to play “against the game” by setting scor-
ing percentage goals and practicing game shots at game spots at game speed. Shooting
percentages ensure that players can’t fool themselves when developing scoring skills;
thus they provide a basis for purposeful practice.
Proper shooting technique can be developed only with sufficient basic skills and
strength. With this reality in mind, coaches can use a smaller ball and a lower basket
when teaching shooting skills to players who are younger than age 10 (generally grades
5 and below in the United States). In this way, proper mechanics can be learned early
(at ages 8 to 10, or in U.S. grades 3 and 4) and later applied readily to a regulation ball
and basket; young players should learn proper mechanics that can be easily carried out.
This adjustment of equipment—modifying the ball (smaller), the basket (lower), and
the court size (half)—allows young players to learn to shoot sequentially and progres-
sively and build confidence more quickly.
Complete guidelines for modifying the game for younger players (including equip-
ment recommendations) are available in a companion coaching book, NABC’s Hand-
book for Teaching: Basketball Skill Progressions (2003) by Jerry Krause, Curtis Janz, and
James Conn (or the most current revision). It also details what basketball skills to teach
and when to teach them; in other words, it provides a sequential, progressive approach
to shooting. Even though some youngsters want to play with the big ball and the higher
basket, they must be sold on solid progressions and correct mechanics at an early age.
Using the big ball and the 10-foot (3-meter) basket too early in their learning can be
harmful to their skill development and result in improper shooting habits that are dif-
ficult to correct later.
Table 4.1 Desired Baseline Field-Goal Percentages
Practice
Game
Ages
U.S. grade
levels
Comments
2FG%
(inside arc)
3FG%
2FG%
(inside arc) 3FG%
4-7
K-2
Parent assisted
N/A
N/A
N/A
N/A
Formal basketball begins
8-10
3 and 4
(lower
elementary)
Equipment
modifications
#5 ball, lower
basket height,
half-court play
30-35
N/A
25-30
N/A
10-14
5-8
(upper
elementary)
Equipment
modifications
#6 women’s ball
or #7 regular ball
40
N/A
35
N/A
14-20
9-12
(secondary
school)
Equipment
modifications
#6 women’s ball
or #7 regular ball
45
35
40
30
18-25
College or
university
(postsecondary
school)
N/A
50
40
45
35
Professional
N/A
N/A
N/A
55
45
50
40
2FG% = two-point field-goal percentage
3FG% = three-point field-goal percentage

92 BASKETBALL SKILLS & DRILLS

The most important shooting fundamentals are passing, catching, and quick stops.
Players should learn to get a shot by first moving to get open while using proper foot-
work. Then they must catch the ball and face the basket in triple-threat position and
be prepared to shoot (hands and feet ready)—also while using proper footwork. Thus
both footwork and handwork are essential for proper shooting. In addition, players
need good vision habits to go from big vision (to get their shot) to small vision (with a
specific target) before the shot is taken (in order to hit the shot).
Coaches should teach players to attack and get shots as close to the basket as pos-
sible on a dribble drive. Players should challenge the defense by probing for the basket;
after all, the ultimate shot is the layup (or layin). Coaches can help players learn key
concepts of shooting by teaching them certain acronyms. For instance, younger players
can learn proper shooting mechanics using the BEEF principle.
B for balance: Balance is the most important foundation of every shot. The shot starts
on the floor, before the player catches the ball, with proper footwork—knees bent
and feet ready. Kevin Eastman, longtime college and professional coach, conveys
this importance through a simple phrase: “The feet make Js” (jump shots). The
shot really does begin on the floor with proper footwork.
E for eyes: To shoot accurately, players must pick up the target early (giving it full
focus for at least 1 second) and narrow the focus to the spot target (i.e., the center
of the back of the rim [shooting for net] or the upper corner of the backboard rect-
angle when using the backboard). Remember: “The eyes make layups.”
E for elbow: Generally, players should limit all shooting-arm motion to a vertical
plane—especially keeping the elbow up, in, and under the ball (except for pedestal-
pocket shooting). This approach ensures that the ball will go straight to the target.
F for follow-through: Players should use full extension of the arm (with a locked elbow),
held for one count on a field goal or until the ball goes through the net on a
free throw. This essential reminder can be expressed in the phrase freeze the follow-
through to help produce the same finish on each shot. The wrist is fully flexed,
with the fingers pointed down (as in making a gooseneck shape, putting a hand
in the cookie jar, or making the shape of a firm but floating parachute with one
hand). The follow-through must be firm but relaxed. The proper release angle is
60 degrees above horizontal for most shots. Shooters should finish high (release it
high and let it fly); the critical guideline for proper arc is to shoot up, not out. Shoot-
ing high and soft is especially important on backboard shots. A 55- to 60-degree
release angle on the shot produces an optimal entry angle into the basket of 45
degrees (a range of 43 to 47 degrees). See the following discussion about data col-
lected using the Noah Basketball shooting system.
The release angle of 60 degrees was advocated as optimal by John Bunn, a Naismith
Hall of Fame coach and an educated mechanical engineer, in his 1955 book Scientific
Principles of Coaching. Bunn held that the shooter should get as much arc as possible,
given his or her strength. He also found that more missed shots were short rather than
long, which can occur with a shot arc that is either too low or too high.
Arc and basket-entry angle can now be measured accurately by means of a new tech-
nology, the Noah Basketball shooting system, which provides instantaneous feedback.
Each shot or arc is filmed, logged into a digital database, and analyzed, after which the
shooter is provided with precise feedback about entry angle. Thus, in addition to heed-
ing the coach’s reminder to shoot up, not out, shooters can also use modern technology to
assess their muscle memory. The optimal release angle of 55 to 60 degrees translates into
an optimal basket-entry angle of 45 degrees (a range of 43 degrees to 47 degrees). Data
collected using the Noah Basketball shooting system confirms the theory that success-
CRITICAL CUE
Shoot up, not out.
CRITICAL CUE
Freeze the follow-
through.

SHOOTING 93
ful shots are shot steep (target release angle of 60 degrees) in order to produce a deep
entry into the back half of the basket (2 inches past center or 11 inches from the front
with a desired entry angle of 45 degrees).
This information is relevant because studies have shown that many players shoot
with a release angle—and therefore a basket-entry angle—that is too low. In fact, a bas-
ket-entry angle of less than 35 degrees produces only a 9-inch (23-centimeter) window
for the ball to go in, provided that it is exactly on line. This common problem can now
be addressed both through coaching emphasis on a high (60-degree) release angle and
through practice using digital data about muscle memory.
Thus shooters generally need higher arc (consistent with their strength) in order to
produce accurate shots. Great shooters release consistent shots in terms of start, finish,
and release angle. Each shooter must find an optimal arc (neither too low nor too high)
by balancing accuracy and strength in order to maximize the chance for scoring.
Of course, players also need to develop the skill of shooting the ball straight. Here
again, the Noah system can help. In this case, it provides the shooter with verbal feed-
back derived from the video information about shot accuracy in two forms: distance to
the right or left when the ball arrives at the basket and angle of deviation to the right or
left. This verbal feedback on shooting the ball with proper mechanics (shoot it straight
and shoot it deep in the basket) can then be used to develop muscle memory which
results in consistent shooting.
Overall, then, in all shooting practice and drills, research by Marty and Lucey (2018)
has proven that proper shot mechanics must focus on two critical outcomes: shooting
the ball straight and shooting it deep into the basket (i.e., when the center of gravity of
the ball is 11 inches from the front or in the back half of the hoop). These two simple
outcomes can be addressed through the following keys to learning:
• Shoot it straight. This outcome must be the focus for all motion involved in prepar-
ing and executing the shot. Generally, the shooting foot must point at the target: for
rim shots, the middle of the back of the rim; for backboard shots, near the upper corner
of the rectangle for a 45-degree shooting angle. In addition, the shooting foot, shoul-
der, elbow, and hand need to be aligned in a vertical plane that extends through the
target. All shooting motion should occur in the vertical plane, including freezing the
follow-through. The essential progression drill for this technique is the shoot-the-line
drill option presented later in this chapter.
• Shoot it deep (into the back half of the basket). To accomplish this, the start of the shot
(shooting pocket close to body with wrist fully loaded back or extended) and the finish
of the shot (full wrist flexion and relaxed) are critical steps. The best shots into the back
half of the basket are, of course, the swish (net only) and what is sometimes referred to
acronymically as the BRAD (back rim and down into the net). The ball’s necessarily para-
bolic path (shaped like half of an egg) requires players to shoot it high enough to get it
above the basket and go into the basket from above while minimizing the muscle force
required to get it there. Again, research has shown that the best way to achieve this goal
is to shoot with a departure angle (when the ball leaves the hand) of 55 to 60 degrees
and an entry angle (when the ball comes into the basket) of 45 degrees (or a range of
43-47 degrees). These are optimal angles for making shots; when the angles are too high
or (more common) too low, the ball is less likely to go into the basket.
You can find more in-depth information about the shooting research that has
proven these principles from the scientific-based company that conducted much of
this research, Noah Basketball (see the Resources list at the back of this book). Another
helpful learning device for shooters is a memory aid based on the acronym ROBOT,
which stands for range, open, balance, one-count, and team. Players can use this aid to
help themselves become shooting robots—that is, scoring machines!

94 BASKETBALL SKILLS & DRILLS

R: The player is in effective scoring range and shooting in rhythm (“feeling” the shot).
For instance, in secondary school (ages 14 to 20), effective scoring range means the
area within which the player makes at least 45 percent of two-point shots and 35
percent of three-point shots in practice. (For a full set of appropriate goals based
on age and skill level, refer back to table 4.1.)
O: A good shot requires the shooter to be open—that is, not guarded by a defender
with a hand in the face.
B: A good shot is always taken on balance. According to John Wooden, Naismith Hall
of Fame player and coach, balance depends largely on footwork (as well as head
position). In other words, the shot starts from the floor; therefore, players should
get their feet ready. Moreover, shooting can be evaluated by the position of the feet
before and after the shot. After the set or jump shot, the feet should land slightly
forward (about 6 inches, or 15 centimeters)—never back, right, or left. The head
should remain slightly forward, especially before the shot.
O: Good shots are one-count shots, meaning that the player’s feet and hands are ready
and the ball is shot in a single positive motion from the shooting pocket—no two-
count ball dip (down and up) or swinging a leg to get the feet adjusted unless
needed for rhythm.
T: No teammate has a better shot. Players should leave their feet and go up to shoot,
and pass only when a teammate really has a better shot. Players should be reminded
to get the best team shot. A final shooting reminder is to develop consistency: con-
sistent arc, consistent alignment, and consistent depth in the basket.
Building Field-Goal Confidence
After mastering the physical technique, players can concentrate on the mental aspects
of shooting. Players can gain a mental edge by developing confidence built on careful
preparation, which produces consistent success in both practice and game competition.
Mental-edge techniques include shot preparation, shot execution, and after-shot skills.
1. Shot preparation: Players should pick up the spot target early and focus on it
with narrow concentration for 1 second. Players must learn to ignore distractions and
see only the ball and the net in their minds. This full focus is learned using the verbal
prompt focus.
2. Shot execution: Motor learning studies have shown that players can improve their
skills by becoming more aware of the feel of a shot, from the start (the shooting pocket)
to the finish (the full follow-through). During each shot, the verbal prompt feel reminds
players to increase their awareness of the shot from start (pocket) to finish (release).
3. After-shot skills: Psychocybernetics research points to the importance of control-
ling self-talk after each shot in order to build confidence. When players are shooting,
the proper feedback is remember the makes and forget the mistakes. This process requires
a
shooter to emphasize and celebrate made shots and play down (with little emotion)—
that is, analyze and forget—missed shots. Players should never be too hard on themselves
over a missed shot. On a miss, a player is asked only to note the shot location and then
continue with play. Here are the verbal prompts:
Made shot: yes, net, swish, money
Missed shot: shot location (short, long, right, left, or something more specific for great
shooters) and a short memory
4. Summary: During practice, players need to use the verbal prompts for each
shot: focus, feel, and feedback (yes on makes, shot location on misses). Confidence is built
daily and requires many successes at high percentages over long periods of time.
CRITICAL CUE
One-count shot
from shooting
pocket—only up
to the basket from
start to finish.
CRITICAL CUE
Get the best team
shot.

SHOOTING 95
Proper practice can make a shooter into a scorer; this is the secret of good shoot-
ing. To that end, players should spend ample time shooting with proper form. Practice
makes permanent (not perfect); therefore, players must learn to practice correctly, both
physically and mentally—game shots at game spots at game speed. Players can also use
mental practice alone by spending 3 to 5 minutes visualizing successful shooting situa-
tions and specific shots and imagining the look, sound, and feel of a perfect shot: See it,
hear it, and feel it. As they visualize the perfect shot, players should repeat the cues focus,
feel, yes, or net at least 25 times per day. The greatest progress can be made by combining
physical practice with mental practice.
Coaching Points for Shooting
• The shot starts on the floor—feet ready (the feet make jump
shots), hands ready (ball to loaded shooting pocket with full
wrist extension).
• Offensive quick stance: Put weight on the whole foot for
quickness and balance, point the shooting foot at the bas-
ket, and finish on the balls of the feet with weight forward.
• Full focus: Pick up the target early (rim or backboard) for 1 second (laser
focus on the target).
• Shooting hand: Hold the ball in the whole hand; lock and load it into the shooting
pocket.
• Bookend hand: Place it on side of ball; move it out and up on the shot (it is used
only to balance the ball).
• Release it high and let it fly: Shoot up, not out, with a 60-degree angle of release
above horizontal; thrust the fingers through the ball to get backspin (feel).
• Follow through fully—firm but relaxed. Freeze the follow-through in full wrist flexion
(for a field goal, 1 second; for a free throw, until the ball enters the net or contacts
the backboard).
• To build confidence, remember the makes and forget the mistakes.
• Use confident self-talk; focus (before the shot), feel (during the shot), and feed-
back after each shot (yes, swish, or board on a made shot; shot location on a
missed shot).
• Use quickness without hurrying. Be quick in preparing for the shot but don’t hurry
the shot.
• Maintain vertical alignment; keep the ball in the plane with the elbow in, up, and
under the ball (unless using the pedestal shooting pocket). To get the ball up and
into the shooting pocket quickly, use a two-handed bookend hand pickup from
under the ball.
• Use physical and mental practice: see, hear, and feel the perfect shot.
• Use the BEEF principle.
• Become a shooting machine by applying the ROBOT concepts.
• Take game shots at game spots at game speed to accomplish purposeful practice.
• Practice shooting progression daily and end with shots from the pass and the
dribble.
• Become a consistent shooter (alignment, arc, and depth).
CRITICAL CUES
FOR SHOOTING
• Early: Laser-
focus on the
target.
• During: Take a
smooth, “one-
count” shot.
• After: Remem-
ber makes;
forget mistakes.

96 BASKETBALL SKILLS & DRILLS

Shooting Mechanics
The specific physical techniques of shooting, or shooting mechanics,
include movements of the torso, feet, and hands. The movements are
the same for the one-handed set shot and the jump shot. The essen-
tial difference is that the jump shot is executed by shooting the set
shot just before the peak of a jump.
The best compromise between the optimal arc for shooting (an
almost-vertical trajectory) and the player’s available strength for
accurate shooting is generally found in a medium-arc shot released
at an angle of about 60 degrees. In contrast, most beginners shoot
with a release angle lower than 60 degrees. When using the regular
side shooting pocket, the shooting foot, elbow, wrist, and hand are
aligned in the same vertical plane with the basket when the ball is
brought up past the face (figure 4.1). The hand and arm motions are
the same on all set and jump shots—the power differential comes
from the legs. Putting backspin on the ball increases the angle of
rebound off the rim—that is, produces a more vertical bounce—
thereby giving the shot a better chance of going into the basket.
Backspin also stabilizes the flight of the ball. Players can produce
backspin by thrusting the fingers through the ball on the release,
thus creating a softer shot.
In addition to these general points of shooting mechanics, players
should be taught specific fundamentals, such as maintaining proper
body position, holding the ball correctly, and executing the basic
steps of the shot in the proper sequence.
Balance With Feet Ready
A good shot starts with the feet ready, the knees bent, and the dominant foot slightly
forward and pointed toward the basket in a quick stance or offensive triple-threat position
(figure 4.2). The player’s head is balanced and slightly forward, and the body is gener-
ally facing the basket (the shoulders are not exactly square to the basket—the dominant
shoulder is slightly forward). The player should point the shooting foot at the basket
and sit into the shot (the feet make Js). For pedestal-pocket shooting (explained later), the
feet are square to the basket.
Footwork is the foundation that provides balance for the shot. Dan Hays, Hall of
Fame coach (Oklahoma Christian University men’s basketball), uses a unique way to
teach proper footwork for set and jump shots. Players stand with the feet together and
touching (figure 4.3a). The shooting foot is moved slightly forward so that the non-
shooting toe aligns with the middle of the shooting foot (figure 4.3b). Then the shoot-
ing foot is moved laterally to a balanced, feet-ready position for shooting (figure 4.3c).
Of course, when shooting a shot from a pass, proper footwork is best facilitated when
catching with “feet in the air” and then landing in the described position with the “feet
ready” to shoot.
Target
When the ring (rim) is the target, players could focus either on its imaginary center (the
perfect target) or the best practical substitute, which is the middle eyelet loop on the
back of the ring as viewed through the net. The back of the rim is the preferred spot
target because accuracy tasks require a spot target, most misses are short, and most
made shots are near the back half of the basket. Some coaches prefer the front of the
rim, but the authors prefer the back of the rim for the previously stated reasons.
Figure 4.1 Vertical-plane shooting.
CRITICAL CUE
Get the feet ready
(balanced) and
the hands ready
(ball in the shoot-
ing pocket with
wrist fully ex-
tended and ball
loaded).
CRITICAL CUE
Full focus—early
target (rim or
backboard).
Vertical
plane
Vertical
plane

SHOOTING 97
Figure 4.2 Shooting balance: (a) triple-threat position with the feet ready (front view), (b)
triple-threat
position with the feet ready (side view), and (c) pedestal pocket (square stance) with the
feet ready.
a
b
c
E7294/Krause/F04.03a/599720/mh-R1
(a)
E7294/Krause/F04.03b/600031/mh-R2
(b)
E7294/Krause/F04.03c/600032/mh-R1
(c)
Figure 4.3 Developing balance: (a) Start with feet together,
(b) move the dominant foot slightly forward, and (c) end with the
feet in a widened stance.
For angled shots (45 degrees with the backboard), players
can use the upper corner of the backboard rectangle as the
spot target. The best court areas from which to shoot the
board shot are shown in figure 4.4. Coaches should remind
shooters to hit the backboard target with the ball on the
way down in order to have the same arc on ring and back-
board shots (which tend to be too low or flat). Both types
of shots should have the same arc; generally, the top of the
ball on a medium-range shot is at the same height as the
top of the backboard to attain the optimal release angle of
60 degrees.
On both rim and backboard shots, players should pick
up the target early with a full focus of one count. Key guide-
lines are as follows: Release it high and let it fly; shoot high and
soft with backspin (especially on backboard shots); and shoot
E7294/Krause/F04.04/599721/mh-R2
45°
45°
Backboard shot
area
Figure 4.4 Use the backboard target when
shooting near a 45-degree angle with the
backboard.
a
b
c

98 BASKETBALL SKILLS & DRILLS

up, not out. The eyes should be kept on the target at all times (except in the weekly drill,
described later, of following the flight of the ball after release to check proper backspin).
Shooting Hand
The next step is for the shooter to grip the ball properly. The fingers of
the shooting hand should be spread comfortably, and the ball should
touch the whole hand except the heel (figure 4.5). The angle between
the thumb and first finger is about 70 degrees (not 90 degrees); in other
words, players should form a V, not an L, between the thumb and index
finger. To get the feel of this configuration, players (facing the coach)
can hold up the shooting hand, spread the fingers as much as possible
(for a 90-degree angle), relax the hand slightly (so that the thumb and
first finger form a V), and place the ball onto the whole shooting hand
while holding that palm up in front of the body (figure 4.6). When han-
dling the ball, players can move it to shooting position by grasping it
with both hands (on the sides) and then rotating it so that the shooting
hand is behind and under the ball. This technique is called locking and
loading the ball into the shooting pocket with full wrist extension.
The lock-and-load technique enables consistency by placing the
shooting hand in the same position at the start of each shot. Thus the
shooting pocket is always in the same starting position.
To lock and load the ball into the triple-threat shooting pocket (the
same starting position for each shot), players should first place the ball
on the whole hand in front of and to the side of the body (figure 4.6a).
Then the nonshooting hand grasps the shooting hand’s wrist in order
to lock it into the starting position (4.6b). The nonshooting hand is
Figure 4.5 Proper hand grip for
shooting: Use the whole hand, except
for the heel; the finger and thumb form
a V at 70 degrees.
Figure 4.6 Lock and load: (a) Hold the ball in the whole hand (palm up); (b) load the ball to
the shooting pocket,
locking the wrist in; and (c) load the ball close to the body into the shooting pocket with full
wrist extension.
a
b
c
Form
the V
Form
the V

SHOOTING 99
then placed on top of the ball or the hand
in order to load the ball into the shooting
pocket with full wrist extension (figure
4.6c). This technique puts the shooting
hand into a position that produces wrin-
kles on the wrist.
After moving the ball into shooting
position, the shooter should bend the
wrist back in full extension and load the
ball in, forming an L at the wrist and at
the elbow (see wrinkles on the back of the
wrist). The player sets the ball on the hand
as if holding a tray with the shooting hand.
This position for the side shooting pocket
is shown in figure 4.7. The locking-and-
loading technique ensures that the start-
ing position is the same on each shot for
consistency.
The elbow (the L) is kept up, in, and in
front of the wrist (figure 4.7). Beginners
may have a lower starting elbow position,
but the elbow should still be in front of the
wrist and above the shooting foot. Younger
players tend to drop the ball too low to
gain momentum, pull the wrist in front
of the elbow, and, in the process, develop
inefficient shooting mechanics. Shooting
power comes properly from the legs; the
arm shooting mechanics should stay the same. The most common error that players
make with the shooting hand or arm is having the elbow out when the shooting foot is
pointed at the basket and when they are using the regular armpit or shoulder shooting
pocket. Elite players can modify the pocket by moving it higher. The pedestal pocket, as a
middle shooting position, is described later and is best suited for inside players facing
the basket at closer distances.
Balance or Bookend Hand
The balance, or bookend, hand is used only to steady the ball, not to shoot it. The
term bookend, which more aptly describes the position and function of the nonshooting
hand, was first applied by Dan Hays of Oklahoma Christian University. The bookend
hand is kept on the side of the ball to avoid thumb drag; it does not guide the ball. As
the shot is released, the bookend hand is moved slightly up and out of the way, and it
finishes in a vertical position off the ball, with the fingertips at the level of the wrist of
the shooting hand. The elbow of the same arm remains slightly flexed.
Common errors related to the bookend hand include the thumb push (to help shoot
the ball), the heel pull (to hold over and drag the ball), and rotation of the off hand
with the shot (it should serve as a stationary vertical guide). These errors can be caused
by extending the nonshooting elbow during the shot. Figure 4.6c shows the correct
shooting-pocket position and the position of the bookend hand, which can also be
described as pointing the bookend thumb at a right angle to the shooting thumb. The
most important role of the balance or bookend hand is to lift and drive the ball from
the dribble into the shooting pocket on the dribble pickup. The last dribble uses a hard
bounce to get the ball quickly into the shooting pocket, and this move is assisted by
CRITICAL CUE
Hands ready—get
the ball to the
shooting pocket.
Figure 4.7 Regular side view of
pocket—elbow up, in, and in front of
the wrist to balance the ball.
CRITICAL CUE
Bookend hand:
Move it off the ball
and up slightly be-
fore release. Keep
the same-arm
elbow bent. Point
the thumb back
with the fingers up
in a vertical posi-
tion.

100 BASKETBALL SKILLS & DRILLS

the balance (bookend) hand lifting the ball from underneath quickly to the shooting
pocket.
Coaches can illustrate the concept of the whole hand and that of locking and load-
ing without the ball by asking players to place the shooting hand in front of the body
(palm up) and spread it to the whole-hand position (figure 4.8a). Players should imag-
Figure 4.8 Locking and loading (without the ball): (a) ball grip with whole hand (palm
up), (b) locking in the wrist, (c) loading the shooting hand, and (d) start of the process of
shooting the ball and freezing the follow-through (holding it for at least one count).
a
b
c
d

SHOOTING 101
ine that a ball is sitting on the hand. Next, they
should grasp the shooting hand’s wrist with
the nonshooting hand and rotate it inward
until it won’t rotate further, thus establishing
a locked-in position (figure 4.8b). Finally, they
should place the balance hand on the shoot-
ing hand (palm to palm) and load the imagi-
nary ball with full wrist extension into the
final shooting pocket (figure 4.8c). All of these
motions can be performed without a ball in
order to ensure that players understand the
feel of establishing the same starting posi-
tion (the shooting pocket) for each shot. The
shot can be simulated by pushing the elbow to
extend it and propel the imaginary ball to the
basket, freezing the follow-through in full but
relaxed wrist flexion.
Release
In order to shoot up and over by pushing the
elbow button to cause full elbow extension
(figure 4.8d), players must thrust the fingers
up and forward through the ball or snap the
wrist to produce a soft shot with backspin.
Players should visualize shooting over a 7-foot
(2.1-meter) defender. Backspin is produced
when players use the fingers to firmly thrust
the ball up and over (pushing through the ball
and snapping the wrist) (figure 4.9). The ball
comes off the index and middle fingers last.
Backspin produces a soft shot that can hit the rim, slow down, and bounce in; thus
it keeps the ball around the shooting target. Players can check their backspin weekly
by shooting a vertical shot without a target or following the flight of the ball after the
release of a regular shot (shoot the line for five repetitions). Players should not, however,
develop the habit of watching the ball normally; they should focus on the target instead
and check their backspin only on occasion.
As discussed earlier, the proper release angle for a shot is about 60 degrees above
horizontal. For most players, however, the release angle is too low, which decreases the
size of the available target as the ball approaches from above, thus lowering their shoot-
ing percentage. Therefore, coaches should guide players to release it high and let it fly
(shoot
up, not out).
Although many players would benefit from shooting with a higher arc, they may
struggle to attain it. The higher the arc is, the greater is the muscle force needed to
propel the ball, and more force tends to produce less accuracy. Thus players and coaches
must be aware of the need to attain an optimal release angle and shot arc. This goal can
be achieved through a smooth, rhythmic release that uses minimal force to produce a
55- to 60-degree release angle and, in turn, an optimal basket-entry angle of 43 to 47
degrees (45 degrees optimal).
The Importance of Arc in Shooting
Here is how the ball sees (so to speak) the hoop as it approaches the basket on its entry
angle:
Figure 4.9 High release and follow-
through: Freeze it for at least one count
with full but relaxed wrist flexion.

102 BASKETBALL SKILLS & DRILLS

1. Coming from an angle of 90 degrees above horizontal, the target area is 100
percent of actual size.
2. Coming from an angle of 51 degrees above horizontal, the target area is effectively
56 percent of actual size (i.e., much smaller than on the 90-degree approach angle).
3. Coming from an angle of 31 degrees above horizontal, the effective target area is
only 33 percent of actual size. (For a clean shot, the minimum entry angle is about
35 degrees.)
4. Coming from an angle of 20 degrees above horizontal, the target area is 22 percent
(too small).
5. Coming from an angle of 9 degrees above horizontal, the target area is 12 percent
(no chance).
Studies at the University of Calgary (Harle & Vickers
2006) have shown that the ideal release angle for free throws is
52 to 55 degrees. To shoot at an angle higher than 55 degrees
requires extra velocity or ball speed (i.e., extra muscle force from
the shooter), which reduces accuracy. Even so, because of learn-
ing slippage, the best compromise between force on the ball and
accuracy for most shots and most players is an optimal release
angle of 55 to 60 degrees, which produces the optimal basket-
entry angle of 45 to 50 degrees. This compromise, based on
applied research, balances available muscle force with optimiz-
ing the size of the target as the ball comes toward the basket.
This principle applies more easily to pedestal-pocket shoot-
ing from an overhead or middle starting spot. As the ball is
pushed up (not out) from the pedestal pocket, it is thrust up
and over with the fingers touching it last to produce backspin
(figure 4.10).
Follow-Through
The final step in shooting is full follow-through with complete
elbow extension (locking the elbow), arm pronation (turnout),
and wrist flexion (controlled relaxation). Players should visual-
ize making a gooseneck, putting their fingers in a cookie jar,
putting a hand in the basket, or making a parachute shape with
a firm floating hand and holding that position for at least one
count (figure 4.9). The hand and fingers are firm but relaxed.
A consistent, full follow-through (freeze it) ensures that the
ending position is the same for each shot.
As described earlier, shooting skill is built first on proper mechanics and technique.
Players must develop correct technique as a physical foundation for the shot:
• Feet ready for balance
• Ball into shooting pocket (same starting point) using whole-hand grip (forming
the V), locking and loading the ball with full extension (two-handed pickup), and
using a bookend (balance) hand
• Release and full follow-through (same ending point)—shooting up (not out) near
60 degrees and holding the full wrist flexion follow-through (freezing it for one
count)
• Balance at the end of a shot (head forward)
CRITICAL CUE
Release it high
and let it fly:
Release the ball
high, up, and over
at 60 degrees with
backspin.
CRITICAL CUE
Hold the full
follow-through and
freeze it (for a field
goal, one count;
for a free throw,
until net, swish,
or back rim and
down).
Figure 4.10 Pedestal-pocket shooting:
Shoot up.

SHOOTING 103
Other Types of Shots
The basic mechanics of shooting that are found in the set and jump shots are also
applied in closer shots (including layups) and longer shots (three-pointers). The same
mechanics are also used in post-player shots.
Layup
All players should learn to shoot both left- and right-handed layups while jumping
from one foot. The best starting technique is to jump from the left leg when shooting
right-handed and from the right leg when shooting left-handed. A high jump is made
by stamping on the last step to minimize the forward long jump and maximize the high
jump. Coaches should have players use the backboard for layups whenever possible;
exceptions include the baseline dribble-drive reverse layin and, of course, the dunk shot.
The dunk shot should be used only when a player can dunk the ball without strain and
defensive traffic is minimal.
Approach Attacking or accelerating to the basket is a positive approach that players
can use readily. When shooting a layup, the attack move is made by taking the ball up
in a two-handed pickup motion. Players should bring the free hand to the ball when
dribbling, chin the ball near the shooting shoulder in the power position—usually
opposite the jumping foot—and keep the ball chest high on the side away from the
defender (see figure 4.11a). They should keep the ball away from the hip and avoid
dangling it away from the power position (near the upper chest or shoulders). The
two-handed high pickup and the chin move are used to prevent players from “rocking
the cradle” (figure 4.11, b and c), which exposes the ball to the defender as it is brought
across the body.
Figure 4.11 Shooting the layup: (a) Perform a two-handed pickup; (b, c) avoid rocking the
cradle.
a
b
INCORRECT
INCORRECT
c
INCORRECT
INCORRECT

104 BASKETBALL SKILLS & DRILLS

The last dribble is timed with the last jumping step on the inside foot when the
player is using a dribble-drive move; this approach is often called an opposition move
when a player shoots a right-handed layup with a jump from the opposite (left) foot
(figure 4.12). On a left-foot jump, the opposite (right) knee drives up toward the basket,
as if the knee were on a string lifting it up with the same-side (shooting) elbow. Coaches
should teach beginners to use a gallop move with a layup. For a right-handed dribbler
and shooter, the last one-two gallop move is with the right foot first and then with the
left foot, which serves as the jumping foot.
Another layup-shooting reminder is for players to pick up the target (usually the
backboard) early and focus on it for at least 1 full second: eyes make layups. Players
should then finish the layup with one hand. Thus they should take the ball up with two
hands to the power position but finish with one hand; the shooting hand should be
behind the ball for overhand layups and under the ball for underhand layups.
When facing shot-blocking defenders, offensive players can use an advanced layup
move in which the footwork is the opposite of what is normally done for a one-foot-
jump opposition layup. For example, an offensive player on the right side of the basket
would jump with the right-foot, use a two-hand high pickup, and finish with a one-
hand layup. This unusual same-side-foot-and-hand technique can be used to throw off
the timing of a shot-blocking defender.
Jump When the player is jumping for a layup, the knee opposite to the jumping foot
is raised high (figure 4.13) and straightened just before the peak of the jump. Other tips
include using the backboard for a higher percentage shot to one’s advantage, shooting
softly with a feather touch (shoot high and soft), and focusing on the target. For one-foot-
jump layups, coaches can teach both the primary overhand or push layup (with the palm
of the shooting hand facing the target, as in figure 4.13) and the underhand or scoop
Figure 4.13 Overhand, or
push, layup.
Figure 4.14 Underhand, or
scoop, layup.
Figure 4.12 Layup—opposition
move.

SHOOTING 105
layup, which produces a softer shot and is executed with the palm of the shooting hand
facing up (figure 4.14) as the elbow and wrist are flexed to shoot the ball.
Power Layup This layup is really a quick stop with the player facing the baseline and
continuing into a one-handed, two-foot layup. The quick stop is made for power and
balance and is used in traffic or under defensive pressure when control and power are
required. Thus the power layup is a slower but stronger move than the one-foot-jump
layup. On approaching the basket, the shooter lands in a quick stop (with a one-count
landing on both feet) facing the baseline or backboard with the feet pointed toward the
baseline (figure 4.15). The player then scoops the ball up after a hard dribble, chins the
ball on the outside shoulder, away from the defense, and explodes vertically from both
feet to the basket in order to shoot a one-handed layup off the backboard (with the
shooting hand either facing the target or under the ball).
CRITICAL CUE
One-foot layups:
opposition, two-
handed pickup,
high and soft shot
on the backboard.
Figure 4.15 Power layup: (a) quick stop, (b) power shot (outside hand).
a
b
Long Layup This layup is an advanced skill used when
finishing shots at the basket near or around shot blockers.
As shown in figure 4.16, this skill involves attacking the
basket from the top of the key (wide free-throw lane) down
the wide free-throw lane alleys (as labeled in figure 4.16) or
just outside the free-throw lane (to avoid shot blockers).
The offensive player uses a one-hand runner shot or
baby hook off the backboard with the ball located on the
outside shoulder (power position). The player should also
be aware that if a shot-blocking defender comes out on
the edge of the free-throw lane (to help up and out), the
backside layup area will open up for a cutting teammate.
This move can be especially useful when a shot-blocking
defender has limited mobility or range, as may be the case
in women’s basketball.
E7294/Krause/F04.16/599741/mh-R2
X
Long layup dribble
attack alleys
Shot blocker
Figure 4.16 Attacking the basket with
the long layup.

106 BASKETBALL SKILLS & DRILLS

Three-Point Shot
Shooting the three-point shot, or trey, requires some adjustment. For one thing, three-
point shooters must develop a sense of where the line is without looking down (respect
and know the line). In addition, long shots produce long rebounds, and rebounding
teammates must adjust accordingly. Also, though all shooters should know the time
and score in a game, this is especially true for three-point shooters, given the greater
potential to affect the score.
The three-point shot should be attempted only after a plant and pivot (figure 4.17)
or as the player is moving toward the line with a quick stop (for stronger players). These
movements provide the greater force needed for this shot and allow beginning play-
ers to take it without straining. Emphasis should be placed on gaining momentum by
bending the knees more for extra power from the legs, using the elbow L, and releasing
the shot on the way up with a full follow-
E7294/Krause/F04.17/599742/mh-R2
Quick
stop
Plant
and
pivot
foot
Swing
a leg
to face
basket
Figure 4.17 Footwork for the three-point
field goal.
CRITICAL CUE
To shoot the trey,
get power and
momentum from
the legs and
emphasize full
follow-through with
the elbow in the
vertical plane of
the regular shoot-
ing pocket.
E7294/Krause/F04.18/599743/mh-R1
X1
Hopback
move
1
Figure 4.18 Step-back or hop-back
jump shot: Penetrate, then hop back from
the left foot to set up a jump shot.
through. For many players, the three-point
shot is more of a set shot than a jump shot.
Coach Homer Drew, formerly of Val-
paraiso University, taught his players to get
the three-point field-goal from the pass in
the following six ways:
• Inside-out pass
• Offensive rebound and pass-out
• Penetrate-and-pass (pitchout or on a
crack-back pass behind)
• Fast break to the trey (dribbler and
fast-break lanes)
• Skip pass (with or without a screen)
• Screen and fade (flare)
Hop-Back Jump Shot
The step-back or hop-back jump shot requires shooters to alter their jump-shot
footwork, especially against excellent defenders, from a basket penetration move
to set up the shot. The basket penetra-
tion move clears space for a jump shot,
such as a three-pointer. In order to create
space from the defender and take a bal-
anced shot, the shooter needs to develop
advanced footwork and ballhandling skills.
As shown in figure 4.18, the ball handler
must aggressively penetrate the arc, thus
forcing the defender to defend the basket
(ball–defender–basket). This penetration
move requires a weight shift to the inside
penetration foot, which the dribbler uses
to push off in order to produce a hop-back
motion and move back behind the arc. The
ball handler then lands facing the basket
at an angle opposite to the defender’s
momentum (offensive move against defen-
sive momentum). Thus the ball handler

SHOOTING 107
can either drive right and hop back to the left from the right foot, or drive left and hop
back to the right from the left foot.
Pedestal-Pocket Shot
Modifications can be made for players with greater strength (especially in the core and
upper body) and for inside players who shoot most of their set and jump shots closer
to the basket. For an in-depth treatment of these techniques, see The Perfect Jump Shot
by Scott Jaimet (2006). These recommendations depart from the usual shooting tech-
niques (described previously in this chapter) and may not be suitable for most players,
but they offer the advantages of high arc, added balance, symmetry, and increased relax-
ation during shooting. Thus the technique is useful for elite players who possess high
levels of upper-body strength and for post players on close-in shots.
Jaimet advocates focusing on four important factors: balance, rhythm, extension, and
symmetry. The one-handed set or jump shot described in the previous section depends
heavily on shooting rhythm, full extension, and balance. In turn, balance depends pri-
marily on footwork but is more challenging when using the shooting pocket on one
side of the player’s body. In contrast, shifting the ball to a position directly overhead
and near the middle of the body facilitates balance. This overhead or forehead shoot-
ing pocket is known as the pedestal-pocket position. To use it, players should grip the ball,
form a V with the shooting hand, and then lock and load the ball to the pedestal pocket
with a two-handed pickup, as shown in figure 4.19. The whole shooting hand is always
placed under the ball in the shooting pocket, whether using the traditional side pocket
CRITICAL CUE
Lock and load
into the overhead
pedestal pocket
with a two-handed
pickup.
Figure 4.19 Pedestal-pocket shooting: (a) Grip the ball and form the V, (b) lock and load to
form the tent (full
focus—see under the tent), and (c) fold the tent and hold the follow-through.
a
b
c

108 BASKETBALL SKILLS & DRILLS

or the more centered pedestal pocket. Players should always lock and load the ball into
the shooting pocket with a two-handed pickup.
The pedestal pocket is a balanced trigger point for initiating the shot. From there,
players shoot the ball up (not out) toward the basket by “pulling the trigger” or “folding
the tent” (figure 4.19c). The middle or pedestal-pocket position has the distinct advan-
tage of encouraging the player to shoot up, not out, thus preventing the most common
error in shooting—putting less arc on the shot and thereby reducing the available entry
area into the basket.
When players use the pedestal pocket, the position of the arms and feet must also
be modified. The shooting hand (under the ball) and the bookend hand (on the side)
are placed on the ball in similar fashion to using the side pocket. The feet, however, are
positioned in a more parallel stance, and both elbows are pointed outward in a bal-
anced, relaxed position to form a sort of tent (with the elbows at the base and the ball
at the peak in the pedestal pocket; see figure 4.19b). The forearm and upper arm form a
right angle (90 degrees) at the elbow.
Another advantage of the pedestal pocket is that the shooter can more readily pick
up the shooting target early and achieve full focus on the target without visual obstruc-
tions from the arms or the ball. Players should form the shooting tent and put the
ball in the pedestal pocket above the head and between the eye and ear (toward the
shooting-hand side).
Coaches should emphasize that the elbows should be at eye level and the arms at
right angles at the elbows. Putting the ball in the pedestal pocket with the elbows high
makes it easier for players to shoot the ball up rather than out. When players shoot
from this trigger spot, they should fully extend the arms (shooting arm at the elbow
and wrist). They should also use a full follow-through that is firm but relaxed for pulling
the trigger and folding the tent as the ball is thrust upward and released at the peak of the
jump (or on the toes for the set shot).
Note the symmetry of the feet and arms when using the pedestal-pocket shooting
technique (figure 4.19). The body faces the basket directly in a balanced, symmetrical
position before, during, and after the shot.
CRITICAL CUE
Pedestal-pocket
shot: right angles
at the elbows;
thumbs at right
angles on the ball.
Coaching Points for Pedestal-Pocket
Shooting
• Face the basket with the shoulders square to the basket and
the feet parallel in quick stance. Sit into the shot and use the
legs for power.
• Lock and load the ball in a tight arc into the pedestal
pocket. Use a quick two-handed pickup with wrinkled wrists.
• Form the tent with the elbows out and the ball at the trigger point. The
arms, elbows, and thumbs should be at right angles. Establish early and full focus
on the target (back of the rim or upper corner of the backboard rectangle).
• Jump with full extension—straight up or slightly forward.
• Pull the trigger to shoot up (not out) with full follow-through; fold the tent.
• Land in a balanced quick stance.

SHOOTING 109
As shown in figure 4.19, here is the complete sequence of the pedestal-pocket shot:
1. Use a quick stop (or plant and turn) into a balanced quick-and-square stance
facing the basket. Sit into the shot and square to (face) the basket; grip the ball
properly so that wrist wrinkles are visible (figure 4.19a).
2. Use a two-handed pickup in a tight arc to move the ball quickly to the pedestal
pocket—form the tent (figure 4.19b). Lock and load the ball into the pedestal
pocket; put the ball in the trigger spot with the thumbs forming a right angle.
3. Establish full focus on the target for one full count (see the target through the V
under the tent) while jumping with full extension.
4. Release the ball at the peak of the jump and use full follow-through (freeze it;
figure 4.19c). Pull the trigger and fold the tent (make a parachute and hold it for
one count).
5. Land, with balance, slightly in front of the takeoff spot.
Post Power Shot
The power shot, an adaptation of the power layup for post players, is the most basic scor-
ing move for players with their backs to the basket. It is used when the defender plays on
the side (side-fronting with hand across denial) position; see figure 4.20. The offensive
post player gets into a position on the post line, as shown in the figure, and, in this case,
the pass is made to the baseline hand (and leads to a score). After catching the ball (cap-
turing and chinning it, as shown in figure 4.21a), the offensive player maintains contact
with the defender’s lower body and seals the defender with a half rear turn or leg whip
(figure 4.21b), immediately followed by a two-handed, two-foot bounce-and-hop move
(power dribble) with the ball and to the basket. Figure 4.22 shows this move with the
one dribble taken from a two-handed chin-it position inside the lead foot as a two-foot
Figure 4.20 Low post: high side-front defense.

110
Figure 4.21 Post power shot: (a) Catch and chin the ball, then (b) make a half rear turn to
seal the defender.
Figure 4.22 Power shot: (a) bounce and hop (inside lead foot), (b) quick stop and chin, (c)
shoot a power shot.
a
a
b
c
b
Stepping
foot
Stepping
foot

SHOOTING 111
jump is made with a quick-stop landing.
The post player lands facing the baseline
and shoots a power shot by exploding up
to the basket or backboard from the chin-
it ball position (figure 4.23).
The post power shot can be used in two
ways: without the dribble (with only a leg
whip) when the player catches the ball in
the lane and with the dribble, bounce, and
hop (two-feet to two-feet move) when the
player catches the ball outside the lane.
Both shots, called angle baskets, allow the
offensive player to use a body-position
advantage to make a post-player angle
move to the basket. The move can be made
in either direction—always opposite to the
side defender.
The power move can be used for basket
penetration when posting up with the
post player’s back to the basket. It can also
be used in the low-, medium-, or high-
post position as a penetrating move to the
basket on the side opposite to where the
defender is playing. It is a powerful but
safe move that uses the body to protect the
ball for one-dribble basket penetration.
Post Hook Shot
The preeminent player who used the post
hook shot was Lew Alcindor (now Kareem
Abdul-Jabbar), who played at Power
Memorial High School (New York City), at UCLA, and in the NBA, where he developed
and mastered the skyhook. His Los Angeles Lakers coach, Pat Riley, described his post
hook shot as “the most awesome weapon in the history of any sport” (Nielsen 1988).
Players in the United States used to dominate the world by learning to play with the
back to the basket and using size and position. The skyhook fit
Kareem perfectly because it is an act of faith by a willful, driven
person. As Jabbar stated, “Everybody wants to see the ball as they
let it go, to have it on-line from the start.” But the post hook shot
won’t allow players to see the ball as they release it from behind
and then over the head. As Jabbar described it, “It requires trian-
gulation and rhythm, touch and repetition.” The lesson is that
the post hook shot requires faith, willpower (a strong mistake
mentality), and considerable practice (Wolff 2002).
Sometimes called the baby hook or modern hook shot, the
post shot is used by players who receive the ball in a low-post
position with their back to the basket. The best location for a
post shot is just outside the free-throw lane near the block (near
the first and second free-throw lane spaces; figure 4.24). The
post player generally sets up on or near the post line—an imagi-
nary straight line between the passer and the basket.
Figure 4.23 Power shot: Explode to
the basket.
CRITICAL CUE
Power move—
seal, two-handed
power dribble
(bounce), and
hop; quick stop
and score.
CRITICAL CUE
Power dribble—
two-handed power
dribble (bounce)
near the lead foot.
E7294/Krause/F04.24/599754/mh-R2
Block
Block
Post
line
Post
line
Figure 4.24 Posting up on the block.

112 BASKETBALL SKILLS & DRILLS

On receiving a pass with the back to the basket in the post, the player should capture
and chin the ball with two hands. In the low-post area, the player should put the ball
in the two-handed power position under the chin (chin-it). Any player receiving a pass
should be in quick-stance position and chinning the ball. The footwork for the post
shot involves making a partial rear-turn pivot into the lane, using the baseline foot as
the pivot foot. The other foot is used to step into the lane as far as possible in a balanced
position facing away from the basket. Ideally, this foot is parallel to the baseline. When
the nonpivot foot hits the floor, the pivot foot is raised as the knee is lifted high and
rotated to face the basket, as in a normal layup. The ball is then moved from the chin-
ning position past the side of the head, pushed overhead, and released with full arm
extension (with the elbow locked) and pronation. This move is led by the inside elbow.
The complete sequence is shown in figure 4.25 and includes these essential steps:
1. Post up with a two-handed target; sit into the stance (figure 4.25a).
2. Catch the ball and chin it to the power position—possession is more important
than position (figure 4.25b).
3. Make a partial rear turn using the baseline foot as the pivot foot and step into the
lane with the stepping foot parallel to the baseline (figure 4.25c).
4. Move the ball up and over the head with full extension and pronation of the arm;
keep the ball close to the body until the release (figure 4.25d).
5. Rotate and shoot the post shot (figure 4.25e).
6. Land in quick-stance position and assume that the shot will be missed; put both
hands up and assume a quick stance for a possible offensive rebound (figure 4.25f).
Figure 4.25 The post shot: (a) Post up with a two-handed target ready to receive the pass
(in this case, the
pass is to the left hand because the pass leads the post player to a scoring move toward the
middle); (b) meet and
chin the ball—use the quick stop when possible. (continued)
a
b

113
Figure 4.25 (continued) The post shot: (c) Step into the lane, with the stepping foot parallel
to the
baseline; (d) protect the ball on the outside shoulder; (e) take the ball up and over the head;
(f) follow
through, face the basket (hands should be up), and assume that the shot will miss.
d
e
f
c

114 BASKETBALL SKILLS & DRILLS

Post Jump-Hook Shot
A variation of the post-player hook shot, the jump hook is simpler, requires less skill, is
easier to teach, and has a quicker release. All players can be taught this shot, which can
be used close to the basket and over taller defenders.
The teaching progression for the shot is as follows:
1. Shot mechanics: Practice with both the preferred hand and the nonpreferred hand
in front of the basket while facing the sideline (home base). As shown in figure 4.26,
shoot from a deep crouch or wide-stance position, with the ball on the outside shoul-
der-chin location, to a shot directly overhead. Emphasize the overhead release with full
arm extension and wrist snap; the inside elbow or shoulder is pointed at the basket. Rep-
etitions should be taken with the nonpreferred hand two or three times more than with
the preferred hand; in both cases, shots are taken with the feet pointed to the sideline.
CRITICAL CUE
Jump hook: Point
the inside shoul-
der at the basket,
release the ball
overhead, and
complete the full
follow-through
(freeze it).
Figure 4.26 Jump hook: (a) starting position and (b) ending position (without jump).
a
b
E7294/Krause/F04.27/599763/mh-R2
1
3
5
4
2
Figure 4.27 Jump hook—five spots.
2. Jump hook from home base: Start while facing a
sideline; release the ball on the way up, near the peak of
the jump, and come down in a ready position with the
arms up (assume the shot will miss).
3. Jump hook: Shoot with the right hand and the
left hand from five spots—baseline, 45 degrees, home
base, 45 degrees, baseline (figure 4.27).
4. Dummy defenders: Shoot with each hand at five
spots over dummy defenders or shooting pads (both
hands up).

SHOOTING 115
5. Power move to the middle: Make a one-dribble power move to home base (in front
of the basket or in the lane), then shoot a jump hook (figure 4.28); alternatively, make
the move to home base, give a shot fake, and then shoot a jump hook (figure 4.28).
Figure 4.28 Power move to the middle: (a) Catch with the defender on the baseline
side, (b) power move to the middle (rear-turn seal), (c) power move to the middle
(bounce and hop to home base, facing the sideline), and (d) jump hook from home base
in front of the basket.
a
b
c
d
CRITICAL CUE
Post power move
to the middle—get
to home base
(face the sideline)
for the jump hook.

116 BASKETBALL SKILLS & DRILLS

6. Jump hook after pass catch: As a pass is made into the free-
throw lane, the post player moves to catch it with both feet in the
air. The player turns to see the basket, points the nonshooting
shoulder at the basket, and lands in the lane. The ball is chinned
near the shooting shoulder. The jump hook is shot from a two-
foot power jump and released directly up from the shooting
shoulder with a locked elbow and flexed-wrist follow-through.
Thus the sequence is catch and turn, jump hook up and over, land
from the shot in quick stance, and assume that the shot will be
missed.
Shot Fakes
When players prepare to shoot by getting the feet and hands ready
(triple-threat position and shooting pocket), they can be quicker
and more aggressive. They also enable themselves to use the com-
plement of the shot—the shot fake.
Proper technique for the shot fake involves moving the ball
quickly and vertically from the pit or triple-threat position or
pedestal pocket. The body stays in quick-stance position as the
player makes a quick, short (1-inch, or 2.5-centimeter), vertical
fake upward with the ball while the eyes remain focused on the
target. Next, the player should give the fake time to work rather
than rushing into the move. The shot fake can be used when
facing the basket, when the back is toward the basket, or when
executing a jump hook. In an effective shot fake, the offensive
player’s heels stay down on the floor and the legs stay locked in a
crouched or explosive position. In other words, the player needs
to stay in proper stance when using a shot fake (figure 4.29).
Figure 4.29 Shot fake—lock the legs,
give a 1-inch (2.5-centimeter) shot fake,
and keep the heels down.
CRITICAL CUE
Put in the time
to master free
throws—a mini-
mum of 5 minutes
per hour of indi-
vidual game and
practice time.
Free-Throw Shooting
Top statistical factors related to winning include not only field-goal percentage (on
both offense and defense) but also free-throw percentage. Players and coaches need to
know correct shooting techniques and practice them properly. Free-throw shooting is
especially critical for the following reasons: It is a mental as well as a physical tech-
nique (confidence is crucial), the game stops during performance of the skill, and little
improvement has been seen in free-throw percentages for more than 40 years (National
Collegiate Athletic Association 2016). Free-throw shooting is truly a team skill in that
every player should develop and master the skill, at least up to the level of national aver-
age, regardless of age or gender.
Teams should practice free throws in proportion to their importance in games, which
is reflected in the fact that they account for 20 to 25 percent of scoring, shots taken,
and games decided. Therefore, when practices are evenly divided between offense and
defense, 10 to 12 percent of total practice time should be spent on free throws. Given
that 10 percent of 60 minutes is 6 minutes, at least 5 minutes per hour of practice or
game time should be spent on free throws both during the season and in the off-season.
This is the 5-minute free-throw rule.

SHOOTING 117
Free-Throw Technique
The key differences between free-throw technique and field-goal shooting involve align-
ing the foot position on the dot or spot (middle of the free-throw line), establishing
a set ritual, pausing at the bottom of the shot, and exaggerating the follow-through.
Players should keep the free throw simple and do it exactly the same way each time. The
complete free-throw technique is shown in figure 4.30.
Table 4.2 Free-Throw Percentage Goals
Ages
U.S. grade level
Game
modifications
% in practice
% in game
8-10
3 and 4
(lower elementary)
#5 ball
Lower basket height
Half-court play
50
N/A
10-14
5-8 (upper
elementary)
N/A
55
50
14-20
9-10 (secondary)
10-11
11-12
N/A
65
70
75
60
65
70
18-25
College or
university
(postsecondary)
N/A
80
75
N/A
Professional
N/A
85
80
In-game percentage goals should be set in relation to age (see table 4.2). These mea-
sures indicate whether players should adopt the goals completely or adapt them par-
tially to improve free-throw shooting. Practice standards should be 5 percent higher
than game goals due to typical slippage in game performance as compared with prac-
tice.
Coaching Points for Free-Throw
Shooting
• Keep the shot simple and the same; simplify the motion and
do it the same way each time (from foot position to follow-
through).
• Groove the shot daily (e.g., take 20 shots and record the
number of makes).
• Compete in all free-throw situations (e.g., one shot, bonus, two shots, three
shots)—make every shot a game shot in the player’s mind and set competitive
shooting goals.
• Keep written records, set game goals, and practice at 5 percent higher than game
goal.
• Put in the time; spend at least 5 minutes on free throws for every hour of practice or
game play (purposeful free throw practice).

118
Figure 4.30 The free throw: (a) Align and get down on the spot with body weight
forward, (b) focus for 1 full second, (c) be certain the ball is in the same start position and
finish position each shot, and (d) use a full follow-through (freeze it and hold until net).
a
b
c
d
SHOOTING 119
Players should know how a good shot looks, sounds, and feels and eventually be able to
shoot free throws with their eyes closed. The shot should be executed with controlled ten-
sion—neither too relaxed nor too tight. The important physical mechanics are as follows:
• Find the spot (dot). Align on the center of the free-throw line each time; specifically,
the shooting foot, shooting elbow, shooting hand, ball, and shooting-side eye are aligned
in a vertical plane with the basket. The shooting foot should be in the same spot every
time and pointed toward the basket or slightly to the left of a line perpendicular to the
free-throw line. Place the toe of the dominant or lead
(shooting) foot (the right foot for right-handers and
the left foot for left-handers) in the exact center of the
free-throw line. Hardwood courts have a nail hole at
the center for measuring purposes. On other courts,
mark that spot. Put the lead foot near the center and
point it at the corner of the backboard on the oppo-
site side (right foot to left backboard edge and vice
versa) in a slightly open stance. Place the other foot in
a comfortable position and position the feet shoul-
der-width apart to establish a balanced, staggered
stance. This slightly open stance is preferred to the
parallel or square stance because it relaxes the shoot-
ing arm and shoulder muscles and puts the shooting
arm directly in the vertical plane leading to the center
of the basket. For a pedestal-pocket shooter, however,
the eyes and the ball should be centered on the dot or
spot and the feet should be in a closed, square stance
(figure 4.31).
• Focus fully. The focus should be on the center of the back of the rim or the center
eyelet at the back of the rim. Players should focus on the target and think nothing but net
or make the defense pay for fouling. The focus on the target should begin early and be held
for 1 full second (using the focus, feel, feedback mental approach).
• Bounce at the bottom. At the bottom of the shot, the player should pause for an
instant of physical and mental calm and focus, then bounce (dip the ball slightly) for
rhythm. After the pause and the dip, all motion should be up and over and toward the
basket after the starting dip to activate the shooting muscle reflex. This technique is
referred to as taking a one-piece or one-count shot with all positive motion toward the
basket. Players should keep the shot simple and eliminate down and up motions, which
should be replaced with simpler positive motion in the last phase of the shot.
• Establish a ritual. A ritual should be developed for the complete shot. Coaches
should help each player do the same thing the same way every time—it is much easier to
groove a pattern that is always the same. Every ritual should include a deep breath (in
through the nose and out through the mouth) just before the shot (preliminary phase).
Players should also use the same grip on the ball each time. Most players put their
fingertips across the seams of the ball. Players should be slow and deliberate with the
ritual while keeping it simple; in fact, it is sometimes best to eliminate dribbling from
the ritual to simplify it and eliminate nonpurposeful motion. Finally, a verbal prompt
such as nothing but net is used to clear the mind.
E7294/Krause/F04.31/599773/mh-R2
Pedestal
pocket
Square stance
Figure 4.31 Pedestal-pocket free-throw
position.
CRITICAL CUE
Get on the spot or
dot with an open
stance (same
spot, same way).
CRITICAL CUE
Laser focus: Pick
up the spot target
early and hold it
for 1 second (the
preferred target
is the back of the
rim).

120 BASKETBALL SKILLS & DRILLS

• Follow through fully (freeze it). The keys to the follow-through are full extension and
pronation. The shooter should come up on the toes to get power from the legs (hold
this position), and the upper arm should be near 60 degrees above horizontal on the
follow-through. Players should release high and hold the follow-through (freeze it) until
the ball hits the net—put the shooting hand in the basket. They should also finish on
the balls of their feet with the weight slightly forward. Thus they should stay in the shot
and keep body weight forward with the hand in the basket.
Free-Throw Confidence Building
Players can develop confidence in free-throw shooting through a gradual, long-term
approach using specific mental techniques and proper preparation. In addition to the
previously described ritual, players need to groove their techniques early in practice and
during the season by shooting consecutive free throws properly, picking up the spot
target early, and using full focus (verbal prompt focus) for 1 second early in the shot.
Coaches can teach players to concentrate on every shot using positive thoughts, such as
making the opponents pay for every foul, thinking net or swish (shots that hit only net)
or BRAD (back rim and down into the net) shots, and seeing the net ripple as the ball goes
through (swish shots). Shooters can develop shot awareness by using the verbal prompt
feel during each shot.
A positive shooting attitude can also be developed by celebrating successful shots
and evaluating missed shots using proper feedback (verbal prompts: yes on makes and
short, long, right, or left on misses). Thus the shooter blocks all negative thoughts and
uses only the positive. Overall, confidence is developed through careful preparation and
demonstrations of skill in competition. Players need to shoot free throws in competi-
tive situations and make every shot a game shot.
Younger players (ages 8 through 12) should use a smaller ball, lower baskets (8 feet or
2.4 meters high), and a shorter free-throw line (9 feet [2.7 meters]). Older players (ages
12 through 14) should shoot from 12 feet (3.7 meters) at a basket set at a height of 9
feet (Krause, Janz, and Conn 2003).
Coaching Points for Physical Technique
of Free-Throw Shooting
• Find the spot. Get on the dot in the same way each time and
use the same alignment with the lead foot on the nail hole
and preferably pointing at the opposite backboard edge.
• Perform a ritual. Make it simple and the same each time:
Early in the ritual, take a deep breath (in through the nose and out
through the mouth for relaxation), use the same grip on the ball, and use a
verbal prompt to clear the mind and get a mental picture of the expected outcome.
• Bounce at the bottom. Use a positive motion to the basket (one-piece shot) with
rhythm after a slight ball dip or bounce one or two times to begin the free throw.
• Use a full follow-through (freeze it). The follow-through should be firm but relaxed.
Hold it until the ball hits the net (keep body weight forward up on balls of feet; stay
in the shot until the ball goes through the net).
CRITICAL CUES
FOR MENTAL
TRIGGERS
• Focus
• Feel
• Feedback
CRITICAL CUE
Before the shot—
see and say net
or nothing but net
during the ritual.
CRITICAL CUE
Freeze the follow-
through until the
ball goes through
the net.

121
Troubleshooting for Shooting
• Problem: Off-balance shots, with side drift or backward movement
Correction: The antidote is to use proper footwork—balanced quick stops or stride
stops (plant and turn or pivot) and feet shoulder-width apart while sitting into the
shot.
• Problem: Low-arc shots
Correction: The shooting pocket is too low or too far in front of the body (dangling the
ball). Raise the side shooting pocket or use the centered pedestal pocket for inside
players. Shoot up, not out, in order to shoot over the basket rather than at it.
• Problem: Late target pickups
Correction: Use full focus and early target sighting. Sight the target while dribbling
or right after catching the ball (laser focus with small vision).
• Problem: Poor alignment, or direction problems (shooting foot too open and not
pointed, which prevents getting power from the legs)
Correction: Face the basket with either a slightly staggered stance (if using the side
shooting pocket) or a parallel stance (if using the pedestal pocket). With the regular
side pocket, check the vertical alignment of the ball and the shooting hand, shooting
elbow and shoulder, and shooting foot and knee. Close the stance to ensure that the
feet are pointed at the target in order to obtain shooting power from the legs. With
the pedestal pocket, center the trigger spot overhead and ensure that the arms and
the body are symmetrical.
• Problem: Lack of momentum on release and short or flat shots caused by a too-
open foot stance
Correction: Square the stance.
• Problem: Slow shot release
Correction: This problem is often caused by players using a slow ball pickup to the
shooting pocket (side pocket), dangling the ball low, locking and loading to the
pocket too slowly (or not completely in full wrist extension), or making a down-and-
up motion in shooting (i.e., shooting a two-count shot). To address the problem,
quicken the movement, tighten the arc to the shooting pocket, and make the shot
a completely positive motion toward the basket. Eliminate the dip, bend the knees
more, and sit into the shot. Get the feet and hands completely ready.
• Problem: Rushing the shot
Correction: This problem usually derives from not focusing on the rhythm of the shot
and shooting too quickly. Although players should take game shots at game spots
at game speed, they should—as advocated by Naismith Hall of Fame player and
coach John Wooden—be quick but not hurried.
• Problem: Inconsistency
Correction: This problem often results from shot-to-shot changes in technique or
insufficient practice. Every shot should use the same starting or trigger point and
ending point with a full follow-through. Players should groove the shot with many
repetitions so that it becomes automatic.
• Problem: Slowness in building confidence
Correction: Coaches should reteach the self-talk shooting technique (focus, feel,
feedback). Insist on game shots at game spots at game speed. Apply the BEEF and
ROBOT shooting principles.

122 BASKETBALL SKILLS & DRILLS

Shooting Drills
Coaches should be creative in developing shooting drills that are sequential and pro-
gressive and include all of the basics of shooting: footwork and balance without the
ball, spot shots, shots from a pass, and shots from the dribble. Emphasize correct execu-
tion first, then progress to shooting game shots at game spots at game speed.
Line Drill: Shooting Addition
(Without Ball, With Ball)
Purpose: To teach shooting in a simulated game situation
Equipment: Half-court (minimum), four basketballs (added later)
Procedure: This is a form shooting exercise with no ball and no defender (the ball is
added later). Players are positioned in four lines in the baseline formation. In the drill, they
execute a quick stop in shooting position after jumping from the foot closest to the basket.
Later, the drill may be done using a ball and an underhand spin pass or a dribble.
Options
• Straight line: Imaginary shots (i.e., shooting motions performed without a ball) are
taken without a target at the free-throw line, half-court line, opposite free-throw line,
and opposite baseline. Players focus on the basket at the opposite end of the floor
and hop into a quick stop at each of the four shooting locations.
• Offensive zigzag: An imaginary shot is taken at the location of each change-of-di-
rection spot just before the adjacent free-throw line, the half-court line, opposite
free-throw line, and opposite baseline. Most movement should be lateral to make
it easier for players to select the proper inside foot adjacent to the basket, the foot
ahead of the far basket).
• Straight line with shots called by the coach: With players in four lines at the baseline,
the first four players (one from each line) begin on the coach’s go command; the
Coaching Points for a Mental Edge
in Free-Throw Shooting
• Ritual: For comfort and confidence, use the verbal prompt
nothing but net to clear the mind, take a deep breath, and
use the same ball grip every time. See and say net to form
the proper mental picture.
• Full focus: Use early target pickup and laser focus on the preferred
middle spot on the back of the rim for 1 second for field goals and free
throws. Say focus.
• Feel: Say feel during the shot and become aware of the shot from start to finish.
• Feedback: After every shot, remember the makes (celebrate with yes) and forget
the mistakes (analyze them using verbal prompt for shot location—short, long,
right, or left—then forget them).
SHOOTING 123
next four players begin when the preceding group has moved 15 to 18 feet (4.6 to
5.5 meters) down the floor. The coach designates an imaginary basket at the side of
the court (use the intersection of the sideline and the half-court line). Players move
forward under control in the basic position until the coach gives the shot command.
Then each player on the court simulates catching a pass with a quick stop or shoot-
ing off the dribble and takes a shot to an imaginary basket. On the go command, all
players continue up the court until the coach throws another imaginary pass. Players
must be ready to shoot with balance and control at any time; they should shoot to
the right going down the court and to the left coming back (or to the basket straight
ahead).
• Line shots with the ball: The first four players start together and use proper technique
to shoot four imaginary shots with the ball (at the free-throw line, half-court line, op-
posite free-throw line, and opposite baseline). At each shooting spot, players shoot
at the opposite basket and then shoot as though the basket were to either side. To
shoot to the side, they hop from the basket-side foot and land facing the imaginary
basket, catching the ball and turning in the air to face the side and shoot. Players
can shoot from a pass to themselves—a two-handed underhand spin pass with
backspin thrown at the location of the intended shot. They can then dribble instead
of passing in another round to shoot from a dribble. The shot is taken with a 60-de-
gree arc slightly in front of the shot location—the follow-through is exaggerated and
held until the ball hits the floor. No target is used; coaches should simply emphasize
shooting up and holding the follow-through until the ball returns to the floor. Players
can mix in shots after a shot fake to check balance and footwork technique.
Layup Shooting Progression
Purpose: To teach players progressively to shoot game-type layups properly and quickly
Equipment: One ball per player (when possible; or one ball per two players when paired
for buddy coaching) and one basket per 12 players
Procedure: The coach should use as many stages of the progression as are appropriate
to the age and skill level of the players.
Layup Progression
Note: One possible progression before doing regular layups from a pass is to carry the
ball in a shoulder-and-chin position near the shooting shoulder while galloping to the
basket.
• Do a line drill down and back with the following versions: no ball layup simulation,
carrying the ball, and dribbling the ball. Shoot a simulated layup at the free-throw
line, half-court line, opposite free-throw line, and opposite baseline. Exaggerate the
follow-through (freeze it).
• Carry the ball in pickup position, using the high pickup (outside chin spot) for the
ball; shoot a one-handed layup in each of the four locations.
• One-line dribble-in layups: Players each have a ball (six per basket). They start in
live-ball quick stance and use an appropriate direct or crossover drive-and-dribble
from the wing position. Emphasize early focus on the target, opposition leg action,
two-handed pickup with one-handed finish, and high jump (rebounding one’s own
shot before the ball hits the floor). Consider adding a dummy defender or cone at
start, halfway to the basket, or at the layup finish.

124 BASKETBALL SKILLS & DRILLS

Gonzaga Full-Court Team Layup
Purpose: To provide a competitive peer-pressure drill for team passing, catching, and
layup shooting that requires the use of all ballhandling moves at game speed
Equipment: Full court, two to four balls, and four coach or manager passers (two at the
top of the key on the outside of each free-throw lane)
Procedure: Players are positioned in two lines—one behind the baseline under each
basket on a full court (figure 4.32). Start with one ball at each basket (may add two per
Team Peer-Pressure Drills
The origins of peer-pressure drills can be traced back to the heartland at the Uni-
versity of Kansas. More specifically, peer-pressure drills were emphasized as part
of a focus on fundamentals by basketball pioneers, Kansas graduates, and direct
descendants of basketball inventor James Naismith, such as Forrest “Phog” Allen,
John Bunn, and Ralph Miller. In fact, the Ralph Miller version of such drills provided
the basis for the original edition of this book, titled Better Basketball Basics.
This is a special category of team drills focused on combination offensive drills
that can help players develop essential offensive skills—especially footwork, pass-
ing and catching, and timing and spacing—that result in made field goals (whether
layups or set [jump] shots). This drill technique greatly enhances the ability of
coaches and players to help each other practice game moves at game speed. Spe-
cifically, it allows coaches to do the following:
-
Set team scoring goals.
-
Focus on related offensive skills.
-
Focus on related spacing and timing moves.
-
Develop team cohesion by challenging players to meet rigorous goals as a
team (all team members must accomplish the goals).
-
Focus on process and outcomes related to essential scoring goals.
-
Reset the drill scoring goal if it is not met (it may also be reset due to lack of
execution of selected essential related skills).
• Two-line layups (12 players and three balls per basket):
-
One line dribbles in, and the opposite line rebounds.
-
Shoot a layup after receiving a pass from the opposite line.
-
Shoot a dribble-drive layup after receiving an early pass near the half-court
line (catch pass with feet in the air).
• Dribble-chase layups: Players form pairs, and each pair has a ball. The player with
the ball stands behind the baseline and outside of the free-throw lane. The partner
(the catcher) serves as the outlet between the free-throw line and the half-court
line. The passer makes a baseball pass to the outlet catcher, who receives the ball,
faces up the floor, and speed-dribbles to the other end for a layup as the original
passer chases the dribbler down from behind (cannot foul but can go for the ball).
This sequence occurs simultaneously in pairs at opposite ends of the court; half of
the groups are located at each end. Rotate clockwise for left-hand layups and then
change to counterclockwise for right-hand layups to ensure ample practice with the
nonpreferred-hand dribble and layup.

SHOOTING 125
basket later). The first player in each line gets a two-handed rebound from a made or
missed layup and outlets to the coach on the same side while fast-break-sprinting to the
other basket in the sideline lane. The player receives the ball back near the half-court line
from the first coach, passes on the move to the second coach, receives a return pass for
a layup, and goes to the back of the line at the opposite end of the court (where the layup
is shot). The player who started from the other end does the same actions simultaneously
(thus two balls are going at the same time). The coach may add two more balls for the
higher skill levels.
Coaching Points
• One-foot layups: Use proper opposition (jumping foot and shooting hand).
• Two-foot layups: Power up from a one-count, two-foot quick stop.
• Two-handed pickup and chin on shoulder away from the defender: The balance
hand drives or picks the ball up to the shoulder (prevents rocking the cradle). Go up
with two hands and finish with one.
• High jump, not long jump: Stamp hard on the last step.
• Early target: Hit it high and soft; use the board almost all of the time.
• Team goals: Set goals for number of shots made based on age and skill level.
Field-Goal Progression
Purpose: To self-teach and progressively practice the skill of shooting in a warm-up drill
that provides needed feedback for improving shooting in all situations. Some form of field-
goal progression needs to be used daily by all players to relearn or review physical and
mental techniques. You may select drills for variety and emphasis to create a customized
shooting progression package or simply use the following field-goal progression options
that are marked as “essential.”
Equipment: One ball per player (when possible) or per two players (for buddy coaching),
one basket, full-court space (preferable)
Procedure: Each player reviews shooting by performing five repetitions of each drill in the
selected progression.
E7294/Krause/F04.32/599774/mh-R1
C
C
C
C
Layup
Figure 4.32 Gonzaga full-court team layup drill.

126 BASKETBALL SKILLS & DRILLS

• (Essential) Shoot-the-line form shots, or shoot-it-straight shots: These are one-hand-
ed vertical shots without a target that start with the ball in the shooting hand in a
palm-up position. Players align the shooting foot on any line on the floor, rotate the
ball into the shooting pocket (lock and load) with the balance hand off the ball and
slightly to the side in a vertical position, shoot with good thrust (for backspin), snap
the wrist, hold the follow-through in full extension (freeze it) until the ball hits the floor,
and check where the ball bounces. It should bounce on or near the line to indicate
that the shot is straight and 6 to 8 feet [1.8 to 2.4 meters] in front of the player to in-
dicate that the player is shooting up rather than out. Repeat five times (minimal goal
is five shots taken; hitting the line is better). This drill can also be done with regular
two-handed shooting (using the balance hand).
• (Essential) Soft-touch, close-to-the-basket shots are taken with a target (rim and
backboard). Remind players to practice from the inside out, starting close to the
basket and gradually moving out. All shots should be taken inside the free-throw
lane (6 feet, or 1.8 meters, from the basket). At least five shots are taken per spot
(set higher goals such as at least four makes per basket for intermediate and ad-
Options
• Two-handed ball slams develop the feel of having the ball in the whole hand. Play-
ers hold the ball in the nonshooting hand (palm up) and slam the hands against the
ball five times. They should do so each time they pick up a basketball and enter the
court. The fingers should be spread comfortably so that the ball hits the whole shoot-
ing hand (feel it).
• Players perform a one-handed arm swing to the shooting pocket, shoot the ball,
and retraces the motion (without the ball). Players may also use the bookend hand.
Repeat five times.
• TV shooting without the ball: Players lie on their back with the shooting elbow on the
floor and an imaginary ball on the horizontal hand (as if holding a TV tray). They per-
form the shooting motion vertically and hold the follow-through. Repeat five times.
• TV shooting with the ball: This option is performed as in the preceding one but with
the ball, which must be shot into the air at least 6 feet high (1.8 meters) with full
follow-through. Players should hold the follow-through for 1 second, then catch the
ball coming down. Repeat five times.
• Wall or backboard shooting without a basket target: Players start with the ball in the
shooting hand and the open hand facing up (forming the V). Then they lock and load
into the shooting pocket, place the bookend hand up but not touching the ball, and
shoot up and high on the wall or the backboard (one-hand shooting with the book-
end hand up but not touching the ball).
Essential Field-Goal Progression
Use the field-goal progression options marked as “essential” daily:
-
Shoot-the-line (shoot the ball straight and deep)
-
Soft-touch (one or two close shots at each of five spots)
-
Hays footwork drill
-
Pass and dribble pickups (with proper footwork)
-
Shots from a pass and shots from a dribble
These options should be included in all field-goal progressions.

SHOOTING 127
vanced players). Alternate sessions using one-handed and
two-handed shooting techniques.
• The circle-shots drill emphasizes footwork. Each player
moves in a circle, carrying the ball chest high with two
hands (pit and protect) and using proper quick-stop foot-
work: Hop from the basket-side foot, land with the feet
aimed at the basket ready to shoot, and shoot a short shot.
Players move clockwise to shoot from five spots inside the
free-throw lane (figure 4.33), then take five shots moving
counterclockwise. Shots taken at 45 degrees—from spots
2 and 4—are board shots, whereas shots taken at spots 1,
3, and 5 are rim shots. No dribbling is allowed—this drill
focuses on getting the feet in position and the hands ready
to handle the ball. Rotate the circle after every shot. When
players are moving clockwise, the proper footwork is to hop
from the basket-side (right) foot in order to land with the
feet ready to shoot from a quick stop—that is, facing the basket with the dominant
foot forward and the hands ready (with the ball in the shooting pocket). Clockwise
movement uses hopping from the right foot to end facing the shooting target with
a quick step; counterclockwise movement uses hopping from the left foot into the
quick stop, facing the basket.
• (Essential) Another version of the shooting footwork drill that can be used as a
warm-up progression is the Hays footwork drill, developed by Dan Hays at Okla-
homa Christian University. It is simple and quick and encompasses pass pickups
and footwork for shots from a pass as well as footwork from a dribble. It is carried
out from elbow to elbow at the free-throw lane (or from side to side anywhere near
the free-throw lane, 15 to 18 feet [4.6 to 5.5 meters] between shooting spots). The
footwork for shooting from a pass begins at the left elbow. The player faces the op-
posite sideline and, using a two-handed underhand pass to herself with backspin,
tosses the ball near the opposite elbow and moves toward the pass while perform-
ing proper footwork (hopping from the basket-side foot and landing with a quick
stop facing the basket). The player then snaps the ball to the shooting pocket with a
two-handed pickup move. The player picks up the spot target early (verbal prompt:
focus) and tests body balance by using a short, quick shot fake (with the legs bent
and locked and the heels staying down) but does not shoot the ball. Next, the player
faces the opposite sideline, uses a bounce pass to herself
at the height of the chest or the shooting pocket, and re-
peats the pass footwork, going from right to left. This time,
the hopping foot is the right foot. This process is repeated
10 times—5 to the right and 5 to the left. This sequence
simulates, in the form of a warm-up, the action of catching
the ball and being ready to shoot from a pass with balance
(shot fake check) and quickness while moving to the right
or to the left. See figure 4.34.
Follow with 10 repetitions of shooting from an outside-
hand dribble; in other words, the right hand is used if drib-
bling from left to right, and the left hand is used if drib-
bling from right to left. Players should focus on making a
good self-pass (the last hard dribble) as they hop from the
basket-side foot. The last dribble is a hard dribble that gets
the ball to the shooting pocket accurately and quickly (by
means of a two-handed dribble pickup) at the same time
E7294/Krause/F04.33/599775/mh-R2
5
4
3
2
1
Figure 4.33 Soft-touch or circle-spot
shots.
Figure 4.34 Hays footwork (elbow-to-
elbow) drill.
E7294/Krause/F04.34/599777/mh-R1
Right foot hop
Left foot
hop
128 BASKETBALL SKILLS & DRILLS
that the basket-side foot is used to hop into a quick stop.
Initially, no shot is taken, but a shot fake is made as a
balance check (phase 1); then a shot is taken after a self-
pass or dribble (phase 2).
• (Essential) In the work-the-arc drill for shooting from a
pass, players toss a high, two-handed underhand pass
to themselves in a desired spot and use proper foot-
work to land in triple-threat position, facing the basket
and ready to shoot. This drill should be preceded by the
pass-pickups footwork drill around the three-point field-
goal line (clockwise and counterclockwise). No shots are
taken—the focus is on footwork and using a shot fake
to check balance (figure 4.35). On pickups, the ball is
snapped quickly into the shooting pocket from a two-
handed pickup or grab. Whether receiving a pass or
completing a dribble, players must get the ball quickly
into shooting position. In this drill, players should make a
pass to themselves, hop from the basket-side foot, land
Figure 4.35 Work the arc: Perform pass
and dribble pickups around the three-point
line (no shots are taken; focus on footwork
and shot fakes).
E7294/Krause/F04.35/599776/mh-R2
facing the basket with the feet ready, use a shot fake to test balance, and then repeat
the sequence (clockwise and counterclockwise).
• (Essential) In the work-the-arc drill for shooting from the dribble, players make a
dribble-drive move to the left or right, perform a quick stop facing the basket, and
shoot from triple-threat position from a spot 15 to 20 feet (4.6 to 6.1 meters) from the
basket. Preliminary work should be done on pickup technique. The footwork is iden-
tical to that used for shots from the pass. With a dribble, the last hard dribble occurs
as the basket-side foot is used to hop into a quick stop facing the basket (with the
lead [shooting] foot forward). Coaches can have players take the last dribble with
either hand while hopping from the opposite foot with a quick stop and landing in the
triple-threat position. Before taking shots from the dribble, players go from baseline
corner to baseline corner, tracing the three-point arc while using proper footwork
and practicing the dribble pickup technique (snapping the ball into shooting posi-
tion). Players should practice the technique with both clockwise and counterclock-
wise motion. They should dribble with the outside hand, hop from the basket-side
foot as the last hard dribble drives the ball into the shooting pocket (two-handed
pickup), land facing the basket with a quick stop (with the feet ready), use a shot
fake to test balance, and then repeat the sequence. Work the arc counterclockwise
and clockwise for one circuit.
Shoot-the-Line and Soft-Touch Shooting
Purpose: To review shooting mechanics and build confidence by shooting on a regular
basis (recommended warm-up for each practice); see the previous Field-Goal Progres-
sion drill for a description of shoot-the-line form shots.
Equipment: Ideally, one ball and one basket per player (no more than four players per
basket)
Procedure: Five soft-touch shots are taken at each of five spots (five shots at five spots)
with specific goals appropriate to players’ skill level. For example, beginners might shoot

SHOOTING 129
or make one shot at each spot (two backboard shots at 45 degrees
and three rim shots—corner, middle, corner); see figure 4.36. The
mental goal is to develop the habit of full focus (pick up the target
early and see or hold for one count). Intermediate players, in con-
trast, might be able to make two or three shots at each spot, and
advanced players might set a goal of making only swish shots at
the five spots (make three or make up to five in a row). Of the two
soft-touch options—one-handed and two-handed—either or both
can be used, but especially the one-handed version, in which the
player goes to the spot, places the ball in the whole shooting hand
(palm up), locks and loads the ball into the shooting pocket, places
the balance or bookend hand to the side of the ball (not touching
it), and shoots the shot to freeze the follow-through.
Coaches can emphasize getting the feet ready, sitting into the
shot, putting the ball in the shooting pocket, using full focus (ver-
bal prompt focus), and executing a full follow-through. Each player
goes through the checklist to review the basics on each shot. The same drill of five shots
in five spots can also be done with the use of the balance hand (touching the ball) added.
The essential two steps of field-goal progression should be performed each time a player
steps onto the floor to practice. Every time a player picks up a basketball, it’s an opportu-
nity to relearn shooting and self-teach shooting basics; the essential shoot-the-line form
shots and soft-touch shots should be taken every time.
Players can also use soft-touch shooting to apply mental practice and use verbal
prompts: focus, feel (during the shot), feedback (after the shot—yes or net on makes;
shot location on misses).
Groove-It Spot Shooting
Purpose: To evaluate shooting effectiveness and range
Equipment: Ball, basket, and court area
Procedure: At any spot or shot, make at least 5 of 10 shots (prefer-
ably 7 of 10). The preferred spots or shots are shown in figure 4.37.
Select the distance and spot for each location, and set practice
goals, based on the desired game goal.
Options: To groove the shot at each spot, start at five locations
inside the arc with a live ball.
• Pass right and left. Repeat sets of 10 shots until reaching the
goal for made shots. Start close and work your way out.
• Use a shot fake and dribble right and left with proper foot-
work. Shoot sets of 10 shots until the goal is met. Start close
and work your way out.
• Face away from the basket in front of the five spots at 10 feet (3 meters) from the
basket. Toss a two-handed, underhand self-pass at 12 feet (3.7 meters), use a two-
handed pickup and a PPF rear turn (or EPF footwork) to face the basket, and shoot
using mental-edge technique (focus, feel, feedback). Players should keep track of
their personal records for consecutive makes at each spot.
E7294/Krause/F04.36/599778/mh-R1
Shoot
the line
Soft touch
Soft
touch
Figure 4.36 Soft-touch or shoot-the-line
shooting drill.
E7294/Krause/F04.37/599779/mh-R2
Figure 4.37 Groove-it shooting spots.

130 BASKETBALL SKILLS & DRILLS

Pairs In-and-Out Shooting
Purpose: To teach shooting in a 2-on-
0 game-simulation drill that covers all
shooting situations
Equipment: Basket and one ball per
pair of players (or per group of three
or four)
Procedure: This continuous, com-
petitive shooting drill, shown in figure
4.38, incorporates multiple principles
of movement: passing and catching,
shooting, and offensive rebounding.
Players are grouped in pairs (one or
two pairs per basket). The basic rules
are as follows:
E7294/Krause/F04.38/599780/mh-R2
Shot
Follow
shot
R
Figure 4.38 Pairs shooting (one pass).
• All pairs begin on the coach’s command, starting with the passer under the basket
with a ball.
• A teammate gets open for a shot, calls the passer’s name, and receives a pass for
the shot (catch ball with feet in the air, catch and face basket when necessary).
• Shooters rebound their own shots until a basket is made (always assuming that the
shot will be missed), then gain possession after the make to pass to a teammate for
a shot.
• The receiver must always get open and call the passer’s name.
• Passers make a quick, on-target pass at the right time to a teammate for a good shot
and go quickly to another location near the edge of their shooting range, ready to
move only when a teammate has scored and has possession of the ball.
Options
• Groove: Each player gets open and shoots (catch with feet in the air and repeat
sequence) for 30 seconds while a teammate rebounds; players take turns shooting
and rebounding, changing roles every 30 seconds.
• The shooter makes five baskets, then switches positions with a teammate.
• The 10-scores game: This game, played to 10 made baskets (or 5), involves players
moving and taking shots from a pass and from a dribble.
• The coach designates the type of pass (push, overhead, air, bounce) and the type
of shot (regular; shot fake and shot). This drill is excellent for practicing passes with
the nonpreferred hand (passers can be required to use only the nonpreferred hand
in order to increase repetitions with it).
• Pressuring the shooter: This option involves the rebounder passing to the shooter
and then making a poor defensive closeout while applying some type of false pres-
sure (going by, shouting, putting a hand in the shooter’s face, making contact). The
defender cannot block or alter the shot or foul the shooter. At least once per week,
use the variation of having defenders pressure shooters with the hands up in order
to help shooters develop the greater arc needed for shooting over defenders.
• Three-pass shooting with a post-up involves shooting from an outlet pass (passer
posts up), a pass to the post (passer cuts), and a return pass for a shot (figure 4.39).

SHOOTING 131
• The beat-the-star variation places
shooters in competition with a
designated star shooter; a partner
acts as a rebounder. The game
begins with one free throw and
continues with players shooting
set or jump shots. Scoring rules
for free throws give challengers
1 point for a successful shot and
give 3 points to the star on miss-
es; similarly, challengers score 1
point for successful field goals,
whereas the star gets 2 points for
misses. The game can be played
to 11 or 21 points.
Make-It-Take-It Row Shooting
Purpose: To teach the skill of shooting in a self-testing format adjusted to standards set by
the coach or player. One example would be a field-goal shooting goal of three made shots in
a row followed by a made free throw before going to another spot or doing a different move.
Equipment: Basket and one ball per player
Procedure: All tasks in this drill are self-testing and require the player to meet effective
scoring standards (a selected number of made field goals in a row to earn the right to
shoot the free-throw challenge). All moves are to be carried out consecutively without rest
to practice shooting in game situations.
Players make dribble-drive layup moves from the left and right corners (with a foot on the
sideline), from each hash mark, and from the top of the key. Players are allowed only one
drib-
ble and must make three baskets in a row from each spot. Frontcourt players who can dunk
the ball must do so by dribbling only once. The objective is to cover the greatest distance
possible with a layup scoring move. After each row of three shots is made, the player earns
the right to shoot free throws. The percentage goal must be met on free throws or the player

repeats the move and the free throws (four of five free throws for college players; three of
four
for older (secondary-school level) players; two of three, or one of two, for younger players).
Advanced Options
• Consecutive miss: Shoot from a spot with a selected move until two shots in a row
are missed.
• Consecutive swish: Shoot from a spot with a selected move until a swish shot (net
only) is made twice in a row.
• 40-point scoring: Use three different scoring moves from each of five spots along
the three-point line: on the baseline on both sides, on the wing on both sides, and
from the top of the key. The first shot is a three-pointer from a spin pass. If the player
makes it, 3 points are scored. The second shot is a quick one-dribble pull-up jump
shot worth 2 points. The third shot is a drive after a shot fake and a power layup at
the basket for 2 points. Players finish with five free throws for 1 point each. Thus a
perfect score is 40 points—7 points per spot plus 5 points for the free throws.
• Three-pointer contest: Shoot five three-point shots from the same five spots used in
the 40-point scoring drill. Players get 1 point for every shot made, except for the fifth
shot, which is worth 2 points. Thus a perfect score is 30 points.
E7294/Krause/F04.39/599781/mh-R2
R
(1)
(2)
(3)
Figure 4.39 Pairs shooting (three passes
with post-up).

132 BASKETBALL SKILLS & DRILLS

Individual Grooving the Shot
Purpose: To teach players to self-assess the mechanics of the shooting hand and the
balance hand while increasing shot range
Equipment: Ball, basket, and teammate or coach to rebound and provide feedback
Procedure: Players “one-hand form-shoot” along a straight line directly in front of the
basket moving toward the free-throw line and the half-court line. Players start in close in
the free-throw lane, about 6 feet (1.8 meters) in front of the basket. They place the ball
on the whole shooting hand (held horizontally facing up). Then, using only the shooting
hand, they rotate the ball and move it to the shooting pocket (locking the wrist in, bending
it back, and placing the ball on the shooting tray or forming an L). With the bookend hand
directly to the side of the ball (but not touching it), players shoot a high-arcing shot and
hold the follow-through for one full count. They move progressively away from the basket
while using correct form, which allows them to quickly find their effective range (where
they can hit more than 50 percent of their shots).
This drill also provides a good check of vertical-plane alignment of the shooting hand, el-
bow, and shoulder (keeping the ball straight) and of using the legs for power. Players should

keep the shot the same with the arms while getting lower for added leg power. The
shooter’s
partner can help check position and mechanics. The balance hand should finish high. As
the shooting elbow is locked and the wrist is extended and loaded for the shot, the fingers
of the balance hand should be vertical at the end of the shooting wrist on the follow-
through.
Players can also use the pedestal-pocket shot with both hands, usually at close distances.
Field-Goal Correction
Purpose: To focus on specific problem areas for shooters
Equipment: Ball, basket, and coach
Procedure: Focus on one problem at a time: footwork, balance, shooting hand, balance
hand, starting shooting pocket, or follow-through. Practice from the inside out: 3, 6, 9, and
15 feet (0.9, 1.8, 2.7, and 4.6 meters) from the basket. The coach should view the shooter
from the side and from behind.
Options
• Footwork and handwork: Players move right and left while carrying the ball in the
shooting pocket, then use a quick stop after a basket-side foot hop to shoot, and
then dribble right and left to shoot with proper footwork.
• Balance: Check head and foot position before and after the shot (head straight or
toward the basket—not left, right, or away).
• Shooting hand and balance hand: Check the shooting hand at the start (elbow in
an L position, wrist fully loaded and extended at the start) and at the finish (55- to
60-degree release, follow-through held firm but relaxed). Similarly, check the bal-
ance hand at the start (at the side of the ball, vertical or at a right angle to the
backboard and the floor) and at the finish (balance hand slightly off the ball, elbow
still flexed, shooting hand above balance hand and wrist fully flexed on the follow-
through, or fingertips of balance hand at the level of the shooting wrist).
• Swish game (plus 3, minus 2): Count a swish shot as 1 point, a make that hits the rim
as 0, and a miss as –1. A score of +3 wins the game, and a score of –2 loses (the
winning and losing scores can be modified according to skill level).

SHOOTING 133
• Consecutive swish: Players shoot until they fail to swish two shots in a row; keep
track of swishes made in a row.
• Consecutive misses: Players shoot until two or three shots in a row are missed; re-
cord the number of field goals made.
Coach Hutter’s Competitive Shooting
Adapted by permission from D. Hutter, “Practice Drills and Ideas,” accessed February 23,
2018, http://www.
coachhutter.com/team-drills.
Purpose: To provide players and coaches with a set of competitive shooting drills from
a highly successful basketball program. These drills were developed by Dennis Hutter,
head coach of the women’s basketball team at Mayville State University. Hutter is an ex-
cellent coach who has adapted ideas from the Krause–Meyer coaching tree to develop a
successful basketball system, including a variety of competitive shooting drills. His shoot-
ing guidelines are as follows:
• Make workouts like a game so that your games can be like your workouts.
• The best way to improve the team is to improve individual players’ skills; when each
player gets better, the team gets better.
• Compete “against the game.”
• Take game shots at game spots at game speed.
Equipment: One ball per player (or per player and partner), court area with basket (at
least half court)
Procedure: Each shooting drill is competitive—against self, time, or a standard—and can
be done either individually or with a partner.
1. 10 Shots Without Missing 2 in a Row
• Work at game pace.
• If 2 shots are missed in a row, a swish on the next shot restores the string of
makes.
• All shots are taken from a self-pass for rhythm shooting; the drill can also be
done with stop-and-pop shots from a dribble as well as jump shots from the
self-pass.
2. 10 Shots in 75 Seconds
• All shots are shots taken from a self-pass for rhythm shooting.
• Work at a pace that allows a chance to make 10 shots.
• Get your own rebound on all shots.
• This is a great drill for warming up players before a workout begins.
3. 25-Point Shooting Drill
• Alternate between three-point field goals and “stop-and-pop” two-point
jump shots taken after a drive and pull-up.
• Shooter attempts to get 25 points within 2 minutes.
• Do not catch the ball in the same spot twice in a row; use the entire half
court.
• Alternate between the right hand and the left hand when attacking the rim.
• Use a teammate rebounder for this drill.

134 BASKETBALL SKILLS & DRILLS

4. 10 Spots in 2 Minutes
• Shoot from 5 spots—corner, wing, top, opposite wing, and opposite cor-
ner—then go back the other way for a total of 10 spots.
• Shoot from a spot until you make two in a row, then advance to the next spot.
• Shots 5 and 6 are taken in the same corner.
• Use a rebounder for this drill and an extra ball if there are long rebounds.
5. 21-Point Conditioning Challenge
• Use a coach or partner passer.
• Starting at the half-court line, sprint toward the three-point arc, receive a
pass at the arc, and begin shooting continuously in the following order:
a. Drive in, shoot a layup, and then sprint back to the half-court line.
b. Attack the rim, shoot a stop-and-pop, and then sprint back to the half-
court line.
c. Shoot a three-pointer from the top of the key, then sprint back to the
half-court line.
• Layups are worth 1 point, stop-and-pops 2 points, and of course three-
pointers 3 points.
• Continue the indicated shot order until 21 points have been scored.
6. 30-Point Shooting (Pairs)
• Use a rebounder/passer for this drill.
• Shoot from four spots: wing, pro spot (elbow), pro spot (elbow), and wing.
• Set up a chair or cone at each spot, just outside of the three-point line.
• Receive a pass and attack the chair or cone.
• Shoot three shots from each spot: a stop-and-pop three-pointer, a right-to-left
crossover to a stop-and-pop, and a left-to-right crossover to a stop-and-pop.
• Shoot the ball and then sprint back behind the chair or cone to receive the
ball and make the next move.
• Stop-and-pops are worth 2 points, and three-pointers are worth 3 points.
• Thus the top possible scores for the spot shooting are 7 points for each
spot and 28 points in total. Finish the drill with two free-throws (each worth 1
point) for a grand total of 30 possible points.
• The scoring goal is 23 points or higher.
7. 44-Point Shooting
• The goal is to complete the drill within 90 seconds. Use a rebounder.
• Receive the ball at the top of the key and attack for a layup—two with the
right hand and two with the left hand (alternating hands).
• Receive the ball at the top of the key, attack the rim, and shoot a stop-and-
pop—attacking twice with the right hand and twice with the left hand.
• Shoot eight three-pointers (at the wing, pro spot, wing, and pro spot) on the
left side and eight on the right side.
• Finish with four free throws.
• Layups and stop-and-pops are worth 2 points each, three-pointers are worth
3 points each, and free throws are worth 1 point each—for a total of 44 pos-
sible points.

SHOOTING 135
8. 6-Minute Free-Throw Game
• Make 16 free throws in 6 minutes.
• Free throws are shot in one-and-one fashion: If both are made, sprint to the
half-court line and back; if the first is made and the second missed, perform
one full-court sprint; if the first is missed, perform a double sprint (down and
back twice).
• For all sprints, dribble the ball with the weak hand.
• Continue the drill until either 16 free throws have been made or the 6 min-
utes have expired.
Don Meyer’s Competitive Shooting
Used with permission of Don Meyer.
Purpose: To provide players and coaches with competitive shooting drills developed by
legendary coach and master teacher Don Meyer
Equipment: One ball per player (or per line, as needed) and a half-court space
Procedure: Set up the drill with three lines per basket and one ball for each line. Keep the
lines small by using more baskets when possible.
1. Three-line warm-up: Start in close to the basket (10 to 12
feet, or 3 to 3.7 meters, away), as shown in figure 4.40. Shoot
a perfect shot—shoot straight, get the shot up, hold a high
one-count follow-through, and land 6 inches (15 centime-
ters) closer for balance. Players rebound their own shots and
pass to the next player in line. Rotate right or left but do not
go under the basket. After a line hits three in a row, the first
player in that line moves back progressively one step. The
coach sets the duration for this warm-up (5 minutes or more).
2. Three lines with a closeout: One shooter is out on the court
and three lines are formed under the basket (one ball per
line). First player in line will pass and close out low with high
hands to pressure the shot. The closeout player becomes
the next shooter.
3. Contest to 10 shots made: Take game shots at game spots and game speed. On
the second miss in a row, younger players take a layup and older players take a
regular redemption shot (must get a swish or BRAD).
4. Five in a row: Inside players flash to the high post and shoot a jump shot. Players re-
bound their own shot, and put-backs count as makes if the ball never hits the floor.
5. 25-shot drill: If solo, start with a spin pass to self; if paired, one player rebound-
passes to the shooter and pressures the move or shot.
• First 5 shots (pairs or three lines): Shoot guarded layins off of one foot or two
feet. Use the glass whenever possible. Try to make it clean (swish or BRAD).
• Second 5 shots: Call for the ball and shoot jump shots inside the arc.
• Third 5 shots: Use a one-inch (2.5-centimeter) shot fake (no foot fake out-
side the arc). Get to the basket on one dribble or use two dribbles on a hesi-
tation move. Use one long layin when attacking outside the free-throw lane.
• Fourth 5 shots: Shoot outside the arc. Use a shot fake, drive, and pull-up
jump shot. Use at least one step-back or hop-back move.
E7294/Krause/F04.40/599782/mh-R1
1
4
2
Figure 4.40 Three-line field-goal warm-up.

136 BASKETBALL SKILLS & DRILLS

Troubleshooting Common Shooting Faults
• Problem: Improper footwork and stance
Correction: Reteach footwork and stance; begin shooting close to basket.
• Problem: Negative arm–ball motion (two-count shot)
Correction: Pass to shooting pocket; shooter uses only one-count shot.
• Problem: Vertical misalignment (e.g., elbow out when viewed from behind)
Correction: Shoot the line, then shoot soft-touch shots.
• Problem: Hang on shot, shoot on way up
Correction: Start with close shots and ensure shot is taken just before peak of jump.
• Problem: Balance- or bookend-hand drag
Correction: Use one-handed form shots, then progress to close in two-handed shots.
• Problem: Watching the ball rather than the target
Correction: Start with soft-touch shots and laser focus on target each shot; use “fo-
cus” verbal reminder.
• Fifth 5 shots: Shoot three-pointers. The partner passes to the shooter, then
closes out to apply simulated pressure and attempt a block (no fouls). Each
pair takes 6 minutes total.
• If using as a team drill, shoot free throws when done (modify shot choices
for inside players).
6. Free-throw swish drill: A swish or BRAD is worth 1 point, a make that hits the rim is
worth 0 points, and a miss is worth −1. Play to 2 (win) or −2 (lose). Great shooters
can play to 6 (win) or −2 (lose). This is an excellent competitive-pressure drill for
developing concentration.
7. Team free-throw drill (end of practice): Each player shoots a one-and-one. The
coach sets the goal for made free throws and the team penalty if the goal is not met
(e.g., full team of 12 must make 20 free throws). Players can be divided into two
teams of six to eight each at two baskets.
Gonzaga Competitive Shooting
Purpose: To provide players and coaches with a set of competitive shooting drills
Equipment: Two or three players per basket with designated number of balls
Procedure: Players catch passes with the feet in the air and land in triple-threat position
facing the basket. The coach designates the type of pass (regularly including a one-hand,
off-hand pass). Passes must be made on time and on target; every pass is a shot to a
teammate. Players should get open to shoot game shots at game spots and game speed.
1. Pairs with a ball: Players do one-pass shooting (rebound own shot or partner re-
bounds), two-pass shooting (partner rebounds), and three-pass shooting (rebound
own shot).
2. Timed shooting: Pairs try to make 50 three-pointers within 4 minutes.

SHOOTING 137
3. In and out: This drill is run with three players and two balls. Players shoot in two
spots (corner-wing and wing-top) on both sides. They shoot for 1 minute, then ro-
tate—3 minutes per side for three players.
4. Three in a row plus a free throw: This drill can be done in pairs or alone with a spin
pass. The coach designates a game move and a goal, such as making three elbow
shots in a row. Players must meet the goal, then either make a free throw or repeat
the drill. Use all of half-court and a variety of moves.
5. 100-point shooting: Players shoot from five spots: baseline, wing, top of key, op-
posite wing, and opposite baseline. At each spot, they shoot three shots: three-
pointer, midrange shot, and layup. They finish with one dribble layup from the arc.
Players shoot at each spot as long as they make baskets. Each made shot scores
3 points, and a 1-point bonus is added for a swish or BRAD. The goal is to score
100 points before going through all three shots (three-point field goal, drive pull-up,
layup) at all five spots (corners, wings, top of key). The drill can be timed, so each
shooter scores max points for all spots.
Free-Throw Progression
Purpose: To provide players with a daily drill that reteaches and reviews free-throw funda-
mentals during each practice period
Equipment: Ball, court area, and basket
Procedure: This drill consists of four parts and associated learning reminders.
1. Five slams: Players each grab a ball and slap or slam it hard on the sides with both
hands simultaneously to check proper grip.
Learning reminder: Shoot the ball with the whole hand—spread the fingers
and form a V with the thumb and first finger. Feel it.
2. Players shoot five form shots from any spot without a shooting target. The shoot-
ing foot is placed perpendicular to any line on the court (e.g., sideline) and at any
spot. Players shoot five free throws using perfect technique and holding the follow-
through until the ball hits the floor.
Learning reminders:
• Find the spot.
• Establish a ritual.
• Bounce at the bottom to one-count shot.
• Use a full follow-through (exaggerated).
• Shoot up, not out.
• Use the legs for power (up on the toes).
• Keep body weight forward on the finish and freeze the follow-through.
3. Players shoot at least 10 soft-touch free throws from a position 6 feet (1.8 meters)
in front of the basket with complete physical technique. When the coach or the
player is satisfied with proper physical technique, add the mental-edge technique
for confidence building. Set appropriate goals for free throws made (from 5 makes
to 8 or 9 makes to 10 swishes) depending on skill level.
Learning reminders:
• Apply the four physical technique essentials: find the spot, establish a ritual,
start the same, and finish the same.
• Add mental-edge technique: focus, feel, feedback.

138 BASKETBALL SKILLS & DRILLS

4. Players go to the regular free-throw line and shoot free throws with perfect technique.
They use all of the correct physical and mental techniques to groove the free throw.
Use these techniques in competitive situations. Set goals and keep written records.
Learning reminders:
• Use all physical techniques.
• Use all mental techniques.
Foul-Shot Golf
Purpose: To teach players to shoot free throws with competition against self or others
Equipment: Ball and basket
Procedure: Players start at the foul line and play 18 “holes.” A birdie is assigned for each
swish (–1 point), par for each nonswish make (0 points), and a bogie for each miss (1 point).

Players get three shots at a time, or a round of three holes, until all players have taken a
round. The game is over after six rounds, and the player with the lowest score wins.
Knockout Shooting
Purpose: To practice shooting in a competitive situation
Equipment: Two balls and three to eight players per basket
Procedure: Players form lines at the selected spot (at least two lines at each basket). The
first player shoots and rebounds his or her own shot. If the shot is made, the player passes
back to the next open teammate in front of the line and goes to the back of the line. The
next shooter must make the shot before the next player in line with a ball makes a shot
to attempt to knock out the player ahead. If the shot is missed, the player follows and re-
bounds the shot to make the rebound shot before the next outside shooter makes an out-
side shot. If the next shooter makes the shot first, the layup player is knocked out—to run
a lap, sprint to the opposite wall and back, or perform some other penalty action before
returning to the game (temporary knockout). Play for 1- to 3-minute periods. The coach
can also set up the game with permanent knockouts until a final winner is determined.
Row-Plus Free-Throw Shooting
Purpose: To provide competitive shooting practice
Equipment: Ball and basket
Procedure: Any player can compete against the game by selecting a move, shot, or situ-
ation and practicing it until a certain number of field goals are made in a row and a free
throw is made. This approach to shooting practice is modified from an approach used by
many great offensive players, notably Bill Bradley, who used it in high school (Crystal City,
Missouri), college (Princeton University), and the professional ranks (New York Knicks) to
become one of the best scorers in the history of the game.
For example, a player might start at the top of the key and select a move consisting of
a shot fake or a dribble drive with a pull-up jump shot at 15 to 18 feet (4.6 to 5.5 meters).
The goal might be to make two in a row plus a free throw. That is, the player would repli-

SHOOTING 139
cate the move and the shot at game speed until two field goals are made in a row, then
follow with a made free throw before going on to another move or shot. If the free throw is
missed, the player must start over and repeat until the goal has been met (two made field
goals in a row plus a free throw). Elite players might use goals as challenging as five in a
row (or more) plus a free throw in order to compete against the game.
Footwork and Field Goals (or Free Throws)
Purpose: To provide competitive shooting practice
Equipment: Ball, basket, and half-court playing area
Procedure: Possible goals for this game include making a certain number of shots in a row
(field goals or free throws) and avoiding consecutive misses either for a certain period of
time (e.g., 3 minutes) or for a given number of attempts (e.g., 10, 15, or 20). The player with
the ball may select any field-goal situation (e.g., shot from a pass or from a dribble) and
any move (e.g., pull-up jumper, layup, runner). A free-throw situation can also be selected.
The competing player begins the drill facing away from the baseline while positioned
directly under the basket in the triple-threat position. Using a shot fake, the player exe-
cutes either a direct drive or a crossover drive (any live-ball move) for two or three dribbles

in order to get as far past the three-point line as possible, then terminates the move with
a controlled quick stop. On landing in a triple-threat quick stance, the player executes a
PPF rear turn to face the basket in triple-threat position. The player then either tosses a
two-handed underhand pass to a shooting spot (in order to shoot from the pass) or uses
a shot fake and a dribble-drive or live-ball move (shot from a dribble) into a competitive
move (e.g., layup or pull-up jumper). The player assumes that every shot is missed and
either retrieves the made shot out of the net or follows the missed shot until it is made.
After capturing the ball with two hands from the net and chinning it, the player, now facing
the baseline, executes a PPF rear turn to face away from the basket in a new direction
and repeats the cycle. Here is the sequence in a nutshell: Capture and chin the ball, use
a live-ball move away from the basket for two dribbles, use a quick stop, execute a PPF
rear turn to face the basket, shoot from a pass or dribble, do a completion move, be ready
for a possible rebound, and repeat.
During the drill, the player needs to use all live-ball moves and the entire half court—
drive to the corner, the wings, and the out-front position. A goal may be set for number of
repetitions (10 to 20) or field goals made in a row. If the player is doing footwork and free
throws, the drill terminates each time the player quick-stops and executes the PPF rear
turn to face the basket. At that time, the player goes to the free-throw line. The drill contin-
ues again after a free throw is either made or missed. This drill allows players to practice
a considerable amount of footwork with the ball in a short time. As many as four players
can do the drill at once on each basket.
Mental Practice for Field-Goal and Free-Throw
Shooting
Purpose: To teach players to use automatic verbal prompts, shooting rituals, and self-
evaluation to build shooting confidence
Equipment: Ball and basket

140 BASKETBALL SKILLS & DRILLS

Procedure
1. Mental-practice shooting: Carry out at least 25 perfect shots daily in a quiet, fo-
cused place.
• Field goals: Use verbal prompts—focus (on the back-of-the-rim target), feel
(feel the shot from successful start to finish, from shooting pocket to held
follow-through), and feedback (yes, net, swish, and money on made shots).
Note: There are no misses in the mind to analyze and forget.
• Backboard shots: Focus (high), feel (soft), and verbalize feedback on a
make. Visualize every shot perfectly in the mind: see it, hear it, and feel it.
Players should paint the perfect picture in their minds.
• Free throws: Use verbal prompts—see and say net or swish (or nothing but
net) during the preshot ritual (e.g., bouncing ball; focus, feel, feedback [yes
or net]).
2. Soft-touch: On each soft-touch or close shot, use verbal mental-practice prompts.
• Rim shots: focus, feel, feedback (yes or net)
• Backboard shots: focus high, soft, feedback
3. Mental-practice personal-record test: Chart status and progress weekly. From a
12-to-15-foot (3.7-to-4.6-meter) distance, shoot as many shots as possible in 5
minutes to attain the greatest number of consecutive makes in that time.
• Rim shots: Move from the baseline around the court to the opposite side
of the free-throw lane on the baseline. Keep track of consecutive makes in
5-minute periods in two situations:

− Use a two-handed underhand toss to the 12-foot (3.7-meter) spot; catch

facing away from basket. Using the PPF, face and focus, shoot (feel),
and use feedback. Time and record results for a 5-minute period (per-
sonal record for doing catch-and-face).

− Use a two-handed underhand toss to the shooting spot; after the catch,
land facing the basket and then use verbal prompts (focus, feel, feed-
back) while shooting. Record the number of consecutive makes in 5
minutes (personal record for facing the basket).
• Backboard shots: From a 12-to-15-foot (3.7-to-4.6-meter) distance on the
45-degree angle with the backboard, players should go from side to side
(between two spots) while shooting backboard shots in two situations: (a)
catch-and-face and then (b) face-and-shoot. Use verbal prompts on each
backboard shot: high (focus), soft (feel), and yes or net (feedback). Record
the number of consecutive makes in a 5-minute period.

− Catch-and-face (personal record for the backboard): Land facing away

from the basket, turn and face, and then shoot (personal record for fac-
ing the backboard). Record the 5-minute personal record.

− Land facing the basket and shoot (catch and shoot) or use an EPF drive
(personal record for 5-minute period).
Long Layup Attack
Purpose: To provide perimeter players with a long layup attack-the-basket drill from the
middle of the court (free-throw lane extended)
Equipment: Perimeter players at the top of the key with a ball (option for later: basket
defender under the basket)

SHOOTING 141
Procedure: A perimeter player starts with a
live-ball or dribble move from top of the key
on the free-throw-lane alley to draw the shot
blocker (big defender) away from the bas-
ket (up or out) for a pass down (behind) or
to take a long-layup, one-hand “runner” shot
off the backboard (see figure 4.41). After the
long-layup skill is achieved on the move with-
out a defender, a shot blocker (big defender)
may be added for a 2-on-1 situation. The
shot blocker can fake-help or help to block
the long layup, thus forcing the attacker to
use a dump-down pass to a cutting or post-
ing teammate.
Hop-Back (Step-Back) Shooting
Purpose: To work with perimeter players on the hop-back (step-back) shooting skill
Equipment: One ball for each of three to five perimeter players and one basket (option
for later: defender)
Procedure: An offensive player on each
wing penetrates on a dribble drive to the
middle or to the baseline, then pushes off the
inside (basket-side) foot using a hop-back
move for a three-point jump shot. A defender
may be added later in two stages: first a soft
dummy defender, then a live defender. The
offensive player must attack the basket in or-
der to get the defender to commit to defend-
ing the drive, then use the hop-back move
opposite and away from the defender (figure
4.42) to shoot a three-point field goal. The
drill may be modified to utilize a hop-back
move sideways along the three-point arc af-
ter a defensive “fly-by” closeout and a hop
back for a three-point field goal.
Gonzaga Full-Court Lay-and-J (Peer-Pressure Drill)
Purpose: To practice shooting jump shots and layups as well as passing and catching
skills (peer-pressure team-scoring drill)
Equipment: Full basketball team, five basketballs, and a full court (both game baskets)
Procedure: Setup for this 5-minute drill begins with the players forming three lines on one
baseline (A in figure 4.43a) and one ball provided to the player at the head of the middle
line (under the basket). At the opposite end of the court (B in figure 4.43a), two players
stand on the baseline—one on either side of the basket and each with a ball. Another
player waits under the basket to rebound the layup and then to return down the court in
the middle lane for a layup at the other end of the court (see figure 4.43b).
E7294/Krause/F04.41/599783/mh-R1
X
Big defender
1
2
3
Shot
Attack
area
Figure 4.41 Long layup attack drill.
E7294/Krause/F04.42/599784/mh-R1
Figure 4.42 Hop-back (step-back)
shooting drill.

142 BASKETBALL SKILLS & DRILLS

The drill starts at baseline A in the middle line under the basket. The middle player with
the ball passes once to the wide lane player on either side (to the right in figure 4.43a),
then gets a return pass and ends with a layup in the middle lane. The two wide lane play-
ers then shoot finish jump shots at the opposite end of the court. Three players return to
start and repeat the drill (see figure 4.43b).
Shooting goal: The team tries to make 50 to 100 shots (total layups and jump shots)
within 5 minutes, depending on the coach’s goal for shooting jump shots (inside the three-
point arc; beyond the arc; shot fake beyond the arc and one-dribble pull-up; drive inside
the arc and hop-back beyond the arc). This drill is for taking game shots at game spots
at game speed. Coaches may choose to implement a consequence according to the
number of missed layups.
Pass–catch area shooting options are as follows:
1. Midrange jump shot
2. Three-point field goal
3. Three-point shot fake and one dribble to jump shot
4. Drive and step-back or hop-back to three-point field goal
E7294/Krause/F04.43b/599786/mh-R3
(1)
(2)
(3)
(4)
Layup
Figure 4.43 Gonzaga full-court lay-and-J drill: (a) first phase, (b) return phase.
E7294/Krause/F04.43a/599785/mh-R4
(1)
(2)
(3)
(4)
Layup
Pass
received
Quick stop
and catch with
feet in air
Starting baseline (A)
Opposite baseline (B)
a
b

SHOOTING 143
Gonzaga Scramble Pass-and-Catch Layup
(Peer-Pressure Drill)
Purpose: To perform game moves at game speed in the half court while working on foot-
work, passing and catching, and layup shooting (team peer-pressure drill)
Equipment: Half court and one basketball (can add a second ball to increase difficulty)
Procedure: Players form three lines under the basket on the baseline with one or two balls
in the first line (by spot 1) as shown in figure 4.44. The drill begins with the first player
passing accurately (on time and on target) to the first player in the adjacent line (spot 2)
and then moving in that direction by skipping two spots (e.g., in figure 4.44, 1 passes to
2 and moves to spot 4). The drill may be run counterclockwise and then clockwise as a
team peer-pressure drill with a goal of making 10 to 15
layups in a row in a given amount of time (or repeat the
drill).
Drill Rules
• Pass to the adjacent line, cut hard to the next line
(two spots away), and prepare for a return pass on
time and on target.
• The catcher gives a one-handed target and uses a
two-handed catch with the feet in the air.
• Catch the pass and continue the circuit with anoth-
er two-handed pass to the adjacent spot.
• When the player reaches spot 6, he or she pauses
to make a fake-and-break front cut for the layup
(giving a hand target).
• Rotation goes from spot 3 to 2 to 1 when passing
counterclockwise and in reverse order when pass-
ing clockwise.
• When the layup goal is met, reverse direction and
restart the rotation.
• Note the pass numbers in figure 4.44 (eight passes
per circuit).
• Reset (start over) on a missed layup or when the
coach observes an error in passing, catching, or footwork.
Wooden Wisdom
“Success comes from knowing that you did your best to become the best
you are capable of becoming.”
—John Wooden
E7294/Krause/F04.44/599787/mh-R1
(1)
(2)
7
5
8
4
1
Start
3
6
2
Layup
(3)
(4)
(7)
(8)
(6)
(5)
Figure 4.44 Gonzaga scramble pass-and-
catch layup drill.

This page intentionally left blank.

5
Outside
Offensive Moves
PLAYING THE PERIMETER
CHAPTER
“Drive and dish (penetrate and pitch), pass and catch, and create scoring chances
for teammates should be the job description of a perimeter player.
Scoring is important but a lower priority than passing to a teammate.”
Jerry V. Krause

146 BASKETBALL SKILLS & DRILLS

A
ny discussion of individual offensive moves should begin with the reminder that
basketball is first and foremost a team sport. Although every game situation pro-
vides opportunities for individuals to use offensive moves, the player with the
ball must coordinate offensive moves closely with four other players. Therefore, coaches
need to place limitations on individual offensive moves in order to ensure that players
use their strengths to benefit the team and get the best team shots.
Outside moves are offensive moves made around the perimeter of the court while
players are facing the basket. The four types of individual outside moves are as follows:
• Live-ball moves (made when the player with the ball still has a dribble available)
• Dribbling moves (made when the player is in the process of dribbling)
• Dead-ball moves (made when the player has used the dribble and stopped while
still in possession of the ball)
• Completion shots (taken after a dribble)
Proficiency in live-ball moves should be coupled with the development of quick, con-
trolled dribble moves that are used with purpose. All live-ball moves and dribble moves
should result in a pass, a dead-ball move, or a completion shot. This chapter describes
both live-ball and dead-ball moves (dribble moves and completion shots are described
in chapters 3 and 4, which address ballhandling and shooting, respectively).
Fundamentals of Live-Ball Moves
All live-ball moves begin with the player facing the basket in offensive quick-stance or
triple-threat position, from which the player can shoot, pass, or dribble. When making
moves, players should be in their effective shooting range. They should get into posi-
tion by catching the ball with their feet in the air and landing with a quick stop facing
the basket (i.e., catching and turning in the air). The alternative is to catch and face, in
which the player catches the ball with both hands, uses a quick stop facing away from
the basket, and makes a pivot (turn) into triple-threat position to face the basket (using
the nondominant foot as the permanent pivot foot [PPF] whenever possible and resort-
ing to either-pivot-foot [EPF] moves when necessary). Players should especially explore
live-ball moves as they catch the ball (i.e., on the catch).
Players should always protect the ball and keep it close to the body in a power posi-
tion (i.e., pit and protect the ball) while using the body as a shield. They provide this
protection in various ways: by keeping the ball near and under the shoulder with the
dominant hand behind the ball (wrinkle-wrist position and bent elbow) in triple-threat
position (figure 5.1), by dribbling the ball on the side opposite the defender during a
live-ball move, by using a catch-and-face RPA technique (chin-it and pivot to triple-
threat position) in defensive traffic (figure 5.2), and by not dangling the ball with the
elbows locked or extended. Dangling the ball in extended elbow position means danger;
specifically, it causes players to lose arm quickness with the ball, lose power to protect
the ball, and possibly lose the ball to a quick-handed defender.
One basic guideline for making outside moves with the ball is to conserve time and
space through balance and quickness. Whenever possible, all moves should be quick and
made in a straight line toward the basket. For instance, when moving past a defender
on a dribble drive, the offensive player should make slight shoulder contact with the
defender (figure 5.3), then use quick shot fakes and pass fakes while maintaining a
quick stance. The live-ball move (using the dribble drive past the defender) should be
made with a quick first step that is long and low and goes past the defender in a straight
line toward the basket. During dribble drives past a defender on a live-ball move, players
CRITICAL CUE
Start live-ball
moves from the tri-
ple-threat position
facing the basket;
use the rim–post–
action (RPA) vision
progression.

OUTSIDE OFFENSIVE MOVES 147

can remember the phrase shoulder to knees, feel the breeze. The driver must get the head
and shoulders past the defender’s trunk; at that point, contact will result in a foul on
the defender. This technique, referred to as winning the battle of the first step, can be used
to drive against the defender’s momentum or front foot.
Figure 5.1 Triple-threat position: (a) side view and (b) front view.
Figure 5.2 Catch and face—protect the ball: (a) Catch facing away from the basket;
(b) pivot (turn) to face the basket using the PPF or EPF footwork.
a
a
b
CRITICAL CUE
Dribble drive—
shoulder to knees,
feel the breeze.
b
Stepping
foot
Stepping
foot
Turning
foot
Turning
foot

148 BASKETBALL SKILLS & DRILLS

The rule of attacking the front foot or hand is applied when the defender is in a stag-
gered stance (see figure 5.3a). The most vulnerable part of the defender is the front-foot
or front-hand side because the defender must pivot before angling back to cut off the
dribble penetration. Therefore, the offensive player should be aware of the defender’s
front foot and hand and use a live-ball move to that side of the body whenever possible.
The war is won on the dribble drive when inside hip contact is made with the defender
to prevent defender recovery on the drive.
The offensive player should attack the basket on the dribble drive by accelerating to
the basket under control. Now or never means that the live-ball move is best made imme-
diately after the player receives a pass, before the defense can adjust, and while the defense
Figure 5.3 PPF direct drive: (a) attacking the front foot, (b) defender in staggered stance
(left
foot forward), and (c) defender forced to pivot to cut off the move, thus leading to hip
contact with
defender (winning the war) on the second step.
b
CRITICAL CUE
Live-ball move:
Attack the front
foot; drive against
defender’s mo-
mentum.
a
c

OUTSIDE OFFENSIVE MOVES 149

is moving. Drive against momentum, or in the opposite direction of the defender. If in
doubt about whether the dribble drive is open, the driver should pass the ball (pass first,
dribble last).
The primary objective of any live-ball move in the power zone is to score a layup
with one dribble (two or more dribbles are seldom needed). Players should read the
defense to anticipate chances to use a controlled dribble drive as a reaction to a defen-
sive adjustment. Players can challenge the defense even more if they learn to get by the
defender and control the dribble drive well enough to permit a last-second pass to an
open teammate or a pull-up for a shot. The penetrate-and-pitch is an excellent perim-
eter move that is needed by all perimeter players. When using the dribble drive, players
should be looking for the following options: layup, pass (using a quick stop first) if a
help defender appears, and pull-up jumper or completion move if another defender is
waiting at the basket.
Permanent Pivot Foot Moves
These moves should be used when a permanent pivot foot (PPF) is used for all live-ball
moves. The left foot should be used by right-handed players and vice versa. The fol-
lowing moves for getting by the first defender should be taught as basics: direct drive,
hesitation move, rocker step, and crossover drive.
PPF footwork is preferred for perimeter moves by younger players because it is sim-
pler and easier to learn than the either-pivot-foot (EPF) approach. Players can attain
greater skill levels with a PPF approach because it involves fewer choices and moves
to be learned. On the two primary live-ball moves—the direct drive and the crossover
drive—success occurs on the second step with the more comfortable and quicker pre-
ferred side and on the first step to the slower, less comfortable nonpreferred side. With
the direct drive, the battle is won on the first step (getting the head and shoulders past
the defender), whereas the war is won on the second step when hip contact is made on
the defender (i.e., locking in the defender with inside hip contact). For the crossover
drive (to the nonpreferred side, which is normally slower), both the battle and the war
are won on the first step as the driver gets the head and shoulders by the defender at the
same time that inside hip contact is made on the defender. The key to live-ball moves is
the long and low first step (shoulder to knees, feel the breeze).
Direct Drive This is a drive past the defender with the dominant foot. A right-handed
player should drive past the defender’s left side, taking the first step with the right foot
(vice versa for a left-handed player) by establishing triple-threat position in a staggered
stance and pushing off of the pivot foot without a negative step. The move is quick,
long, and low and is made with the stepping foot straight to the basket as the ball is
pushed to the floor and in front of the lead foot before the pivot foot is lifted. Finally,
a step is taken past the defender with the PPF to attack the basket. The breakdown
count consists of the explosion step with the dominant stepping foot (one) and the
player pushing the ball ahead to the floor on the dribble drive (figure 5.3) while the
second step is taken (two). U.S. rules require the ball to be out of the hand before the
pivot foot is lifted; for international play (FIBA rules), the ball must hit the floor on
the first dribble before the foot is lifted, which requires a longer and lower first step.
Hesitation or Step-Step Move This secondary dominant-side move is executed
by establishing the triple-threat position and making a short jab step at the defender
and basket with the dominant foot. If the defender doesn’t react to the jab step, then a
second long and low explosion step can be made as a direct-drive step past the defender.
The breakdown count consists of a jab step (slightly forward and down) with a short
pause, a long and low explosion step (go move), and a dribble drive initiated by pushing
the ball ahead to the floor as inside hip contact is made on the third step with the foot
next to the defender (figure 5.4).
CRITICAL CUE
FOR PPF MOVES
• Direct drive:
Second step
wins the war.
• Crossover drive:
First step wins
the battle and
the war.

150 BASKETBALL SKILLS & DRILLS

Rocker Step Another dominant- or preferred-side move is the rocker step, which
involves a direct-drive jab fake and return to triple-threat position, followed by a direct-
drive move. The sequence is to establish triple-threat position, make a direct-drive
short jab step, and then return to triple-threat position where a short shot fake may
be used to lure the defender forward. When the defender moves toward the offensive
player in reaction to the return to the triple-threat position (and a possible shot fake),
Figure 5.4 PPF hesitation or step-step move: (a) short first step, (b) long and low second
step
past the defender, and (c) near hip contact with the defender (third step).
c
b
a

OUTSIDE OFFENSIVE MOVES 151

the offensive player should make a direct-drive move. The rule is to drive against the
defender’s momentum. The breakdown count consists of a jab step (down), a move
rocking back to triple-threat position (up), a long and low explosion step against the
defender’s momentum (down), and a dribble drive (go) started by pushing the ball
ahead to the floor (figure 5.5).
Figure 5.5 PPF rocker step: (a) Jab-fake (down), (b) return to triple-threat position (up), and
(c)
take a long and low first step past the defender reacting to the shot fake (down).
c
a
b
Rocker
Rocker

152 BASKETBALL SKILLS & DRILLS

Crossover Drive When the defender overplays the dominant side, the basic PPF
countermove to the opposite side consists of establishing the triple-threat position
and then crossing the dominant stepping foot over to the other side of and past the
defender while keeping the ball close to the body and swinging it across the chest area
(circle tight). The ball is then taken from the nonpreferred triple-threat position and
pushed ahead to the floor with the player’s nonpreferred hand to begin the crossover
dribble drive. The dominant foot is pointed toward the basket. Players should keep
the pivot foot stationary while the crossover step is made with the same stepping foot
as in the direct drive but on the nonpreferred side. The breakdown count consists of
assuming triple-threat position, then swinging the dominant foot over to the other side
(long step) as the ball is snapped over from pit to pit while placing the nonpreferred
hand behind the ball (circle tight) and pushing the ball ahead to the floor on the
dribble drive (figure 5.6). The ball should be
moved across the body (pit to pit) high in
the chest area. Some coaches prefer the high
sweep and low sweep, but this is too slow and
takes the ball too far from shooting or driving
position. Some coaches also teach a jab step
to the preferred side to set up the crossover,
but this move is slower and tends to make
the reaction crossover move more lateral than
toward the basket.
The direct-drive and crossover moves are
the basic PPF live-ball moves and are suffi-
cient to enable most players to handle most
defenders. Beginners can usually depend on
one basic go-to move (direct drive) and one
countermove (crossover), with the second-
ary moves being the rocker and hesitation to
the preferred side (the side that each player is
more comfortable using).
Figure 5.6 PPF crossover drive for a right-hander: (a) Assume triple-threat position (jab),
(b)
bring the ball to the nonpreferred side (circle tight), and (c) move with a long and low step
past the
defender and toward the basket.
a
c
b

OUTSIDE OFFENSIVE MOVES 153

Moves With Either Pivot Foot (Advanced)
These moves can be taught when either foot is used as the pivot foot (EPF) in live-ball
moves. Both right-handed and left-handed players should be able to use this method to
establish either foot as a pivot foot.
EPF Direct Drive With the Direction Foot (Right Foot, Drive Right; Left
Foot, Drive Left) This move, used to dribble-drive past a defender, consists of making
the explosion step with the foot on the side to which the player is driving. The sequence
is to make a quick stop facing the basket and, when driving right, use the left foot for a
pivot foot and take an explosion step past the defender with the right foot; when driving
left, step with the left foot and use the right foot as the pivot foot. The ball is pushed
ahead on the floor on the dribble drive. The breakdown count consists of taking a long
and low explosion step with the foot on the same side as the dribble drive (right foot to
the right side, left foot to the left side) and pushing the ball ahead to the floor to start
the dribble drive. The ball must be out of the hand before the pivot foot leaves the floor.
The disadvantage of this direction-foot move is that hip contact on the defender (with
the goal of winning the war of hip contact) occurs on the second step; in other words,
the first step of the drive wins only the battle—not the war.
EPF Direct Drive With the Opposite Foot This move is used to drive past a
defender on either side by using the opposite foot to step across and shield the ball as
a long and low direct drive is made. The opposite-foot drive is executed by making a
quick stop facing the basket and, when driving right, stepping past the defender with a
left-foot explosion step and pushing the ball ahead on the dribble drive. The breakdown
count consists of taking an explosion step past the defender with the foot opposite the
side of the dribble drive and pushing the ball ahead on the floor for the dribble drive
(figure 5.7). This move offers the advantage of getting the head and shoulders by and
making hip contact on the defender—thus winning both the battle and the war—with
the first step.
CRITICAL CUES
FOR EPF MOVES
• Direct drive:
Use the direc-
tion foot or the
opposite foot.
• Crossover drive:
Use the oppo-
site foot.
Figure 5.7 Live-ball move for either pivot foot (EPF)—direct-drive move with the opposite
foot: (a) to the right with the left foot, (b) to the left with the right foot.
a
b

154 BASKETBALL SKILLS & DRILLS

EPF Crossover Drive Players can also learn a countermove using either foot as the
pivot foot: Either fake right and then cross over left with the left pivot foot or fake left
and then cross over right with the right pivot foot. This move is carried out by making
a quick stop facing the basket, making a jab step and crossover with the same foot to
the opposite side (swinging the ball across and close to the body), and, finally, pushing
the ball ahead to the floor and starting a dribble drive. The breakdown count consists
of a jab step, then a crossover step with the same foot while bringing the ball across
the body, and a dribble drive started by pushing the ball ahead to the floor (figure 5.8).
This is the preferred EPF move as it allows the offensive player to win the battle (get by
defender’s front foot) and win the war (inside hip contact) with one crossover step (or
by a jab and crossover).
Figure 5.8 Live-ball move for either pivot foot (EPF)—crossover drive: (a) crossing
over from right to left (jabbing right), (b) crossover drive to the left past the defender.
Coaching Points for Outside Moves
• Visualize and learn to read and react to the defender.
• Attack the front foot and drive against the defender’s momen-
tum.
• Develop a go-to move and a countermove.
• Use game moves at game speed.
• Develop balance and quickness during all moves.
• Go at top speed under control.
• Make legal moves (know the footwork rules).
• Execute moves correctly first, then correctly and quickly: Do them right first, then
speed up until mistakes are made, and then strive for game moves at game
speed.
a
Jab
Jab
b

OUTSIDE OFFENSIVE MOVES 155

Fundamentals of Dead-Ball Moves
These maneuvers are used at the completion of a dribble move when the quick stop
is made within 10 to 12 feet (3 to 3.7 meters) of the basket. Players can use dead-ball
moves when moving either left or right, but they must be within close shooting range
for the moves to be maximally effective. Players in possession of the ball should avoid
dead-ball situations whenever possible unless a pass or shot is anticipated. In other
words, they should maintain the preferred live dribble.
Dead-ball moves using either pivot foot should be made after a quick stop, either
from a pass or (more commonly) at the termination of a dribble. Remind players to see
the whole court with big vision as the quick stop is made in order to read the defense
and quickly make a proper decision (pass or shoot). The dead-ball move requires calm-
ness as the offensive player may use a move and counter-move while reading the defense
in order to be most effective.
Jump Shot Players should execute a quick stop and take the jump shot with balance
and control (see chapter 4). The quick stop allows the shooter to slow momentum,
go straight up, and land slightly forward of the takeoff position. Stopping with a
closed (square) stance helps the shooter transfer forward momentum into the upward
momentum of the shot.
Shot Fake and Jump Shot Players should make a quick stop and follow with a
believable shot fake—eyes on the basket while making a small, quick vertical fake. More
specifically, with vision on the basket (RPA), the player moves the ball up slightly (1 inch,
or 2.5 centimeters) while maintaining a quick stance with the legs locked and the heels
down, then quickly follows with a jump shot.
Step-Through Move Into One-Foot Layup (Advanced) Another attacking
option is the advanced EPF move past either side of the defender to shoot a layup after
a quick stop (with or without a shot fake). Players should make a quick stop facing
the basket, followed by a shot fake to get the defender out of quick stance (unless the
defender is already overcommitted). When going to the right, players take a step past
the defender with the left foot (use the right foot when going left) and shoot a right-
handed (or left-handed) running layup or a post shot. The breakdown count consists
of a shot fake, a step past the defender with the opposite foot, and a layup shot (one-
foot or power).
Crossover Step-Through Move (Advanced) This advanced EPF countermove
is used to step toward a defender by faking one way and going the opposite way for a
layup or post shot. It is performed by making a quick stop facing the basket, taking a jab
step with either foot followed by a crossover step with the same foot to move past the
defender for a layup or post shot. The breakdown count consists of jab step, crossover
move, and layup or post shot (figure 5.9).
Step-Through Move Into Power Shot or Layup (Advanced) Even though the
step-through and jab-step moves can be legally used to get layups, they are sometimes
called as traveling by officials. To prevent this call, players can use a step-through
completion move and finish the move with a two-foot power shot so that the pivot
(turning) foot leaves the floor at the same time as the stepping foot. This move is shown
for right-handed players in figure 5.10. Coaches should take every opportunity to educate
officials about this move before their players use it.

156
Figure 5.9 Dead-ball crossover step-through move: (a) quick stop, (b) jab step
toward the defender with the left foot, (c) crossover move (with left foot as pivot foot),
and (d) layup or post shot.
a
b
d
c

157
Figure 5.10 Dead-ball crossover step-through move to a power shot: (a) quick stop,
(b) jab step with the left foot, (c) crossover move with left foot while using right pivot foot
and (d) power shot or jump hook from two feet.
a
c
d
b
Jab
Jab

158 BASKETBALL SKILLS & DRILLS

Spinner (Advanced) When the player is stopped by a
defender in the direct path or on the ball side of the dribbler
on a middle drive, a pivoting rear turn into a layup or post shot
is most effective from a dead-ball quick stop at a right angle to
the baseline. Coaches can teach this advanced move by having
players penetrate drive to the middle, make a quick stop facing
the opposite sideline near the free-throw lane while chinning
the ball, make a rear turn on the pivot or turning foot closest to
the basket, and shoot a layup (one-handed runner, two-handed
scoop, or power layup) or a post shot. The breakdown count
consists of a using a quick stop, making a rear turn, stepping
past the defender to the basket with the opposite foot, and
shooting the layup or post shot (figure 5.11). Post players may
use a spinner move when using a Zak-attack middle-post drive
from the short corner (as described in chapter 6).
E7294/Krause/F05.11/599817/mh-R2
X
Rear turn
and post
shot or
pass
Stepping
foot
Quick stop
and spin to
baseline
Turning
foot
Stepping
foot
Quick stop
facing corner
and spin
to middle
Figure 5.11 Dead-ball EPF spinner
steps—from wing-middle or guard-side
dribble drive.
Troubleshooting
Here are some common problems with perimeter play, along with coaching corrections.
• Problem: Poor execution when learning
Correction: Do it right first, then do it fast. Demonstrate again and slow down to get
proper execution first.
• Problem: Trouble executing moves with the nonpreferred side
Correction: Practice the moves two or three times more often on the nonpreferred
side than on the preferred side.
• Problem: Traveling violations
Correction: Coaches should reteach the rules of movement and footwork at a slow
pace done correctly as boundaries of performance, then increase speed gradually.
• Problem: Ballhandling difficulties
Correction: Coaches should prescribe added practice on passing, catching, drib-
bling, and basic ballhandling.
• Problem: Challenges when defenders are present
Correction: Coaches should develop sequential, progressive practices. Players
should use slow but correct moves first, get a rhythm, gradually increase speed
until mistakes are made (acknowledge, understand, and learn from them), and then
execute game moves at game speed. Coaches can add dummy defenders for all
situations and, finally, add live defenders with all variations. Ultimately, players must
learn to read the defender.
Perimeter-Play Drills
These drills should be adapted to a coach’s style of play and to situations encountered
by perimeter players when using that style. As always, drills should be used in a manner
that is sequential and progressive.

OUTSIDE OFFENSIVE MOVES 159

Guidelines for Perimeter Drills
1. When working alone, use a two-handed, underhand, spin self-pass before moves;
always face the basket in triple-threat position with a live ball and use RPA (big
vision).
2. Respect the three-point arc: Keep the feet behind the arc or penetrate for a pull-up
shot or finish at the basket.
3. On all layups, go for swish or BRAD (back-rim-and-down) shots; mix up power
and one-foot layup completions with opposite and same foot finishes.
4. When learning attack skills for perimeter play, precede all drives by giving a shot
fake.
5. Tighten your game: Increase balance and quickness for making game moves at
game speed.
6. Remember: Proper preparation develops confidence.
Warm-Up for Perimeter Players
Purpose: To provide perimeter players with a warm-up for fundamental skills
Equipment: Two basketballs per player, tennis balls, half court with basket
Procedure: Spend 1 minute on each of the following exercises.
1. Dribbling sequence: one ball, two balls, dribbling and juggling, pull-back cross-
over sequence
2. Imaginary defense with talk: on-the-ball, off-the-ball, off-the-ball to on-the-ball, post
defense and blockout, transition
3. Moving without the ball (offense): pass-and-cut, screen-and-slip, screen cut, of-
fensive rebounding, transition moves
4. Fast-break package sprints: without the ball
5. Shooting progression: field goals and free throws (using drills in chapter 4)
6. Fingertip push-ups and stretching: especially a long-and-low-drive stretch for the
groin and hyperextension of the wrist for shooting
7. Ballhandling sequence: around the body, the arms, and the legs
Coaching Points
• Use imagination to simulate game moves.
• Do things right, then do them quickly at game speed.
• Become a detail player by focusing on the little things.
Line Drill: Live-Ball, Dead-Ball, and Completion
Moves Addition
Purpose: To teach players live-ball and dead-ball moves and review dribble moves
Equipment: Full court and one ball for each of four lines of players
Procedure: Form four lines of players on the baseline. No defenders are placed on the
court. Each circuit should include a beginning live-ball move, a dribble move in the middle

160 BASKETBALL SKILLS & DRILLS

of the court, and a dead-ball or completion move at the far baseline basket (quick-stop
ending) (figure 5.12). The coach starts drill with all four lines at the same time. The first
player in each line continues the drill until all players have completed the circuit or as
many rounds as the coach designates.
Variations: There are two other line drill options.
• The first option is to put the first player in each line at the free-throw line extended.
The next player in line assumes a triple-threat position with a ball. The ball handler
passes to the opposite player at the free-throw line and then closes out to play de-
fense; the catcher makes a 1-on-1 move past the defender. The defender first uses a
dummy closeout (overplaying left, then overplaying right); the next progression is to
a live closeout and a two-dribble live ball move to penetrate past the defender. The
penetrator moves past the defender; the defender goes to the free-throw line and
then rotates to the closeout defender line on the baseline.
• The second option is for the first player in line to use a live-ball move, make a quick
stop at the free-throw line, and catch and face (using a rear turn). That player then
makes a crisp, one-handed push pass (can use the nonpreferred hand) to the next
player in the line. Finally, the passer becomes a closeout defender to the catcher,
who makes a live-ball move around the defender. Repeat the action.
Outside Moves Using a Spin Pass
Purpose: To develop skill in using outside moves
Equipment: Half-court area with basket and one ball per player
Procedure: Players practice live-ball moves and completion or dead-ball moves from a
simulated passing-and-catching situation. Players use the two-handed, underhand spin
self-pass to begin the drill in all primary offensive locations and situations. The sequence
is to first spin a self-pass in spot locations near the edge of the three-point field-goal line,
then catch the ball on the first bounce with the feet in the air and land facing the basket.
Apply RPA technique. Every time players handle the ball, they should catch and face the
basket by using the quick stop and the pivot and then attack the basket. Set goals, such
as making two or three baskets in a row with a designated move or making three to five
baskets with a specified move. Coaches should evaluate moves—only perfect practice
E7294/Krause/F05.12/599818/mh-R2
Live-ball
moves
Dead-ball
or completion
moves
Dribble
moves
Figure 5.12 Line drill: Starts, stops, and turns while practicing individual outside
moves.

OUTSIDE OFFENSIVE MOVES 161

makes perfect. Use PPF (basic) moves or EPF (advanced) moves for developing foot-
work. This self-monitored drill makes it possible to practice appropriate live-ball, dribble,
and dead-ball or completion moves using the basic principles. A toss-back training de-
vice, partner, or coach passer may be used in conjunction with the spin-pass technique in
order to simulate passing-and-catching situations used with the outside moves.
Options
• Catch and shoot: Make a spin pass to self and take a shot that is quick but unhurried
and balanced.
• Catch and quick drive: Make a spin pass to self, V-cut away, catch and face from the
self-pass, give a shot fake, dribble-drive, and finish.
• Catch and dribble: Make a one-dribble, pull-up jump shot.
• Catch, shot fake, and dribble: Make a quick, short shot fake (1 inch [2.5 centime-
ters]) with quick stance (legs locked and heels down), followed by one dribble and
a pull-up jump shot.
• Catch, pass fake, and shot: Move only the arms and the head on the pass fake.
Keep the fake short and quick—stay balanced.
• Catch, pass fake, drive, and shot: Coach may designate a completion move (e.g.,
Zak attack or long layin).
• Catch, jab step, and shot: Create space for the shot; stay balanced and use a short
jab step.
• Catch, jab step (hesitation or rocker), drive, and shot: Drive to the left or to the right.
• Catch, one dribble, direction change, and shot: Attack the basket on the initial drib-
ble, change direction (with a crossover, spin, or behind-the-back move) to continue
penetration, and finish.
• Catch, two dribbles, step-back (hop-back) move to change direction, and shot be-
hind the arc.
• General note: Perform extra (three times total) repetitions of moves to the nonpre-
ferred side.
Closeout: 1-on-1, 2-on-2, 3-on-3, 4-on-4
Purpose: To practice all outside moves by perimeter players
Equipment: One ball and one basket per group
Procedure: Form a line of defensive players off the court at each
basket. Position a line of offensive players 15 to 18 feet (4.6 to 5.5
meters) away, facing the basket. The first defensive player steps
under the basket with the ball and makes a crisp air pass (with the
feet on the floor) to the first player in the offensive line and then
closes out to defend that player. The drill begins as soon as the
pass is made. The perimeter offensive player should catch the ball
with the feet in the air and facing the basket, read and react to the
defender’s actions, and apply fundamentals to shoot or make an
outside move.
Players play make-it-take-it or any arrangement of their choice
and rotate to the back of the opposite line each time. The drill
may also be run as a 2-on-2, 3-on-3, or 4-on-4 option (figure 5.13)
and then becomes a teamwork competition with on-the-ball and
E7294/Krause/F05.13/599819/mh-R2
Pistol help
position
Pass and
closeout
X
X
X
X
X
1
X2
2
1
X2
Figure 5.13 2-on-2 closeout: on-the-ball
and off-the-ball defense.

162 BASKETBALL SKILLS & DRILLS

off-the-ball play. The passer guards the ball handler on the first pass, or the coach may
call either defender’s name to close out on the ball with the other defender sprinting to the
help position.
1-On-1
Purpose: To provide varied 1-on-1 competition for perimeter players
Equipment: One ball and one basket per group
Procedure: 1-on-1 competition allows each offensive player the chance to evaluate the
effectiveness of perimeter play in all situations: live-ball, dribble, and completion moves.
1-on-1 Starting 15 to 20 Feet (4.6 to 6.1 Meters) From the Basket
• Begin with a move to get open—V-cut or L-cut—then use catch-and-face and RPA
techniques. Coach or teammates can make the entry pass.
• Play make-it-take-it or rotate after a certain number of possessions (two or three).
• Play games to five made baskets.
• Allow 5 seconds or two dribbles to make a move.
1-on-1 Starting Near the Half-Court Line
• Use a teammate or coach for a passer.
• Use a cut to get open and then use catch-and-face and RPA techniques.
• Use dribble moves to go by the defender.
• Use a completion move to score, usually on a layup or a jump shot.
• Option: Add a second hoop defender in the lane (first defender goes only to the
extended free-throw line).
1-on-1 Completion Moves in the Lane
• The defender allows an entry pass or a self-pass. Alternatively, use the manager or
program assistant with a dummy defender.
• The offensive player makes a move from the perimeter, catches the ball, and faces
the basket in the free-throw lane.
• The offensive player scores with a completion move made without a dribble (jump
shot, step-through layup, crossover layup, or spinner move).
• Alternate possessions for games to five or play make-it-take-it.
1-on-1 From Offensive Positions
• Players receive the ball at the locations of the fast-break or set offense and then go
1-on-1.
• A secondary defender can be added at the basket.
Partner Penetrate-and-Pitch
Purpose: To practice live-ball moves and passing to a teammate for a score at the com-
pletion of a dribble drive
Equipment: Two players, ball, and basket (up to three pairs per basket)

OUTSIDE OFFENSIVE MOVES 163

Procedure: Partners start 20 to 25 feet (6.1 to 7.6 meters) from the
basket and are spaced 15 to 18 feet (4.6 to 5.5 meters) apart in
point–wing or guard–forward and forward–forward combinations
(figure 5.14). The ball handler makes a spin self-pass and starts
with a live-ball move into a dribble drive. The partner (potential
catcher) times a cut to be open at a spot when the passer is ready
to pass and with proper spacing. The guard–forward partners use
the cutting options of sliding away (drifting) or filling behind (crack-
back move) the driving path. The cutter looks for completion shots
to the basket or outside shots—medium-range shots or three-
pointers. The penetrator or passer passes (pitches) to the part-
ner or fakes the pass and shoots the shot. The forward–forward
partners are on opposite sides of the floor. The penetrator drives
the baseline and, using the baseline hand, executes a push pass
to the partner catcher, who slides (by means of a drift or baseline
release) to an open position toward the baseline on the opposite
side of the floor. Except for the baseline release pass, which is a
bounce pass, all other perimeter passes are air passes. The part-
ner catcher may also make an overplay basket cut on occasion.
Partner Passing and Shooting
See chapter 4 for descriptions of a variety of shooting drills for shots after individual out-
side moves—for example, using one, two, or three passes. Here is one selected practice
combination: Make six field goals after one pass, six field goals after two passes, and six
field goals after three passes.
Timed Layups
Purpose: To practice ballhandling and layup shooting in a competitive situation
Equipment: Ball, free-throw lane, basket, timing device
Procedure
• V-layup: Starting on the right elbow at the free-throw line in triple-threat position,
dribble-drive to the basket and shoot a layup. Use two hands to grab the ball out
of the net. Do a right-handed dribble past the free-throw line to the left elbow and a
left-handed dribble continuously for the left-handed layup. Make a two-handed grab
and do a left-handed dribble past the free-throw line to the right elbow. Repeat as
many times as possible in 30 or 60 seconds. Record the number of layups made for
each player as their personal record.
• Reverse V-layup: Generally perform the same drill but cross the rim to shoot a layup
on the other side of the basket with the appropriate dribbling hand. For example,
start at the right elbow, use a left-handed dribble to cross in front of the basket, and
shoot a left-handed hook layup or reverse layback move. Then use a right-handed
dribble past the free-throw line to the left elbow and reverse back to the other side.
Time for 30 or 60 seconds; record the layups made as a personal record. This drill is
a good way to finish a perimeter workout.
E7294/Krause/F05.14/599820/mh-R2
5
6
1
or
or
4
3
2
Figure 5.14 Penetrate-and-pitch drill
(pairs).

164 BASKETBALL SKILLS & DRILLS

Perimeter Game
Purpose: To practice all of the perimeter moves with the ball in competition against one’s
own personal record for the drill
Equipment: Ball, half court, two or three players per basket
Procedure: This drill can be done from three spots (wing, top of the key, and opposite
wing) or five spots (add both baseline corners). See the sequence of moves in the fol-
lowing list. For layups, mix power layups, and one-foot layups, all layups must be clean
(swish) to be worth 2 points (0 points if not a swish). Jump shots are worth 2 points. For
making a swish, BRAD, or set of jump shots, the player gets a bonus point. The coach can
designate any combination of jump shots at various locations to create a set. Call out the
score on every shot attempt and the cumulative score, regardless of whether it is made or
missed. Put back all misses, even though they don’t count. For the free throws, use swish
rules (a swish or BRAD = 1 point, a make that hits the rim = 0, and a miss = –1).
The moves are as follows:
1. Three field-goal attempts on each set
2. Middle drive to cross rim
3. Baseline drive to rim (toes pointed to baseline on power layup)
4. Middle drive to pull-up jump shot
5. Baseline drive to pull-up jump shot
6. Middle drive to quick stop, step-through move, and power shot (or runner)
7. Baseline drive to quick stop and spinner or power shot
8. Middle drive and three-point hop-back shot
9. Baseline drive and three-point hop-back shot
10. Middle drive, hesitation or rocker off hop-back, to the rim
11. Baseline drive, hesitation or rocker off hop-back, to the rim
12. Jab step to field-goal attempt (three)
13. Free throws (four)
Coaching Points
• On power layups, point the toes to the baseline.
• Execute game fundamentals properly and quickly for the good of the team.
• Be a practice player first.
• Make game moves at game speed; practice and play with the intensity and poise of
a championship team player.
Five-Spot Dribble and Finish
Purpose: To practice dribbling moves and finishing at the basket (appropriate for a warm-
up)
Equipment: One ball per player, five cones, four players per half court with basket
Procedure: Place five cones on the arc (corner, wing, point, opposite wing, and opposite
corner). To start the drill, the player with the ball is under the basket.

OUTSIDE OFFENSIVE MOVES 165

One-Ball Series
1. Make a live-ball direct drive to the corner cone, circle the cone, dribble with right
hand to the basket, and finish with a power layup.
2. Make a direct drive to the wing cone, circle with a right-hand dribble, and finish off
the glass.
3. Make a crossover drive with the left hand to the middle cone around the cone and
to the basket and finish with the left hand.
4. Make a crossover drive left to the wing and around the cone and finish with the left
hand.
5. Make a crossover drive with the left hand to the corner cone, dribble around the
cone, and finish with a power layin.
The next player starts after the player ahead finishes the third cone. The coach can
contest finishes with soft contact. All five of these moves are timed for player personal
record.
Two-Ball Series
Perform the same moves but omit the shot finishes. The dribbler uses opposite-hand non-
rhythm dribbling technique.
Diamond Dribble Moves (Full-Court)
Purpose: To practice rebounds and full-court perimeter skills (dribble moves at the free-
throw line, half-court line, and opposite free-throw line to finish at the basket)
Equipment: Full court, four cones or chairs (dummy defenders), two balls, eight players
(two or three under each basket)
Procedure: Set up the court with four obstacles arranged in a diamond shape as shown
in figure 5.15. Two players (O1 and O2) start the drill with a rebound toss high off the back-
board. They rebound and face up the court with big vision to attack the first defender (at
the free-throw line), then attack the second defender using big vision at the half-court (on
the opposite side of court as the player is coming up the court), and finally attack at the
opposite free-throw line to create a game-shot finish at the basket. New players come in
at each basket and repeat the drill. Waiting players can replace the dummy defenders.
E7294/Krause/F05.15/599821/mh-R4
Rebound
start
Rebound
start
Chair
or cone
Chair
or cone
Finish
4
1
6
5
3
2
Finish
Figure 5.15 Diamond dribble-moves drill.

166 BASKETBALL SKILLS & DRILLS

Continuous Pass-and-Trap
Purpose: To practice passing and catching in a continuous 2-on-2 trapping drill that se-
quences into a continuous 4-on-4 defensive trapping drill
Equipment: Two balls and a 12- to 15-foot (3.7- to 4.6-meter) rectangular space in each
of two opposite corners of a half-court area with eight players split into two groups of four
each—two on offense and two on defense (figure 5.16a)
Procedure: Phase A of the drill is a teaching-and-learning activity in which defensive and
offensive players switch positions after 2 minutes, thus each spending 2 minutes on of-
fense and 2 minutes on defense. During each 2-minute period, if the defenders steal the
ball, they hand it back to the offense and continue on defense. Dribbling is discouraged—
only a step-through move to split the trap is allowed, and the ball handler can jump in the
air to pass over the trap as a last resort.
At the end of phase A (4 minutes total), the groups in opposite small-side rectangle
spaces form groups of eight (four on offense and four on defense with different-colored
jerseys); see figure 5.16b. A coach begins the 4-on-4 drill (phase B) with a pass to one
team in one rectangle court space. The catcher is trapped by adjacent players with differ-
ent-colored jerseys, and two teammates who are positioned deeper become interceptors,
as shown in figure 5.16b. Play continues until the defense gets the ball. The coach then
restarts the drill by passing to a defender from the new offensive team.
• Passer rules: Focus on the trap. Pass around or over or step through; dribble only as
a last resort (on a four-count of being closely guarded in a trap).
• Trapper rules: Use active feet to prevent a step-through move. Maintain a high inside
hand and trace the ball with the outside hand. Make chest contact only—no ball
reaching. On a pass, move to interceptor position.
E7294/Krause/F05.16a/599822/mh-R2
X1
X2
Small-sided
areas
2
1
X
3
X
4
3
4
E7294/Krause/F05.16b/599823/mh-R3
C
Small-sided
drill spaces
Interceptions
X
X
X
X
Trappers
a
b
Figure 5.16 Continuous pass-and-trap drill: (a) phase A (2-on-2), (b) phase B (4-on-4).

OUTSIDE OFFENSIVE MOVES 167

Finish the Play
Purpose: To progressively practice in a variety of basket-attack-and-finish situations from
varied positions
Equipment: One ball for every pair of players (three pairs per half court); at least two
half-court areas
Procedure: Player pairs alternate offense and defense; two player pairs wait to rotate in
(figure 5.17). The coach picks three driving spots per round. Apply defense in the follow-
ing sequence:
1. No defense anywhere (1-on-0)
2. No outside defense (soft D on the finish)
3. No inside finish defense (only perimeter defense)
4. Live defense everywhere
Move and Finish Options
1. Right corner
• Middle drive, dead-ball finish
• Baseline drive, under-basket finish
2. Left corner
• Middle drive, dead-ball finish
• Baseline drive, under-basket or power-move finish on same side
3. Right wing
• Middle drive, hop-back finish
• Baseline drive, layup on opposite side of lane
4. Left wing
• Middle drive, spinner finish
• Baseline drive, layin choice
5. Top of key
• Drive to the right, inside finish
• Drive to the left, outside finish
Figure 5.17 Finish-the-play drill.
E7294/Krause/F05.17/599824/mh-R1
X
–
1
3
3
4
2
4
2
1
X
–
2
2
X
–
3
3
X–
4
4
X–
5
5
X–
6
6
5
1
5
1

168 BASKETBALL SKILLS & DRILLS

Three-Lane-Rush Pass–Catch (Peer-Pressure Drill)
Purpose: To provide a full-court layup drill that develops the skill of pushing the ball up
the floor on the pass (no dribble allowed)
Equipment: One ball and
a full court
Procedure: Players form
three lines under one end
basket on a full court. The
ball starts with the middle
player, who passes to a
wing player coming to the
middle lane. The passer
should pass and go be-
hind to sprint the floor.
O1 scores with a layup
in three passes. O5 gets
the rebound, makes the
return-trip first outlet pass
to O3, and goes behind to
sprint for a layup at other
end. O5 gets the second
pass and passes to O3 to
make a layup at the origi-
nal basket (figure 5.18).
The coach can begin with
a 1-2-3 down-and-back
circuit or a time goal.
Later, the goal may be ad-
vanced (in terms of rep-
etitions or time) until the
team reaches the level of
all groups of three doing a
perfect passing circuit and
all layins are made with no
dribble. All passes are air
passes, and no dribbling
is allowed.
E7294/Krause/F05.18a/599825/mh-R2
(2)
(1)
(3)
3
1
5
Finish
E7294/Krause/F05.18b/599826/mh-R2
(2)
(1)
(3)
5
2
3
Figure 5.18 Three-lane-rush pass–catch drill: (a) start and (b) retrieve to start.
Wooden Wisdom
“You can’t live a perfect day without doing something for someone who
can never repay you.”
—John Wooden
a
b

6
Inside
Offensive Moves
PLAYING THE POST
CHAPTER
“Get the ball inside first—take the ball inside or to the baseline.
Place pressure on the defense to foul. Post play is a key to success.”
Dean Smith, Naismith Hall of Fame coach and former head coach at University of North
Carolina

170 BASKETBALL SKILLS & DRILLS

M
ost coaches and players recognize the importance of establishing an inside
game by having a post player receive a pass near or inside the free-throw lane
area or cutting an offensive player from outside into the post area (low or
high). This inside game can serve several purposes. First, it can produce a high-percent-
age shot—a scoring opportunity close to the basket. It can also increase opportunities
for the original three-point play (inside score plus a foul shot), because post players in
a congested inside area are difficult to defend and are often fouled when attempting
a shot. In addition, when the ball is passed to inside post players (via pass penetra-
tion), the defense is forced to collapse in order to contain them; if they pass the ball
back outside to teammates, they can create opportunities for outside shots, including
three-pointers. In summary, this chapter emphasizes another key element of the gen-
eral scoring objective—getting the ball inside for a high-percentage shot and forcing the
defensive team to respect the inside game in order to open up outside shooting oppor-
tunities, especially the three-point field goal.
Post-Play Fundamentals
Post play is the key to building the offense from the inside out. Playing the post is a
skill that requires minimal ballhandling and can be learned readily by players of all
sizes with sufficient practice time and patience. All players should learn post-up skills
because advantageous matchups do occur in game play and should be a key component
of “positionless basketball.” Good post players get open for high-percentage shots by
developing a variety of inside moves known as back-to-the-basket scoring moves, which
are usually made from a low- or medium-post position (figure 6.1). Post players need to
learn how to get open, stay open, catch the ball safely, and score simply. This also applies
to facing-the-basket moves that post players must develop out-
side and around the free-throw lane when attacking the basket
in this manner.
Penetrating To be successful, the offensive team must penetrate
the perimeter of the defense on a regular basis by taking the ball
inside through a dribble drive (penetrate-and-pitch, drive-and-
dish) or a penetration pass to a post player. In short, the defense
can be penetrated with either a dribble or a pass. The objective of
offensive penetration is to create the opportunity for a shot taken
as close to the basket as possible—usually inside or near the free-
throw lane—or to force the defense to collapse and thus open up
an outside shot. This principle can dramatically increase efficiency
in team offense, partly by drawing more fouls and creating balance
between inside and outside offense.
Backboard Shots Offensive players should use the backboard
when shooting after most back-to-the-basket inside moves,
especially when shooting from a 45-degree angle, using a power
move, or in an offensive rebounding situation. Backboard shots
are higher-percentage shots than rim shots for inside play, where
contact and congestion are common. The rule is as follows: When
going to the glass, use the glass (unless dunking the ball). The
margin of error is greater when the backboard is used as a shooting target (shoot it high
and soft near the rectangle’s upper corner); for more on using the backboard as a target,
see chapter 4.
CRITICAL CUE
Back-to-the-bas-
ket moves:
• Get open.
• Stay open.
• Catch the ball.
• Score simply.
E7294/Krause/F06.01/599827/mh-R1
Outside move area
Inside
move area
Figure 6.1 Prime inside and outside
move areas: The inside move area is the
low- to medium-post area and is used for
back-to-the-basket moves, whereas the
outside move area is used for facing-the-
basket moves.

INSIDE OFFENSIVE MOVES 171

CRITICAL CUE
Assume a miss
on every shot and
go to a defender’s
gap with hands
up (unless already
inside the de-
fender).
CRITICAL CUE
Get low and wide.
Create contact
when on offense
in the post area;
maintain contact
with active feet.
Assuming the Miss Since inside players are stationed close to the basket, they can
serve as primary rebounders. Because the shooter can best gauge the exact location and
timing of the shot, a post player using an inside move always assumes that the shot will
be missed and prepares to rebound from a quick stance with the elbows out and the arms
and hands extended above the shoulders (2-and-2 rebounding with the hands up). An
inside player can also block out a defensive opponent, when fronted, or at least make a
rebounding move to the middle of the lane to secure a primary rebounding spot (look
for the middle gap).
Everyone as a Post All players are post players. Although some of the best inside
players have been medium or large people, technique is more important than size. A
more critical factor is relative size—each player should develop basic post moves and
be able to post up a defender of similar or smaller size. For example, Cliff Hagan was
a 6-foot, 4-inch (1.9-meter) college center at Kentucky who was inducted into the
Naismith Hall of Fame. In addition, many undersized post players enjoy the physical
play in the post area and are effective playing there. The recent emphasis on facing-the-
basket post play also creates more opportunities for all offensive players who prefer
attacking moves and contact.
Creating Contact The inside area, which is frequently congested, offers considerable
physical contact. In fact, inside offensive players should create contact (post up on
defenders to create open space for passes) and use their bodies to control defenders.
Players must learn to initiate contact with the hips and upper thighs while maintaining
balance and stance: Stay low with a wide base and keep the feet active in a quick stance.
Generally, defensive players are allowed by the rules to take one defensive position
on the offensive post with contact
limits by the defensive player, which
allows post players to create contact
to keep defenders in their original
position.
Hands Up Passing to inside
players is difficult and challenging,
and the margin for error is small
because of congestion and time
constraints. Thus, inside players
should always be prepared to receive
a quick pass from a teammate by
using the post stance: both hands
up as contact is created (figure 6.2).
Players should sit into the stance,
create contact with the defender,
use the legs and the lower trunk,
and then provide two-handed targets
for the passer with both hands up
(upper arms horizontal with the
shoulder, forearms nearly vertical,
and hands slightly forward of the
elbows so that the offensive post
player can see the backs of their
hands). The feet should be kept
active in order to maintain contact
with the defender.
Figure 6.2 Post player’s basic stance: (a) front view, (b) side view.
a
b

172 BASKETBALL SKILLS & DRILLS

Patience Many large post players are late developers and may have poor self-images
as a result of their size and relative lack of coordination. The prescription is coaching
time, patience, and regular practice (repetition, repetition, repetition). George Mikan,
selected as the best NBA post player of the league’s first 50 years, spent hundreds of
hours with his coach, Ray Meyer, during his college years at DePaul University. His
workouts focused on footwork, ballhandling (passing and catching), shooting, and
coordination drills.
Post Skills
Coaches should train players to get into a post-player stance and remain there. The
inside or post player must develop the ability to assume an exaggerated basic position,
with a wider than normal base, a low center of gravity, the elbows out, the forearms
vertical, the upper arms parallel to the floor as extensions of the shoulders (“arms of
steel”), and the hands up and slightly forward with the fingers spread and pointing to
the ceiling (figure 6.2). The post player’s hands provide two possible targets for passers;
the hands are kept up and ready.
Posting up should take place on or near the post line, which is
the imaginary straight line through the ball or the passer and the
basket (figure 6.3). The inside player should try to get open on
or near the post line and either inside or just outside of the free-
throw lane. Establishing position on the post line shortens the
distance that the pass must travel from the post feeder. Ideally,
the post player should be posted up with the shoulders square (at
right angles) to the post line, “showing numbers” to the passer;
that is, the passer should be able to read the post player’s jersey
number when making the pass. The post player should keep the
passing lane open by showing numbers to the passer and moving
the feet (using active feet, or footfire) while creating lower-body
contact on the defender (using the posterior as a radar bumper).
This rule applies in all situations except when defenders are front-
ing—that is, playing between the passer and the offensive post
player.
The post line should be used whenever possible to shorten the
passing lane, except when the passer is in the corner; in that case,
the lowest foot of the post player should be on or above the block
in order to leave space for a baseline scoring move. Low-post play-
ers sometimes start on one side of the post line to force defenders
to defend them on one side or the other.
Getting Open
in the Low or Medium Post
The post player needs to get open on the post line between the
passer and the defender whenever possible by using a V-cut and
swim move; stepping into the defender; using a rear turn to seal the
defender (place the turning foot between the defender’s legs); or
stepping across the near leg of the defender (sitting on the defend-
er’s leg or fighting the front foot) as contact is created (figure 6.4).
The offensive post player uses proper footwork to post up, then
E7294/Krause/F06.03/599830/mh-R2
X
X
X
X
Never
below
the
block
E7294/Krause/F06.04/599831/mh-R2
X
X
V-cut
Rear
turn
seal
Step across
front foot
of defender
Figure 6.3 The post line (posting in the
low or medium post).
Figure 6.4 Getting open in the post
(three ways).
CRITICAL CUE
Post up with the
back to the basket
on the post line.

INSIDE OFFENSIVE MOVES 173

maintains contact and takes the post defender further in the set
direction of defense. In other words, the post player moves a high
defender higher, a low defender lower, a defender who is behind
farther toward the basket, a defender who is in front farther away
from the basket, and a side defender farther to that side.
Primary tasks of the inside player include getting open at
the right time and staying open. Because post play is a constant
1-on-1 battle between offense and defense, offensive players
must learn to create contact and stay open. Once the defender has
taken a position, the inside player should make contact to keep
the defender in place. The post player should also keep the feet
active and use the whole body to work in a half-circle move (figure
6.5). The hips and buttocks (i.e., the lower trunk) are used to sit
on the defender’s legs or body and maintain contact.
When posting up inside the free-throw lane close to the basket,
post players need to be aware of the time restriction (3 seconds).
Thus they should post up in that location for 2 seconds (silently
count one thousand one, one thousand two), then quickly move out
of the time-restricted area.
Catching the Ball Inside
Post players must want the basketball. They need to build confidence in their team-
mates that they will get open, catch the ball safely when it is passed to them, and score
simply inside when open or pass outside when they draw two defenders.
To do so, they should maintain contact in order to feel and seal the defender (use
radar bumpers, not the arms or hands). They should also be able to locate the defender
by reading the pass. The passer feeding the post player should pass to the hand target
away from the closest defender; in this way, the placement of the pass helps the post
player locate the defender, and the pass leads to the desired score. One of the toughest
tasks for post players is that of keeping the passing lane open. They must keep their feet
active, maintain contact until the ball hits the receiving hand, and show numbers to the
passer (face the passer).
Post players must also step into the pass and meet the ball while still holding their
position by catching the ball with two hands and with both feet slightly in the air (when
possible). They must then execute a quick stop (except when fronted). Possession always
takes precedence over position, even though position is necessary to get open. There-
fore, coaches should train players to focus on the ball until it hits their hands. After
catching the pass, players must protect the ball by using the chin-it technique—elbows
out and up, fingers up, ball under the chin (or from shoulder to shoulder)—which keeps
them from dangling the ball and allows good ball protection.
If the defender establishes a ball–defender–post (fronting) position, two techniques
are recommended: the lob and the ball reversal. In the over-the-top lob pass (figure
6.6), the passer shows the ball (going from triple-threat position to ball-overhead posi-
tion), uses a check (fake) pass to read the help-side defensive coverage, and then quickly
throws a pass over the defender to the junction of the backboard and the rim. The post
player, maintaining quick stance and keeping both hands up (with the palms facing the
passer), faces the baseline and establishes contact with the defender by using the hips
and buttocks (radar bumpers). The post player waits until the ball is overhead before
releasing to catch the ball with two hands with the palms facing the ball. Care must be
taken for the fronted post player to maintain contact with the lower body and not push
off with the arms (especially the forearms) to catch the lob pass.
E7294/Krause/F06.05/599832/mh-R2
Post
line
5
X
X
5 Feet active in
half-circle move
CRITICAL CUE
Use active feet
(footfire) to stay
open.
CRITICAL CUE
Post catches:
Catch with two
hands (catch with
a click) and chin
it.
CRITICAL CUE
Post catches:
Possession over
position.
Figure 6.5 Half-circle move: Stay
open by saddling up on the defender and
showing numbers to the passer.

174
Figure 6.6 Lob pass over the defender: (a) both hands up—contact with the rear end
and hip, (b) check pass (pulling the string) to test the help-side defender’s reaction to
the pass fake, and (c) two-handed capture-and-chin catch with a power scoring move.
a
c
b

INSIDE OFFENSIVE MOVES 175

The second technique to get the ball
to a fronted (denied) post player is to use
ball reversal to the high post or help side.
If a defender is fronting on one side of the
court, the ball can be reversed (to the second
side) as the defender is sealed off and the
post player steps to the ball (figure 6.7).
Taking Out the Defender
Inside players must learn to take the
defender out of the play automatically.
If post players are defended on the low
side, they should take defenders lower;
if defended on the high side, take them
higher. Similarly, if fronted, post players
should make lower-body contact while
facing the baseline and take defenders away
from the basket; if played from behind, they
should step into the lane before posting up with a V-cut or a rear turn and seal to take
the defender closer to the basket. The idea is to allow defenders to take a position of
choice and then take them further in that direction and pin or seal them in that posi-
tion by creating contact with the legs or the lower trunk (use radar bumpers) in a post
stance with active feet.
Reading the Defense
When the defender is fronting—playing between the passer and the post player—coaches
should have their players either use a lob pass over the defender or reverse the ball and
then pin or seal the defender and feed the post from the opposite side. On the lob play,
offensive players should use a power move or reverse layup to score. With the defender
playing directly behind the post player, the passer delivers the ball to the head target
(or middle of the body), and the post player then catches and faces using post facing
moves. The middle pass indicates to the offensive post player that the post defender is
playing directly behind and between him or her and the basket. The post shot is also a
possibility in this situation.
A defender positioned on the low side (baseline side) effectively tells the post player
to use the post or wheel move or the power move to a jump hook. The wheel move and
power move are also indicated when the defender is positioned on the high side. The
guideline for the perimeter passer and the post catcher is that the pass should lead the
post player to the score.
For the post player, the process of reading and reacting means learning to feel con-
tact, reading the pass, looking to the middle (for helping defenders and open team-
mates), seeing the whole court, and challenging the defense. Excellent post players with
the ball attract two defenders and create open teammates.
Post or Inside Moves
Finally, coaches should teach post players to move aggressively and be alert for open
teammates. Their objective when using inside moves is to either gain position for a
close-in shot or free a teammate to receive a pass in scoring position. This second
option develops when the post player attacks and must be guarded by two defenders,
which can be achieved best by mastering a few basic inside post moves to score simply.
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X5
5
Figure 6.7 Post play: Reverse the ball
(to the second side) and pin and seal the
fronting post defender (use radar bumpers).

176 BASKETBALL SKILLS & DRILLS

Post Shot
This move to the middle and into the free-throw lane is a basic back-to-the-basket tool
for the post player and an essential scoring option. The move is normally made without
dribbling; the footwork and the mechanics of the post shot and the jump hook shot are
explained in chapter 4. One advantage of the post shot is that it is a quick move to the
middle of the defense and into the high-scoring area (the free-throw lane). Alternatives
are the power move and the jump hook, which are slower and require a dribble.
Power Move
The power move is typically used to the baseline side when the defender is on the high
side (away from the baseline). It may also be used toward the middle when the defender
is on the baseline side. The sequence for the baseline power move is to pivot with a
half rear turn on the foot closest to the defender and seal off the defensive player with
the hips and buttocks. Then the post player takes a one- or two-handed power crab
dribble between the legs (near the foot closest to the basket), makes a two-footed power
jump moving to the basket at the same time, and executes a quick stop with the feet
at right angles to the baseline (belly to baseline). This dribble can sometimes be elimi-
nated when the post player is in the lane and close to the basket. Finally, the power shot
or jump hook is used to protect the ball with the body and to score with the shooting
hand away from the defender; the backboard is used whenever possible (figure 6.8). This
move is fully described in chapter 4 as a strong move from two feet to two feet.
The power move to the middle (figure 6.9) is executed in the same way: Catch the ball
and chin it (with the defender on the baseline side), pivot on the baseline foot and use
a rear-turn seal, use a power crab dribble between the legs near the lead foot as a two-
footed power jump to the basket and into the free-throw lane is made, and finish with a
two-footed power layup or jump hook (may need a shot fake). The best finishing posi-
tion for this power move is to complete the power move with a quick stop facing the
sideline. This is the best position to finish the post move with a dead ball move like the
jump hook. The most common error is to dribble or drop the ball outside the base (feet
position) as the rear turn or drop step is made; doing so exposes the ball to defenders
in the congested post area. Make the two-handed bounce between the legs and inside
the front leg as a two-footed (two feet to two feet) hop move is made toward the basket.
Jump Hook
The jump hook is a two-footed shot with the hand away from the defender; it is used
close to the basket. The technique is to chin the ball and move it to the shoulder away
from the defender, then make a power jump (from two feet) and use an arm bar to keep
the defender from the shot as the ball is taken up over the head and above the defender.
The nonshooting shoulder points at the basket. The jump hook can be used with either
hand; it is a safe, powerful scoring move that many players prefer to use in heavy traffic
close to the basket.
Wheel Move (Advanced)
This advanced move combines a power move to a quick stop, followed immediately by
a rear-turn post shot. It is used when the defender begins by playing high-side (or low-
side) defense as the power move is made but then anticipates effectively and cuts off the
offensive player’s first move. The post player then immediately executes a countermove
(figure 6.10). The sequence is to initiate a power move, do a quick stop and chin the ball
when the defender overreacts, and then carry out a post shot countermove.
CRITICAL CUE
If you catch the
ball in shooting
range, make a
quarter turn, point
the nonshooting
shoulder at the
basket, and use
the jump hook.

177
Figure 6.8 Power move to the baseline: (a) catch and chin-it, (b) half rear turn and seal,
(c) crab dribble—both hands between the legs with the ball inside the front foot (bounce
and hop), and (d) power shot (facing the baseline).
a
c
d
b

178
Figure 6.9 Power move to the middle: (a) catch and chin-it, (b) rear-turn seal, (c) two-
handed bounce and hop, and (d) jump hook, facing the sideline.
c
d
a
b

179
Figure 6.10 The wheel move: (a) power move to the middle (cut off by the defender),
(b) post move back to the baseline, and (c) post shot.
b
c
a

180 BASKETBALL SKILLS & DRILLS

Facing Moves
These basic perimeter moves are used when the defender is playing behind the post
player, especially with a defensive gap. The offensive player pivots with a front turn or
a rear turn on either foot to face the basket and the defender. The front-turn options
are the jump shot, the shot fake followed by a jump shot, and the crossover post shot
(figure 6.11). All live-ball moves can be used in this situation—for instance, the rear turn
on either pivot foot followed by a jump shot. This rear-turn move, first popularized by
Figure 6.11 A facing move: (a) pivot on either foot, (b) jump shot fake, (c) crossover, and
(d) post shot.
a
c
d
b

INSIDE OFFENSIVE MOVES 181

E7294/Krause/F06.12/599852/mh-R2
X5
Figure 6.12 Sikma post
move: rear turn (right pivot
foot in illustration).
Jack Sikma of the Seattle Supersonics, tends to clear the defender and create a gap
for the quick jump shot (figure 6.12).
Passing to the Post
For most post players, the preferred pass into the post is the bounce pass, when
passed to the baseline side. The bounce pass is hard for the defender to deflect or
steal. However, the air pass is quicker and should be used more often to the more
congested middle or on the reverse (second-side) pass and of course on the lob pass
(when the defender fronts the low post). On the direct air pass to the post, players
should either make an overhead pass from above the shoulders and hit the hand
target away from the defender above the shoulders or use a one-handed push or
flick pass past the defender’s ear from the triple-threat position (fake low, pass high).
To confirm that the passing lane is open, perimeter players should be sure that they can
see the numbers on the post player’s jersey before making the inside pass. The perimeter
player needs to pass to the hand on the open side (opposite the defender) because the
pass should lead to a score. The post player needs to keep the passing lane open using
the post stance (“arms of steel”), footfire, and lower-body contact. The location of the
pass tells the post player which move to make (plus reading the defender). When the
defender plays directly behind the post player, the pass is made
to the head target (or middle of the trunk) of the post player.
Facing-the-Basket Post Play
The technique used for high-post play or short-corner play (from
the low-post position) combines back-to-the-basket and facing-
the-basket techniques. Often, the defender in the high-post area
defends with a hand in denial position on the ball side. Offensive
high-post players may get open by initiating contact with the
lower body and providing a target hand away from the defender
(figure 6.13). This contact method of getting open has the disad-
vantage of establishing one foot as the pivot foot when the high-
post player catches and faces the basket using RPA. Using either-
pivot-foot (EPF) footwork, the post player may give up his or her
position in order to catch the ball with both feet in the air facing
the basket.
When cutting into the post area as a trailer on the fast break
or cutting from below, players should cut into the high post and
catch the ball with a quick stop facing the basket (ball in the air,
feet in the air), as shown in figure 6.14.
However, when high-post players catch the ball, they need to
catch and face using RPA with a determined pivot foot (estab-
lished). If the post player catches the ball facing the basket with
the feet in the air, attacking options to either side are readily avail-
able. If permanent-pivot-foot (PPF) footwork is used, the high-
post player can attack the preferred side with a direct drive or the
nonpreferred side with the recommended crossover drive plus
shooting options. When EPF footwork is chosen, players should
use the following facing options (Zak attack) in the congested
area of the high post (15 to 20 feet, or 4.6 to 6.1 meters, from
the basket). These facing-the-basket attack moves are designed
to penetrate to the basket using only one or two dribbles that result
in a layin; a pass to a teammate; or a jump shot, floater, or dead-
ball move closer to the basket.
E7294/Krause/F06.13/599853/mh-R2
X1
1
E7294/Krause/F06.14/599854/mh-R3
or
Figure 6.13 Getting open in the high-
post or the short-corner (low-post) area.
Figure 6.14 High-post cuts from low
post, wing, or trailer position.

182 BASKETBALL SKILLS & DRILLS

Zak-Attack Post-Play Techniques
The Zak attack is a perimeter (facing-the-basket) move that is best used in the free-
throw lane extended plus 3 feet (1 meter) on each side of the lane and when attacking
defenders from near the free-throw-line distance with a one- or two-dribble approach. The
preferred footwork for the individual move involves a quick stop with either pivot foot
(EPF) available. The attacking moves are somewhat limited if PPF footwork is used or
when a pivot foot is chosen during a catch-and-face action. The prime attacking moves
shown in the illustrations and video are those made from a quick stop with EPF avail-
able and when an inside pivot foot is used.
The Zak attack is best used with EPF footwork that establishes the inside pivot foot
in the high-post elbow area or the pivot foot away from the baseline (inside pivot foot)
in the short-corner area (figure 6.15). The idea is to allow the post player using the
Zak attack to drive to the basket toward the middle of the court with the optimum
protected-ball position using only one or two dribbles for a close shot (layin, runner,
post shot, jump hook, or dead-ball completion move). Zak-attack moves best attack the
middle of the court.
This approach allows the post player facing
the basket to attack the defense by choosing
the best move to the middle of the defense.
When overplayed to the middle, the post
player can test the defender with a jab step to
the outside of the defense. If the defender tries
to close off the middle drive, the post player
can attack the defender outside at the baseline
or outside the free-throw lane in the high-post
area with a quick stop by using the jabbing
(stepping) foot to dribble-drive by the over-
playing defender. The test is to use a stepping-
foot jab fake toward the basket. From the
high-post elbow areas, the post player can use
EPF footwork, choosing the inside pivot foot
and the primary-crossover-drive footwork to
attack the middle of the defense (figure 6.16).
E7294/Krause/F06.15/599855/mh-R1
High-post
elbow areas
E7294/Krause/F06.16a/599856/mh-R3
(a)
or
E7294/Krause/F06.16b/599857/mh-R3
(b)
or
Figure 6.15 Zak-attack prime areas.
Figure 6.16 Zak-attack prime move from high-post area: (a) From the right-elbow area,
establish the inside pivot foot (left) and use the right-foot crossover (jab right, crossover
left) to
attack the middle; (b) from the left elbow, establish the inside pivot foot (right) and use the
left
(stepping) foot to jab-step left and crossover-drive right to attack the middle.
a
b

INSIDE OFFENSIVE MOVES 183

From the low- or medium-post position, the post player can use EPF footwork to
choose the pivot foot away from the baseline (figure 6.17). This technique allows the
baseline-foot jab step to test the defender and make the baseline-foot crossover step,
thus attacking the middle of the defense. If the defense overplays the primary inside
attack move, the post player can attack the baseline side with a direct-drive stepping-
foot move.
Alternative outside-pivot-foot moves can be used in the high-post and short-corner
areas facing the basket as shown in the following illustrations:
1. Arc drive outside with outside-foot pivot foot (figure 6.18)
2. Arc drive to baseline from right side to baseline-side with right pivot foot (figure
6.19a)
3. Arc drive to baseline from left side to baseline-side with left pivot foot (figure
6.19b)
E7294/Krause/F06.17a/599858/mh-R3
(b)
Right
pivot
foot
Stepping
foot
E7294/Krause/F06.18a/599860/mh-R3
(a)
One-dribble
arc drive
E7294/Krause/F06.17b/599859/mh-R3
(b)
Left
pivot
foot
Stepping foot
(jab step)
E7294/Krause/F06.18b/599861/mh-R3
(b)
One-dribble
arc drive
Figure 6.17 Zak-attack prime moves from the low- or medium-post position: (a) On the left
side (facing the basket), use the right-foot pivot; (b) on the right side (facing the basket), use

the left-foot pivot.

Figure 6.18 Alternative high-post attack—inside-pivot-foot moves: (a) arc right-foot direct
drive from the right elbow, then drive to the left; (b) EPF-footwork left-foot direct-step arc
drive
to drive left.
a
a
b
b

184 BASKETBALL SKILLS & DRILLS

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(a)
X5
E7294/Krause/F06.19b/599863/mh-R2
(b)
X2
Figure 6.19 Alternative inside-pivot-foot attack moves (left corner) from short-corner
areas:
(a) right-foot arc drive to baseline; (b) left-foot crossover to middle (from right corner), or
arc
drive to baseline.
a
b
Coaching Points for Zak-Attack
Post-Play Techniques
• Establish pivot foot away from baseline or sideline to use the
Zak-attack crossover move to the middle.
• Preferred moves are as follows: left-foot crossover step,
then drive to the right; right-foot crossover step, then drive
to the left.
• Protect the ball with the stepping foot and leg.
• Use big vision with the eyes up as the attack move is made. Pick up the back-
board rectangle-upper-corner target early when possible.
• Use a hard dribble to a two-handed high pickup.
• Preferred finish is an underhand layup or an overhead layin off the glass.
-
The shoulders are square to the path (closed position), and the ball is pro-
tected by the nonshooting arm.
-
Use flip-wrist soft-release action to soften the shot against the backboard (up
or forward).
-
Release from two fingers to keep it straight.
-
Layup: Use an underhand (palm-up) release to the backboard.
-
Layin: Use a palm-forward soft release forward and up to the backboard; use
the elbow as an aiming device with the shooting arm in the vertical plane.
• The upper body should lead the turn on all spin moves.
• Other completion moves include the jump shot, the one-handed runner, and quick-
stop dead-ball completion moves.
Note: All Zak-attack prime moves and alternative moves are shown in the video library. The
Zak-attack princi-
ples are modified from Coach Holger Geschwindner’s FIBA clinic from January 8, 2015
(available on YouTube:
“Are you sure we teach the shooting?”).

185
Troubleshooting
Here are some of the common post-play errors, as well as coaching responses and
corrections.
• Problem: Not consistently creating contact
Correction: Sit into the game, stay in a post stance, and then progressively make
contact on pads or managers, dummy defenders, and then live defenders. Keep the
feet active to maintain contact.
• Problem: Trouble staying in post stance
Correction: Do more practice with the post-player line drill, develop added core
strength, and stay in stance for progressively longer periods.
• Problem: Difficulty staying open
Correction: Coaches should reteach players how to create contact in all situations,
use progressive contact drills, and check for active feet (footfire) and proper arm
position to maintain contact.
• Problem: Inconsistent catching of the ball
Correction: Increase partner passing and catching with a click (two hands, two eyes)
and emphasize possession over position.
• Problem: Losing the ball (after the catch)
Correction: Check capture-and-chin technique: fingers up, elbows up and out,
squeezing the ball, and using turns to shield the ball and escape defenders.
• Problem: Not scoring quickly and simply
Correction: Work harder before the catch for a deep post position, sit into a lower
stance to maintain quickness, practice the same scoring moves over and over until
they’re automatic, read and respond quickly, always assume a miss, and score on
an angle whenever possible.
• Problem: Using more than one dribble on facing-the-basket moves
Correction: Develop Zak-attack moves with crossover attack moves to the middle
that use one protected dribble to attack the basket when facing (first with no de-
fender, then with a soft defender, and then with a live defender). After one dribble (or
two, at most), finish the play with a proper scoring move: live ball (jumper or runner);
dead ball (jump hook, regular hook shot from a step through crossover, or a wheel
move).

186
Coaching Points for Post Play
• Use the slogan want the ball, call for the ball.
• Coaches should teach post players inside moves (one go-to
move and one countermove) that they can perform with
confidence, then have the team take the ball inside (in the
paint) regularly so that post players can use these moves.
Teams should play from the inside out.
• Use the backboard on most inside shots; doing so enables higher-
percentage shots.
• Coaches should view all players who are competitive and who like contact as po-
tential post players. Develop positionless post players.
• Keep the hands up inside.
• Get in post stance with two hand targets on or near the post line; always catch with
two hands to capture and chin the ball.
• Remember that getting open usually requires contact with radar bumpers (the
lower body and thighs) using quick, strong moves.
• Create contact on offense with radar bumpers to pin and seal the defender in
order to get open.
• Prioritize possession of the ball over position when the pass is made inside (go
after passes when necessary).
• Take defenders further in the direction in which they position themselves.
• Capture and chin every pass to the post (catch safely).
• Read the pass, your contact with the defender, and the position of other defenders.
See and prime attack the middle and into the free-throw lane when possible.
• Develop the post shot or power move and jump hook as the basic shot to the
middle of the free-throw lane from the chin-it position in order to score simply.
• Understand that keeping the body between the defender and the ball during the
power move is essential to its effectiveness.
• Use the wheel move as a power move, a quick stop, and a post countermove in
sequence.
• In some post situations, catch and face to use perimeter moves, especially in the
free-throw lane or the high-post area, the short corner (low-post) area or when the
defender plays directly behind in the low- or medium-post areas.
• Use only one or two dribbles on Zak-attack moves when possible.

INSIDE OFFENSIVE MOVES 187

Post Drills
These drills should be developed progressively with no defense, with dummy defense in
different positions, with managers using handheld air dummies for contact, and finally
with live defense. Note: Post players should also do general skill drills, such as those
presented in chapters 3 and 4.
Post Warm-Up
Purpose: To teach inside players basic skills while preparing for practice
Equipment: Basketballs, tennis balls, half-court area, basket
Procedure: Select at least six of the following options daily and spend 1 minute per item.
• Two-ball dribbling sequences
• Dribbling and juggling
• Tennis-ball infield (low and wide, toes to the outside, sit into the game): Use tennis
balls thrown against a wall to improve catching. Use a side-arm wall toss to create
the tennis ball rebound and catch the tennis ball rebound with two hands.
• Defensive slides or moves against an imaginary offensive player while talking
through the defensive move
• Moving without the ball on offense (alone or in pairs)
• Rim-to-rim fast-break sprints
• Crab dribbles with bounce and hop moves down a line (two-handed ball bounce
between the legs near the lead leg followed by a ball chin and two-footed hops down
the line)
• Capturing and chinning the ball from an overhead toss or a spin pass to self from
the floor
• Round-the-world jump hooks (left-handed and right-handed) from 4 to 6 feet (1.2 to
1.8 meters) from the basket (five spots)
• Soft-touch shots—five spots and five shots (any goal) or with jump hooks
• Mikan series (regular, reverse, power, shot fake and power, freelance)
• Post stance with weight plate in each hand (thumb in weight plate hole) as post
player moves in half circle from block to block using active feet or footfire in a hands-
up position
Line Drill: Post-Player Starts, Turns, and Stops
Purpose: To teach inside players proper footwork using the fundamental four-line format
Equipment: Half-court area (minimum)
Procedure: Position four lines of post players on the baseline: at the sideline, outside the
free-throw lane (both sides), and on the opposite sideline. The movement options are be-
gun with a post stance and a sequence of starts, stops, and turns:

188 BASKETBALL SKILLS & DRILLS

• Post stance into post start (no negative steps)
• Post stance with active feet after quick stop at the free-throw line, quick rear turn,
and return to the baseline (quick stop into post stance [active feet]); repeat with front
turns
• Full-court option: post stance stops at the free-throw line, half-court line, opposite
free-throw line, and opposite baseline (using two quick turns at each location, re-
starting together, and verbalizing each move)
Coaching Points
• Post stance and starts
-
Feet more than shoulder-width apart
-
Sitting into the game
-
90-degree elbows and hands held high (arms of steel)
-
Positive step forward (no negative or backward starting step)
• Stops
-
Quick stop (heel to toe or landing lightly)
-
Whole-footed stop with active feet (footfire)
• Turns
-
Executing front turns with right and left turning foot
-
Executing rear turns with right and left turning foot
 -
Lifting the heel and pivot on the ball of the turning foot
-
Staying low and level (head)
-
Leading with the elbow on the rear turn; throwing a forearm punch on the front
turn
Post Pairs
Purpose: To teach and practice basic skills for post players, including post stance, pass-
ing and catching, and chinning the basketball
Equipment: One basketball and player pairs spaced at least 15 to 18 feet (4.6 to 5.5 me-
ters) apart (optional: one player positioned in the post)
Procedure: Both players in a pair assume a post stance without the ball and a perimeter
quick stance (triple-threat position) with the ball as they pass and catch and then capture
and chin the ball on each pass. Whoever has the ball is the perimeter player, and whoever
is catching is the post player (then switch roles with each pass). The pairs pass and catch
repeatedly for 1-minute segments.
Options
• Use regular posting and passing and catching (in and out).
• Bad-pass variation: The catcher must give up position in order to gain possession of
the ball by doing a two-handed capture and chin of the ball.
• Floor pass (bowling pass), capture, chin, and pass out: The feeder bowls the ball to
one side of the post catcher, who captures, chins, and passes back. Do 10 passes,
then reverse roles. The feeder then bowls the ball to the other side. The post player
should have to step-slide to the right and then to the left in order to capture the ball
with two hands, chin it, and return it to the feeder.

INSIDE OFFENSIVE MOVES 189

• Back to the feeder or passer: The post player assumes a post stance facing away
from the passer. The feeder passes to the post player and calls the player’s name,
whereupon the post player turns to face the passer, captures and chins the ball, and
then returns the pass to the feeder (10 passes and reverse roles).
• Feeder and rebounder: The post player assumes the post stance as the feeder
shoots the ball or tosses it in the air near the post player, who performs a 2-and-2
pursuit and capture of the imaginary rebound. Coaches should teach players to post
up, go to the gap with hands up on the shot, to pursue the ball, rebound out of their
area, and capture and chin the ball with two hands.
Coaching Points
• Post players get in and stay in a post stance.
• Capture and chin the ball on every catch.
• Get possession over position.
• Catch every pass.
• Do everything from two feet and with two hands.
• Catch the ball with a click (two eyes and two hands).
Spin-Pass Post Moves
Purpose: To teach individual offensive post moves
Equipment: Ball, basket, and optional toss-back rebound device
Procedure: At a desired post location with their backs to the basket, post players use
either a two-handed overhead toss and a chin-it catch or an underhand back spin pass
to the floor and a chin-it catch, or a pass and a rebound from a toss-back device to feed
themselves. Players execute 3 to 5 repetitions of each post move on each side of the free-
throw lane. The sequence for inside or low-post moves includes the following elements:
• Post shot—to the middle
• Jump hook shot—around the lane (catch and turn; catch, crab dribble, and shot)
• Power move—to the baseline (power shot on the glass); to the middle (jump hook)
• Wheel—to the baseline and wheel to the middle; or to the middle and wheel to the
baseline (use glass)
• Face—jump shot, shot fake and jump shot, and crossover post move (front-turn op-
tion) or live-ball move (rear-turn option)
Coaching Points
• No defender is used for this drill.
• The coach may pass to the post to check post stance, post line, footwork, hand tar-
get, catching technique, chinning of the ball, and post moves.
• Another option is to make three to five consecutive baskets before going to the next
move.
• Players should assume a miss on all shot attempts and rebound until a shot is made.

190 BASKETBALL SKILLS & DRILLS

Post Progression
Purpose: To provide players with a self-teaching progressive drill for offensive post moves
Equipment: Ball, basket, and optional toss-back device or other method of receiving
passes
Procedure: Post players begin with an underhand spin pass to themselves (or a pass and
rebound from a toss-back device) and make post moves in sequence. Five baskets are
made for each move in the sequence:
• Power move to baseline—left side, low post
• Power move and jump-hook move to middle—left side, low post
• Post move—left side, low post
• Wheel move—left side to middle or baseline first
• Facing move—left side, low post
• Facing move—high post, left elbow
• Same moves on the right side
After players make the fifth basket for each move, they must make two consecutive free
throws (row five plus two free throws) in order to advance to the next move (or repeat the
post move and free throws).
Options
• For advanced players, require three to five post-move baskets in a row and two or
three free throws in a row.
• Use the following defensive progression: no defense, position defense, air-dummy
defense, and live defense.
Coaching Points
• First do things right, then go toward game speed.
• Assume that all shots are missed; rebound and score on misses.
Big Spacing and Post Feeding
Purpose: To teach big spacing by perimeter players at one basket from four perimeter
spots (figure 6.20a) and to teach triangle spacing with six players at one basket (post
feeding; figure 6.20b)
Equipment: Ball and basket on one half-court area with four players at a time (big spac-
ing drill); two balls and a basket on the other half-court area with two groups of three (one
post and two perimeter players) on each side
Procedure for Big Spacing
Four perimeter players fill the four perimeter spots on the half court. Using either a regular
ball or a weighted ball, players swing or reverse the ball around the perimeter as quickly
as possible (reversals can be timed).
Coaching Points for Big Spacing
• Players should step and pass (pass with the legs).
• Players cannot space too high or too wide to reverse the ball. Locate near the side-
line and the half-court line.

INSIDE OFFENSIVE MOVES 191

• Players should work the ball around the perimeter.
• Catchers should use a V-cut and shorten the passing lane.
• If defenders are used, passers should pass away from the defenders as catchers
present an outside-hand target with both hands up (one as the target and one to
ward off the defender).
• Coaches should emphasize rip pivots or turns for players to step across the body in
order to protect the pass and increase pass power from the legs; players should use
two-handed air passes.
• Players should call for every pass (use the passer’s name).
Options: Add four defenders, basket cuts, or dribble drives.
Procedure for Post Feeding
A post player is positioned on each side of the lane. Two perimeter players are spaced
at least 15 to 18 feet (4.6 to 5.5 meters) apart to work with the post player on their side of
the floor (six players are working at once). The guard on top passes to the wing on that
side, who catches facing the basket or pivots or turns to face the basket and calls out
rim–post–action to remind teammates of the priorities with the ball: look for the shot, feed
the post, and take an action (pass or dribble drive). The perimeter wing then passes back
to the guard and uses a back screen from the post to cut to the basket. The post player
then immediately down-screens for the perimeter player and slips or posts up again. On
the second catch from the top guard, the wing player feeds the post.
Coaching Points for Post Feeding
• An air-dummy defender can be used on the post to teach passing away from the
defender (pass leads to a score).
• Insist on verbal calls for passes, cuts, screens, and rim–post–action with the ball or
on the perimeter.
• Emphasize all passing and catching principles as well as moving and pivoting (turn-
ing) concepts.
• Focus on back-screen, down-screen, and cutter techniques. Post players must al-
ways screen and slip to get two scoring options on each screen.
Options: Add defenders later; allow players to change courts to get work in both drills.
E7294/Krause/F06.20a/599864/mh-R2
E7294/Krause/F06.20b/599865/mh-R2
Figure 6.20 Big-spacing and post-feeding drill: (a) big spacing—perimeter, (b) post feeding.
a
b

192 BASKETBALL SKILLS & DRILLS

All-American Post Workout
Purpose: To teach or practice all offensive post moves (for advanced players)
Equipment: Ball, half court, basket
Procedure: Players should make all shots before going to the next move in this 30-minute
workout. The drill should be performed daily at game speed with proper and quick repeti-
tions. Players can work from their favorite side of the lane. Here is the sequence:
• Four baseline power moves
• Four power moves to the middle and jump hook as a completion shot
• Four turnaround jump shots, pivoting on the turning foot away from the baseline
• Four turnaround jump shots with a shot fake
• Free-throw swish game (+2 for swish/0 if made shot, not a swish/–2 if missed)
-
If lose (–2), do push-ups or sprints.
-
If win (+2), shoot a string until a miss; when a miss occurs, the shooter gets
another shot and the swish gives the player a reprieve to keep going.
• Four moves starting low, making a V-cut, and flashing to the free-throw line elbows
for a jump shot
• Four moves stepping out to the short corner for a jump shot on the baseline
• Free-throw swish game
• Four moves making a V-cut and flashing to the free-throw line elbow for a shot fake
to a jump shot
• Four short-corner shot fakes to jump shots on the baseline
• Free-throw swish game
• Four moves making a V-cut and flashing to the free-throw line for a shot fake and a
drive to a power shot or a dunk in the free-throw lane
• Four short-corner shot fakes to a power shot or a dunk
• Free-throw swish game
2-on-2 Feeding the Post
Purpose: To teach offensive and defensive post-play skills, passing to post players, and
movement after the pass for a possible return pass
Equipment: Ball, basket, groups of four players (two offense and two defense)
Procedure: Two offensive and two defensive players work on perimeter and post play
from various locations around the free-throw lane while applying all offensive and defen-
sive principles of post play. Two players are needed on offense (one perimeter and one
post). When defenders gain possession, they make the first outlet pass or dribble for tran-
sition. Outside offensive players make a V-cut move for a possible return pass when they
pass to post players and call the post’s name as they cut.
Options
• Designate two offensive perimeter players (undefended), plus one defensive and
one offensive post player (rotate after each score); see figure 6.21.

INSIDE OFFENSIVE MOVES 193

• Designate two perimeter play-
ers and two post players (one
on offense, one on defense).
Start the ball on the perimeter at
the top of the key. The perimeter
player dribbles to either wing as
the offensive post player gets
open on that side; the post play-
er may cut to the high post or
come outside and screen for a
teammate (pick-and-roll or back
pick).
• Players engage in a 2-on-2
game of make-it-take-it.
Mikan
This drill, named after George Mikan, the first dominant post player in basketball history,
can be used for all players (perimeter and post).
Purpose: To teach players footwork, ballhandling, and layup shooting close to the basket
Equipment: Ball and basket per player
Procedure: Players shoot alternating layups (with the left hand on the left side and with
the right hand on the right side). They should move their feet quickly and be in a position
to shoot as soon as they rebound and chin the ball. Players should catch and chin the ball
with two hands, try to backboard each shot, and follow through each time. The ball should
never hit the floor. Players should develop and maintain a rhythm and go at game speed
as they alternate backboard shots on the left and right sides of the basket.
Options
• 1 minute or three, four, or five made baskets in a row
• Regular Mikans
• Reverse-layup Mikans
• Power Mikans: jumping under the basket on the shot, catching and chinning while
jumping to the other side, and repeating the move while going from two feet to two
feet (side to side in front of the backboard)
• Power Mikans with shot fake: staying in stance, giving a 1-inch (2.5-centimeter) fake,
and keeping the heels down on the shot fake
• Freelance: 1 minute of consecutive shots or making 10 scores using any move
around the basket continuously. Catch the ball coming through the net and go to the
next move.
5-on-5 Post Passing
Purpose: To teach post players to get open, catch the ball, make post moves, and pass
from the post position as they read and react to defenders (especially traps); to teach
defensive players to double-team (trap) a post player and rotate to the ball on passes
from the post
E7294/Krause/F06.21/599866/mh-R2
X1
1
1
2
Post line
Figure 6.21 2-on-2 feeding-the-post drill.

194 BASKETBALL SKILLS & DRILLS

Equipment: Ball, half-court space, and 10 players (5 on offense, 5 on defense)
Procedure: Position three perimeter players and two post players as shown in figure 6.22.
In figure 6.22a, the defense allows the first pass (always), and the post player goes 1-on-1
(no traps). In figure 6.22b, a trap is made. Post player must pass out of the trap, and play
is continued. After the first pass, all play is live.
E7294/Krause/F06.22a/599867/mh-R2
a
3
1
X3
5
X5
X4
4
X2
2
X1
E7294/Krause/F06.22b/599868/mh-R2
b
X3
X5
X4
3
1
5
4
X1
X2
2
Figure 6.22 5-on-5 post passing: After each possession, the defensive team has a quick
huddle, decides on a trap, and sprints to play defense. In (a), the pass happens with no
traps;
in (b) the defense employs a trap.
a
b
Post Score Through Defense
Purpose: To teach post players to capture and chin the ball and score repeatedly from
two feet through a defender or blocking pad (getting fouled and scoring)
Equipment: Five basketballs, one basket, and one defender with a blocking pad
Procedure: Five players, each with a ball, form a half circle around the basket (at five
spots) at a distance of 6 feet (1.8 meters) from the basket. One defender is positioned in
front of the basket, preferably with a blocking pad. One player on offense starts on the
baseline without a ball, receives a shovel pass or floor pass (good or bad) from a player
with the ball, captures and chins the ball, and, without dribbling, turns and scores through
contact with a two-footed power move. This move is repeated 5 times (one from each
player without a ball). Rotate and repeat for all five players to make 5 scores each while
finishing through contact.
1-on-1 Post Cutthroat
Purpose: To practice post offense and defense in a 1-on-1 live format (playing to 2 or 3
baskets or for 1 minute)
Equipment: Ball, basket, three perimeter feeders (point, wing, wing), and two post play-
ers (one on offense, one on defense)
Procedure: Offensive and defensive post players are positioned in the lane, and three
players are designated as perimeter players. The ball starts with the defensive post play-
er, who passes it to a perimeter player of choice; live play begins with 1-on-1 post play in
the lane. The ball can be passed anywhere on the perimeter before being passed to the
offensive post player.

INSIDE OFFENSIVE MOVES 195

Coaching Points
• Offense: Post players establish good post stance on the post line, create contact
and seal the defender, point to where they want the ball on the three perimeter spots.
Get open and stay open, catch safely, and score simply.
• Defense: Defenders avoid contact unless a position or advantage is offered; keep
the ball from the post. Then defend the post with the ball until a score or rebound
(one dribble limit for offense).
Perimeter–Post Progression
Purpose: To allow perimeter and post players to practice working together as outside–in-
side units in 1-on-1, 2-on-1, and 3-on-1 ratios, first without defense and then progressing
to playing against additional defensive players in 2-on-2, 3-on-2, 3-on-3, 4-on-2, 4-on-3,
and 4-on-4 formats
Equipment: Four perimeter feeders, two post players, and one ball per basket
Procedure: Begin the drill with one perimeter player and one post player, then progress
to 2-on-1, 3-on-1, and so on. Defenders may be added until the drill becomes 4-on-4 with
selected offensive and defensive options and using repetitions with variety (see figures
6.23 and 6.24).
E7294/Krause/F06.23c/599871/mh-R1
(c)
E7294/Krause/F06.23a/599869/mh-R1
(a)
E7294/Krause/F06.23d/599872/mh-R1
(d)
E7294/Krause/F06.23b/599870/mh-R1
(b)
Figure 6.23 Perimeter–post progression using one perimeter player and one post player:
(a) Middle drive—post player steps out; (b) post player dribbles out, and perimeter player
posts; (c) baseline drive—post player cuts up-lane facing the ball; (d) post player dribbles
out,
and perimeter player posts.
c
a
d
b

196 BASKETBALL SKILLS & DRILLS

• Middle drive: Post player steps out.
• Post player dribbles out, and perimeter player posts.
• Baseline drive: Post player cuts up the lane facing the ball.
• Post player dribbles out, and perimeter player posts up.
• Perimeter feeds post and cuts to corner (slides low), to wing area (slides high), or
to basket.
E7294/Krause/F06.24a/599873/mh-R1
(a)
1
2
E7294/Krause/F06.24b/599874/mh-R1
(b)
1
2
Figure 6.24 Perimeter–post progression using two perimeter players and one post player:
(a) Point dribbles at wing, wing loops to top; wing to point pass and feed post player from
the
top; (b) perimeter players cut off post after perimeter pass to post player.
a
b
Wooden Wisdom
“Learn as if you were going to live forever, and live as if you were go-
ing to die tomorrow.”
—John Wooden

7
Individual Defense
“My teams are built around tough defense,
stingy shot selection, and being hard-nosed.”
Don “Bear” Haskins, Naismith Hall of Fame coach, former head coach at University of Texas
at El Paso,
coach of first NCAA Division I Championship team with black players (1965-1966)
CHAPTER

198 BASKETBALL SKILLS & DRILLS

I
ndividual defense poses a great challenge for both coaches and players because it
depends on developing fundamental skills that rely less on ability than on determi-
nation. For the same reason, however, defense can become a consistent part of each
player’s game. The effectiveness of this phase of the game depends especially on what
is taught, emphasized, evaluated, and demanded. Players who seek to develop defensive
skills will face both mental and physical challenges. To meet them, they will need both
determination and courage—the two most important ingredients for success in indi-
vidual defense.
Basic skills of individual defense are needed in all defensive systems, whether player-
to-player, zone, or combination. These essential skills are as follows:
• Defensive stance and steps
• On-the-ball, off-the-ball, off-the-ball to on-the-ball, and on-the-ball to off-the-ball
defense
• Defense for special situations—screens, traps (double-teaming), and the defensive
charge
Individual defensive skills need to be blended into a consistent defensive system that
addresses level of coverage (full-court, three-quarter-court, half-court), pressure (lane,
sagging style), and assignments (player-to-player, zone, combination), as well as the
influence of the dribbler. This chapter discusses individual skills geared to an aggres-
sive style of man-to-man defensive play, but coaches can adapt them to other situations
or to a specific philosophy of team defense.
Defense is critical to winning, more consistent than offense, and more controllable.
Naismith Hall of Fame coach Ralph Miller (Oregon State University) stated that losses
are rooted in breakdowns on defense—specifically, individual or team defense, defen-
sive rebounding, or turnovers caused by the opponent’s defense. Defense also generates
fast-break offense, easy baskets, and offensive confidence.
Fundamentals of Defense
Defense is as much mental as it is physical. Players should be encouraged to be proac-
tive, rather than reactive. Generally, defenders are at a disadvantage, and one way to
offset this initial deficit is to use the rule that action is usually quicker than reaction.
Coaches can emphasize the active elements of defense by using the acronym ATTACK.
A for attitude: All defense starts with the determination to become an aggressive, intel-
ligent defensive player. Players must develop and maintain control of their playing
attitude, especially on defense. Coaches cannot coach unless players decide to play
hard during each defensive possession. Excellent defense requires that players give
maximum physical, mental, and emotional effort.
T for teamwork: The collective effort of five defensive players is greater than five indi-
vidual efforts. The synergy found in defensive team chemistry can offset the natu-
ral advantage held by offensive players; defenders must play together to survive
and thrive with team defense. Coaches should tell players, “Don’t let your team-
mates down on defense!”
T for tools of defense: The four basic tools of defense are the mind, the body, the feet,
and the eyes. The hands can be either a help or a hindrance; however, when the
other tools are used first, especially body position, the hands can be a defensive
plus.

INDIVIDUAL DEFENSE 199

CRITICAL CUE
Get in and stay in
stance.
CRITICAL CUE
On a shot, either
go to defense or
go to the offensive
rebound.
A for anticipation: Players must use good basketball sense and judgment (mind) trig-
gered by vision. They must see the opponent and guard the ball—the ball is the
only thing that scores. Players should see the ball at all times and use their eyes to
anticipate. For example, they should see a careless pass instantly and decide to act
quickly. Quickness is based on both physical readiness and mental anticipation.
C for concentration: Players should be alert and ready to play defense at all times. They
must assess the situation and be able to take away the opponent’s strength. Players
must avoid resting, physically or mentally, when playing defense. Concentration
can be aided through communication, and everyone can improve their communi-
cation.
K for keeping in stance: Defenders must maintain defensive quick stance at all times.
They should seldom gamble by making moves that take them out of stance or
position, and all players must be constantly ready to take advantage of an oppo-
nent’s mistakes. Therefore, keeping in stance is the most important physical readi-
ness concept for defenders. Coaches need to remind players constantly to get in
stance, stay in stance, and be ready for the opponent’s best move. Coaches and
players can use this concept as a subjective measure of defense. Great defensive
players and teams can stay in a quick stance (on and off the ball) during the entire
defensive possession. Each defensive player also needs to stay in an alert defensive
mental stance—that is, be physically and mentally alert and ready for the oppo-
nent’s best move during the entire defensive possession.
Essentials of Defense
In addition to being proactive defenders, players must know nine essentials of defense:
transition, purpose, pressure, position, prevention of penetration, moving, line of the
ball, blocking out, and communication.
Transition The first task is to anticipate shifting from offense to defense, which
requires an organized transition facilitated by communication among all five players
and includes rebounding balance: Assume that every shot will miss—either get back on
defense or go to the offensive board. Sprint to protect the defensive basket, pick up the
ball, find shooters, and recover to all open offensive players. More specifically, players
going to defense should sprint toward the defensive end of the floor while seeing the
ball (look over the inside shoulder—red-light situation [i.e., extreme danger]) but may
run or slide backward (yellow-light situation [i.e., cautionary danger]) once the offense
is contained. Thus defense starts when a shot is taken on offense and ends only with
a defensive rebound, steal, caused turnover, or opponent’s basket. Transition to the
defensive basket should be made in straight lines parallel to the sideline, which helps
the team cover all outside shooters. When the opponent gains possession of the ball,
transition to defense according to the following rules:
• Sprint with vision for at least three quick steps.
• See the ball during the whole transition (look over the inside shoulder) and assess
the situation.
• Communicate to ensure all opponents are covered.
Purpose The purpose of defense is to prevent easy scores and gain possession of the
ball through a rebound or steal. Defenders must learn to prevent situations that lead to
easy baskets for the opponent; for instance, they should prevent all layups. The defense

200 BASKETBALL SKILLS & DRILLS

must make the offense work to get shots and then only under pressure (i.e., give the
opponent one pressured shot). Of course, the overall goal of defense is to prevent the
opponent from scoring. However, since doing so all the time is impossible, the best
defensive purpose is to allow the opponent only one contested shot.
Pressure Offensive play has a basic rhythm that can be disrupted by pressure. Therefore,
defensive play must maintain continuous physical and mental pressure on ball handlers.
More specifically, every shot must be pressured both physically and verbally. Defenders
should bother players who have the ball (whether a live ball or dribbling), swarm players
who have a dead ball (i.e., who have used their dribble), and, when defending off the ball,
be ready to protect the basket and support the defender who is on the ball. The defense
should pressure all shots by making the shooter adjust the shot. The defender’s hand
should go up vertically through the face area to disrupt the shot. This ball pressure must
be combined with off-the-ball positioning and readiness.
Position Coaches should train players to stay in a stance and be in proper court
position when on defense. Defenders should also sprint to the next proper position as
the ball moves on offense. Most fouls occur when defenders are out of position or have
not maintained individual defensive stance. Players should get in and stay in a defensive
quick stance (physically and mentally) as they maintain proper defensive positioning
relative to the ball and the basket. Whenever the opponent passes or dribbles the ball,
defenders should change positions and sprint to help the defender guarding the ball.
Prevention of Penetration Offensive players try to
take the ball toward the basket by passing or dribbling, and
defenders must prevent this penetration whenever possible.
One defender always pressures the ball while the four other
defenders play zone areas toward the basket to protect it and
support the defender playing on the ball, while guarding an
assigned opponent away from the ball. Defensive helpers assume
a pistol help position—one hand pointed to the player they are
guarding and one hand pointed at the ball. When playing on-
the-ball defense (especially in the power zone shown in figure
7.1), defenders should prevent middle-of-the-floor penetration
toward the goal by offensive players using the dribble or direct
air passes to that area. Off-the-ball defense, in contrast, means
keeping passes and dribble drives out of the middle of the floor
(especially in the power zone) by defending zone areas toward
the basket area. In short, defenders should prevent the ball and
the offensive players (with and without the ball) from entering
the power zone.
Moving Players must learn to move every time the ball is passed or dribbled. All five
players should adjust their floor positions with every pass. On the ball, after the ball
handler passes the ball, the defender moves instantly toward the ball and the basket—
jumping or exploding to the ball. Off the ball, defensive players adjust their positions
toward the ball with every pass to maintain their pistol positions to see the ball and their
assigned offensive players.
Line of the Ball The line-of-the-ball principle states that players should defend the
opponent only after the opponent has taken a position ahead of the ball and toward
the defensive basket. This position is past the line of the ball, which is an imaginary
straight side-to-side line parallel to the court end lines and passing through the ball
CRITICAL CUE
Defense: Allow no
layups; allow only
one contested
shot.
CRITICAL CUE
Defenders move
when the ball
moves (sprint to
help).
E7294/Krause/F07.01/599875/mh-R2
Figure 7.1 Power zone—extends this
far out from the basket area, about 15 to
18 feet (4.6 to 5.5 meters) from the basket.

INDIVIDUAL DEFENSE 201

handler’s location. For example, in figure 7.2, X1 and X2 need to
get ahead of the ball at O1 (ball–defender–basket) before getting
in proper defensive position to defend against the opponent
with the ball, as well as other opponents who do not have the
ball (pistol position).
Blocking Out Successful coaches recognize that defensive
rebounding is an important part of team defense and devote
appropriate time to teaching it (see chapter 8). Each defensive
player is responsible for blocking (checking) offensive players
from the basket area and obtaining the defensive rebound when
a shot is taken. This rule applies to any style of defense played.
When an opponent shoots, get in an assigned opponent–you–
basket position.
Communication Communication is always necessary
for group success. All players must react to each other both
verbally and physically in order to produce an effective team
defense. Essentially, the five players should act as one. Men’s
basketball coach Mike Krzyzewski of Duke University says that
the relationship between individual players and a team is similar
to that between fingers and a fist. Fingers cannot accomplish
nearly as much alone as they can when gathered into a fist.
Communication links all five fingers into a fist, just as it links
all five players into a defensive team. Therefore, especially on
defense, players cannot talk too much.
On-the-Ball Defense
On-the-ball defense can be considered the spearhead of the defense; all good defense
starts by defending the ball. In this defensive location, the concepts of seeing the assigned
offensive player and guarding the ball merge and can both be accomplished at once. Even
so,
on-the-ball defense is also one of the most challenging defensive tasks, and it requires
both good technique and determination to stay between the player with the ball and the
basket. Prevent dribble penetration by staying in the ball–you–basket position.
The skills, principles, and defensive concepts covered in this section are based on
the experiences of a lifetime of coaching on defensive stance and steps—the footwork
needed in order to be a successful defender when guarding the ball handler. As play-
ers become more skilled ball handlers, and bigger and better athletes, the advantage
for offensive players increases. As a result, it becomes virtually impossible to defend
1-on-1 on the ball without proper and highly skilled defensive techniques and team
help. Nonetheless, it remains critical to stop the ball and keep the ball handler in front
of the defender (ball–defender–basket).
These recommended techniques for on-the-ball defense have evolved to meet the
increasing challenges of the modern game and the growing advantages enjoyed by
offensive players. The concepts have been developed through collective playing and
coaching experience—especially through discussions with Mike Nilson, strength and
conditioning coach at Gonzaga University. Nilson has incorporated the concepts of
balance and quickness into the recommended on-the-ball defensive skills. These recom-
mendations allow all players to become significantly better on-the-ball defenders.
E7294/Krause/F07.02/599876/mh-R2
X2
Ball
position
X1
1
Line
of ball
Defensive
basket
Figure 7.2 Line of the ball.

202 BASKETBALL SKILLS & DRILLS

Defending the Live Ball
When guarding a player with a live ball (i.e., who still has the dribble available), the
defender
needs to be in a defensive quick stance with active feet (footfire). Communicate ball when
the defender’s assigned offensive player catches the ball and then say ready, ready. Defend-
ers should be taught to maintain their position between the ball handler and the basket
(ball–defender–basket), as shown in figure 7.3, to prevent dribble penetration as they rec-
ognize and take away the ball handler’s strengths (on the preferred or dominant side) and
keep a gap between them and the offensive player to prevent the dribble drive to the basket.
It is also important to distract and disrupt the player with the ball while preventing
pass and dribble penetration. Defenders should force and encourage slow bounce or
lob passes by using active feet or footfire (patter steps) and active hands from a stance
with the arms and the legs bent for quickness and balance. They should match the
offensive player toe to toe in a squared-up ball–defender–basket position (not shading
or opening the defensive stance, which would open the dribbling
lane to the basket). The feet are in a staggered stance with the
inside foot slightly forward and the back foot toed slightly out-
ward. The back or butt should be pointed toward the basket to
facilitate lateral movement (figure 7.4). This stance is low and
wide, with the hips down, the knees spread, and the head lower
than the offensive player’s head (level with that player’s chest).
Dropping the back foot too much is an error that opens the
door for the dribble drive. It is sometimes called matador defense
on the ball because it allows the offensive player easier access
to the dribble drive on the side of the dropped foot, thus leav-
ing the defender in the position of a matador—that is, waving
to the dribble driver as he or she passes by. This foot position
also makes it more difficult for the defender to move laterally
with quickness in order to maintain the ball–player–basket rela-
tionship. In addition, it allows a dribble move to the side of the
front foot (figure 7.5) that is difficult to defend. Therefore, play-
ers guarding the ball handler should position them-
selves with their butt to the basket in order to flatten
out or arc the offensive player dribbling laterally—to
prevent dribble penetration by forcing the dribble
to go wide. Defenders seldom need to swing-step or
E7294/Krause/F07.03/599877/mh-R2
X1
Figure 7.3 Ball–defender–basket
position when guarding the ball handler.
Figure 7.4 Defensive stance with the butt to the
basket while guarding the ball (active feet).
E7294/Krause/F07.05/599879/mh-R2
Opens
the gate
Figure 7.5 On-the-ball defensive error:
The matador defense gives the offensive
player an opening. Correction: Keep the
butt to the basket with active feet.

INDIVIDUAL DEFENSE 203

drop-step on a live-ball move if their stance and hand position are properly maintained.
This positioning allows defenders to keep the trunk and chest in front of the ball han-
dler in a ball–defender–basket alignment without grabbing or holding. Stop the dribble
drive with the body or trunk.
The recommended hand position on the live ball is for the ball-side hand (usually the
front hand) above the front foot to mirror the position of the ball. To mirror the ball,
do the following:
• If the ball is overhead, the front hand should be overhead
as the arm is extended to deflect the pass when the defender moves
closer. This technique can be accomplished with a quick two-foot
hop forward. With the ball overhead, the offensive player suffers
reduced ability to make a quick drive or take a quick shot so the
defender gets closer (ball overhead, hand up, move closer). Stay in a
quick stance with the front arm extended and vertical and the back
hand either near the front hand or near the waist in a horizontal
arm-bar position and ready for contact (figure 7.6a).
• If the ball is in the shooting pocket, keep the hand in front
and near the ball with palm facing the ball (if possible), where it
is ready to challenge and change a shot attempt while preventing
a quick air pass by the ear with the other hand (the thumb-in ear
position) (figure 7.6b).
• If the ball is low, keep the hand horizontal and above the ball
to prevent the ball handler from taking a quick shot or bringing
the ball up or across the body (in a high or low rip or circle-tight
move); see figure 7.6c. If the offensive player has the ball low, the
defender should play even lower because of the increased threat of
the dribble drive. The defender must keep the trunk in the ball–
player–basket position in order to prevent the driver from lowering
the shoulder and getting the head and shoulders by the defender’s
trunk on the dribble drive.
Figure 7.6 Defensive hands and feet when guarding the ball: (a) ball overhead, (b) ball in
triple-threat position,
and (c) ball low.
a
c
b
204 BASKETBALL SKILLS & DRILLS
The other hand is in front of the body, with its arm flexed at the elbow, and therefore
ready to become the disrupter if the ball is moved to the opposite side by the offensive
player. This back hand is also ready to chase the ball following a pass to this side; the
defender should try to get a touch on any pass to that side.
Taking a stand on the ball is a phrase that coaches can use to remind players to establish
and maintain a ball–defender–basket position on ball handlers as they attempt to dis-
tract and disrupt the player with the ball. The defender should be close enough—about
an arm’s length away—to get a touch on the ball. This technique applies to defending
the live ball and the dribbler.
Note: On an offensive jab step, defenders should use a 6-inch (15-centimeter) retreat
step to that side. Specifically, they should use a power push-step slide to prevent the
possible dribble drive.
Defending the Dribbler The dribbler, or point position, should be defended with
a gap that is small enough to allow the defender to get a touch on the ball yet adjusted
as necessary according to the relative quickness of the offensive and defensive players
involved. On determining the direction of the offensive player who is using the dribble
drive, the defender uses push steps to prevent the intended drive and maintain or regain
the ball–defender–basket position. A slight rear turn is made in the direction of the
dribble drive as the defender uses repeated explosive push steps (usually three steps)
from the power leg to prevent dribble penetration. Defenders should be reminded to
use their mind, feet, and body to stop the dribbler: Anticipate the drive direction (mind),
use explosive push steps (lead with and point the foot in the direction of movement) to
maintain the ball–player–basket position, and take contact on the chest or trunk (body)
in a legal guarding position to prevent dribble penetration. If the dribbler gets by the
defender (head and shoulders past), then the defender turns and sprints to regain the
ball–defender–basket position (run to recover).
Push-Step Technique From a balanced defensive quick stance, players should thrust
the lead foot (in the direction of movement) laterally as the head and body weight are
shifted in that direction. That foot is toed outward slightly as the foot position of the quick
stance is maintained. Although some coaches prefer pointing the lead foot, it is preferable
to keep the feet parallel. The power for the push step comes from a forceful push from the
power or trail foot. The movement of the lead and trail foot is 6 to 18 inches (about 15 to
45 centimeters) laterally as the feet are kept apart at shoulder width or wider. The trail foot
then returns to quick-stance position. Usually, three explosive push steps are sufficient to
prevent dribble penetration in one direction. At this point in the sequence, the dribbler
either has gotten past the defender (who must run to recover) or reverses direction on the
dribble (in which case the defender must use three push steps in the opposite direction). In
that event, pointing the lead foot is preferable, as it gives more leverage to change direction
and prevent penetration on the reversal counter move. Partial rear turns may be needed to
maintain proper defensive position prior to the push steps.
The teaching segments for the lateral push-step movement are as follows:
• Use a partial rear turn when needed to stay ahead of the dribbler and to maintain
the ball–defender–basket position (figure 7.7a). Point the lead (stepping) foot in
the direction of movement.
• Explosively push from the trail (pushing) foot while the lead (stepping) foot is
pointed and moves laterally 6 to 18 inches (about 15 to 45 centimeters) and the
head and body weight shift in the direction of movement (figure 7.7b).
• Focus on the lead foot landing with balanced weight distribution (toe and heel hit
at once, with 60 percent of the weight on the ball of the foot) while keeping the
feet in a parallel stance (or with the toes pointed slightly outward), unless leading
with and pointing the foot in the direction of movement.
CRITICAL CUE
Take a stand on
the ball handler.
CRITICAL CUE
When guarding
the ball handler,
maintain ball–de-
fender–basket
position with the
butt to the basket
and active feet.
CRITICAL CUE
Push step and
slide, low and
wide: can’t get too
low, can’t get too
wide.

INDIVIDUAL DEFENSE 205

• The trail foot also moves 6 to 18 inches (15 to 45 centime-
ters) as the feet maintain a shoulder-width relationship
(figure 7.7c).
• The start and end of the movement are always made from
and to a balanced quick-stance position (with the feet toed
out only slightly).
Push-step technique is sometimes referred to as step-and-slide
motion. For a good learning reminder, use the verbal prompt
push step and slide, low and wide: can’t get too low, can’t get too wide.
In the point stance, the defender’s nose is on the ball to get
ahead of the dribbler. The near (dig) hand is pointing to the ball
with the palm up,
and the elbow of that
arm is bent. When
step-sliding to the
right, the defender’s
near (dig) hand is
the left hand. The
lead (back) hand is in
the
“thumb-in-ear”
position, with the
elbow of that arm at
a right angle and the
forearm acting like a
windshield wiper, in
order to take away or
prevent the quick air
pass by the ear. When
the
dribbler
puts
the ball on the floor,
the defender communicates point, point. The
defender should turn the dribbler in the back-
court and adjust to the ball–defender–basket
position in the frontcourt. On a spin dribble,
defenders should jump back one step away from
the dribbler to prevent the dribbler from hook-
ing them with the protection arm bar to get by
more readily.
Traditional Method of Defending the
Live Ball Live-ball defenders must be ready in
a defensive quick stance and in a ball–defender–
basket position. The forward foot may be placed
opposite the dominant hand of the offensive
player. If the offensive player is right-handed,
defenders can position the left leg and arm
forward to force the offensive player to pass or
dribble with the weak hand. Another option is
to place the inside foot slightly forward in the
ball–player–basket position. Coaches should
have players defend with the palm of the lead
hand facing the ball (see figure 7.8), which allows
them to move easily and flick at and pressure
E7294/Krause/F07.07a/599883/mh-R1
Turning
foot
Stepping
foot
Slight
rear turn
E7294/Krause/F07.07b/599884/mh-R1
Pushing
foot
Stepping
foot
Point
E7294/Krause/F07.07c/599885/mh-R1
Trailing
foot
Figure 7.7 Lateral movement footwork sequence: (a) partial rear turn (only when
needed), (b) push step, and (c) return to quick stance.
Figure 7.8 Live-ball defense: Palm of the lead hand
faces forward; palm of the trail hand faces up. Left foot
is forward against the right-handed offensive player
influencing the dribble to go left.
a
b
c

206 BASKETBALL SKILLS & DRILLS

the ball. This hand position is more
common when players are guarding
the live ball.
Players should distract and disrupt
with the hands as they keep the inside
foot slightly forward. Most coaches
prefer to have the inside foot forward,
as shown in figure 7.9. In addition,
many coaches prefer to point the lead
foot during step-slide defensive move-
ment to cut off lateral movement.
When a dribbler gets the head and
shoulders past, the defender runs to
recover the ball–defender–basket posi-
tion.
Defending the Dead Ball
When a ball handler has used the dribble, two defensive tech-
niques are recommended: swarming and sagging (i.e., pressuring
and dropping back). When swarming the ball, defenders trace the
ball with both hands and attack the ball handler’s senses while
staying in stance (figure 7.10). When sagging, defenders drop
back toward the basket while staying in the ball–defender–basket
relationship to anticipate the next pass and aid team defense.
This latter option can be used especially when the ball handler is
out of shooting range. The pressure option is also referred to as
the stick position, and defenders can communicate with stick, stick
to alert teammates to deny other passing lanes.
Off-the-Ball Defense
This most challenging individual defensive skill makes a crucial
contribution to team defense. Despite a natural tendency for play-
ers to relax away from the ball, they must learn the importance
of playing off-the-ball defense. Coaches should teach them that
protecting the basket and supporting the defender who is play-
ing on the ball is just as important as attending to the assigned
player away from the ball. Thus, when defending away from the
ball, players should see the person but guard the ball. These mul-
tiple tasks require greater attention than is needed for on-the-ball
defense.
The two types of off-the-ball stances are as follows:
• Open (pistols) stance, used when the defender is relatively far from the ball (two
passes away)
• Closed (denial) stance, used when relatively close to the ball (one pass away)
These stances are shown in figure 7.11, where X2, X3, and X5 use a closed stance but
X4 uses an open stance to support defender X1, who is guarding the ball handler. The
common concept is that off-the-ball defenders should be in a ball–defender–player
CRITICAL CUE
Hands on the ball,
not on the offen-
sive player.
CRITICAL CUE
Dead ball—swarm
or sag.
CRITICAL CUE
When playing off
the ball, maintain
ball–defender–
player position
(open or closed
stance).
E7294/Krause/F07.09/599887/mh-R2
X
X
Figure 7.9 Foot position—inside foot
forward (guarding the ball).
Figure 7.10 Dead-ball defense.

INDIVIDUAL DEFENSE 207

position in either an open or closed stance, depending on prox-
imity to the ball.
The farther the offensive player is from the ball, the farther the
defender should be from the assigned opponent, while always
maintaining a ball–defender–player position. The defender needs
to keep a gap (a distance cushion) to provide extra response time,
as shown in figures 7.11 and 7.12. The closer the ball is to the
offensive player, the closer the defender should be to the assigned
opponent away from the ball.
What the defender does before the offensive player gets the
ball determines what the offensive player can do with the ball.
Defenders should keep the ball away from the assigned oppo-
nent in the opponent’s favorite spots on the floor. Always take
away an opponent’s strength, whether on the ball or off the ball.
Defenders should also prevent player cuts to the ball (ball–
defender–player
position)
in
the
middle and power zone areas. Coaches
must teach defenders to force offen-
sive players to go around or away from
a desired position. If contact must be
made, the defender should beat the
offensive player to a desired spot, make
contact using an arm bar and a closed
stance, force the cutter high or out of
the power zone, and then re establish
a gap.
Seeing the ball at all times helps
players defend the ball handler and
support the defender who is playing
on the ball. Players should follow the
ball visually to anticipate offensive
cuts and careless passes. They should
guard the ball and see the offensive
player being guarded—the ball always
scores, not the player.
Defenders who are two passes away
from the ball should assume an open
pistols stance, which allows them to see
the ball and their assigned opponent.
In this position, one hand points at
the ball and the other points at the opponent (pointing pistols), thus forming a flat tri-
angle: ball–defender–player (figure 7.12).
Defenders who are near the ball need to deny the pass to the player they are guarding.
In a ball–defender–player position and a closed stance, defenders should place the back
partially to the ball in order to see both the ball (over their shoulders) and the player
they are guarding. They should also put the lead foot (the one closest to the ball) and
the lead hand in the passing lane; the hand should be positioned with the thumb down,
the fingers spread, and the palm facing the ball. The defender’s ear should be at the level
of the offensive player’s chest. Denial pressure can vary from putting the hand in the
passing lane (moderate pressure) to putting the elbow in the lane and even the shoulder
and head in the lane (high pressure).
The back hand near the opponent is the brush hand; the back of this hand feels
the opponent and is ready for use as an arm bar if the opponent cuts to the ball. The
CRITICAL CUE
Closed (denial)
stance—hand in
the lane, thumb
down, ear in the
chest, see the ball
and feel the player
you are guarding,
body in ball–de-
fender–player
position, and foot
closest to the ball
forward.
E7294/Krause/F07.11/599889/mh-R2
X3
5
4
1
2
X4
X5
X2
3
X1
Figure 7.11 Closed stance (X2, X3, X5)
and open pistols stance (X4).
Figure 7.12 Open stance: The off-the-ball defender forms the flat
triangle and points pistols at defensive responsibilities—that is, at the
ball (as a helper) and at the offensive player being guarded (primary
assignment).
Flat triangle

208 BASKETBALL SKILLS & DRILLS

defender makes a fist with the brush hand to prevent grabbing
or holding fouls. The defender’s vision is down the gun barrel of
the extended near arm.
With the defender in a closed stance (denying the pass to the
player guarded), the offensive player needs to V-cut to get open;
therefore, the defender must stay in a closed stance and move
continually to maintain the desired ball–defender–player posi-
tion. Also, when overplayed, the player being guarded may cut
behind the defender in a backdoor move. The proper response
to the backdoor cut is to go with and stay in the ball–defender–
player closed-stance position (snap the head and change the
denial hand) until the cutter reaches the lane, then open up
and assume the open stance to see the ball. The defender
should not follow the cutter away from the ball. See figure 7.13.
In all off-the-ball situations (open or closed stance), the com-
munication is help right, help right or help left, help left. A defender
in the key with an open stance calls hoop, hoop to communicate
to teammates that they have support help in the basket area.
Post Defense
Techniques for guarding an offensive post player in or around
the free-throw lane include the ball–defender–player closed
stance (with the hand across the passing lane in a ball–
defender–player arrangement; figure 7.14a) and the fronting
stance (figure 7.14b). As a rule, one of these two stances should
be used to keep the ball out of the power zone (post area). In a
closed stance, the hand is in the passing lane (ball–defender–
player) with the thumb down and the palm facing the ball.
The most common post-defense technique is the closed
stance, in which players avoid contact with the offensive post
player (unless they have a position advantage), keep a hand in
the passing lane, and defend in a position on the side of the
defender. This technique is used most often in the high post
(free-throw line area) or medium post. This half-front position
serves as a compromise between keeping the ball out of the
post area (full front) and being ready to check or block out
the post player (from behind the post) if a perimeter shot is
taken. One added positioning rule is needed: When the offen-
sive post is in the low or medium post, defenders should take
a position above the post player when the perimeter passer
with the ball is above the free-throw line extended but take a
closed-stance position below or on the baseline side when the
ball is below the free-throw line extended (figure 7.15). When
the ball changes positions on the perimeter relative to the free-throw line, the defender
can choose to go behind the post (easier but more susceptible to a deep repost) or go in
front of the post (more difficult but better prevents entry passes to the post) to regain
the closed stance with the ball–defender–player position.
When in a full fronting stance, the defender should see the ball and stay in defen-
sive stance, with radar bumper contact (the butt front), feet active, and hands up. This
technique allows the defender to anticipate and move for the pass to the post as long
as the feet are active from a balanced position. The fronting stance offers the advantage
E7294/Krause/F07.13a/599891/mh-R2
a
X2
2
X3
3
E7294/Krause/F07.13b/599892/mh-R2
b
2
X
Flat triangle
2
X3
3
E7294/Krause/F07.13c/599893/mh-R1
X1
X2
1
2
Figure 7.13 Defending the backdoor cut:
(a) moving with the cutter, (b) opening up
away from the ball (forming the flat triangle),
and (c) backdoor-cut defense (X1 helping).
a
b
c
INDIVIDUAL DEFENSE 209
of better keeping the ball from post players but suffers from the disadvantage of giving
the offensive post player a definite edge for rebounding if a perimeter shot is taken.
Offensive post players control defenders by establishing and maintaining contact.
Therefore, post defenders should avoid contact (unless they have an advantage in posi-
tion), maintain a safe distance from the ball handler, and continue to move in order to
keep the offensive post player (and the passer) guessing about their defensive location.
The fundamentals also apply to defending a post player with the ball: Defenders
should stay in a defensive quick stance with both hands ready. When an offensive post
player receives the ball in the low or medium post, the defender should be taught to
take a step back and reestablish a ball–defender–basket position to prevent angle bas-
kets with direct access to the basket. Maintaining distance gives the defender reaction
time to defend against an offensive post move, prevents the offensive post player from
using contact to control the defender, and allows a teammate time to help from the
perimeter.
Figure 7.14 Post defense: (a) closed stance (high side) and (b) fronting stance (full front).
Figure 7.15 Defending the post—closed stance: (a) ball above the free-throw line and (b)
ball below the free-throw line.
E7294/Krause/F07.15a/599896/mh-R2
a
X5
5
E7294/Krause/F07.15b/599897/mh-R2
b
5
Under
Fight over
or under
Over
X5
a
b
a
b
CRITICAL CUE
Fronting post: Stay
in stance with the
hands up, butt in
contact, and feet
active; be ready to
move for the pass.
210 BASKETBALL SKILLS & DRILLS
On-the-Ball to Off-the-Ball Defense
When a player is guarding the ball handler as a pass is made, the defender can achieve
the necessary and immediate transition from on-the-ball status (ball–defender–basket
position) to off-the-ball status (ball–defender–player position) by jumping (or explod-
ing) to the ball (primarily) and to the basket (secondarily) and assuming a closed or
open stance (figure 7.16). This technique, also called chasing the ball, involves attempting
to touch the pass with the hand nearest the direction of the pass. Jumping to the ball
prevents the passer from using a pass-and-cut move to make a front cut and catch a
return pass going toward the basket.
Figure 7.16 Explode (jump) to the ball on every pass or dribble move.
Figure 7.17 Closeout to the ball—going from off-ball to on-ball defense: (a) wing-to-wing
pass, (b) wing-to-point pass.
E7294/Krause/F07.16a/599898/mh-R3
a
X1
1
3X3
Jump to ball
Closed stance
E7294/Krause/F07.17a/599900/mh-R2
a
2
3
Closeout
X3
X2
E7294/Krause/F07.16b/599899/mh-R3
b
1
X3
3
4
X1
X4
Jump
to ball
Open
(pistols)
stance
Closeout
to ball
E7294/Krause/F07.17b/599901/mh-R2
b
3
1
X2
2
X1
Closeout
a
a
b
b
CRITICAL CUE
On-the-ball de-
fender: If the ball
moves, move to
the ball (chase
the pass).
Off-the-Ball to On-the-Ball Defense
When the ball is passed to the player being guarded, another defensive change, called
closing out to the ball, occurs as players change status from off-the-ball (open stance) to
on-the-ball coverage from a help defensive position (protecting the basket and support-
ing the defender on the ball). Correct technique for closing out to the ball includes the
following steps (see figure 7.17):

INDIVIDUAL DEFENSE 211

• Sprint halfway to the guarded player with the ball near the ball-to-basket line
(close out short).
• Break down into a regular defensive stance using active feet (stutter steps) with
both hands above the shoulders and above head level. Approach the ball handler
with caution on the line between the ball and the basket to prevent the drive, but
be aggressive and prepared to contest a shot or pass.
• Recommended foot position is with the inside foot up (belly open to the sideline
or baseline).
• Close out in a ball–defender–basket path with the butt to the basket to prevent
the drive.
• Close out short (keep a gap) with the body weight back; throw the hands up and
back to prevent the quick air pass and prevent the drive.
The objectives on a closeout are to prevent penetration first (dribble or quick air pass
past the head) and then pressure the ball handler, especially on the shot, secondly.
CRITICAL CUE
Close out short to
prevent the drive.
CRITICAL CUE
Defensive on-ball
closeout:
• Put hands up.
• Close out short;
use active feet.
• Keep butt
(back) to bas-
ket.
Coaching Points for Defense
General
• Get in a stance and stay in a stance (mentally and physi-
cally).
• Use the mind, body, feet, and eyes as the first tools of
defense.
• Use the hands only as secondary defensive weapons.
• Prevent easy scores; allow no layups.
• Keep pressure on the ball.
• Prevent penetration by the pass or dribble.
• Move toward the ball on every pass or dribble.
• Take away the opponent’s strength.
• Upset the opponent’s offensive rhythm.
• Allow only one contested shot and block out all offensive rebounders to capture
and protect the rebound.
On-the-Ball
• Get low and stay low. Be lower than the offensive player (nose in the chest).
• Maintain the ball–defender–basket position.
• Guard players in a live-ball situation with front foot to front foot, with hands and feet
active, and within touching distance (lead or front hand up). Take away the favored
driving path with foot position.
• Keep space between self and the dribbler (keep a gap but get a touch).
• Guard the dribbler, keep the head and chest in front, jab with the lead hand, and
run to recover when necessary.
• Guarding a dead-ball situation: Either swarm the ball handler, tracing the ball with-
out fouling, or sag away from the ball handler while reading the passer’s eyes for a
possible interception.
• Jump (explode) to the ball when a pass is made (chase the ball); always move
toward the ball on a pass or dribble—sprint to help.
(continued)

212 BASKETBALL SKILLS & DRILLS

Special Defensive Situations
In addition to the basic skills of on-the-ball and off-the-ball defense, several other tac-
tics can help the team defend against special offensive threats. A situation that occurs
mostly on defense but can occur on offense is a loose ball from a bad pass, errant dribble,
or other loss of ball control by an offensive player. The best rule for this situation is to
get both hands on the ball (capture and chin it). If the ball is in the air, use a two-handed
pickup and snap it to the chin-it position after a quick-stop. If the ball is on the floor,
dive on the loose ball with both hands. Rules require players to pass to an open team-
mate before getting up from the floor with the ball. The reminder for this situation is
“never dribble a loose ball, always capture and chin a loose ball.”
Help-and-Decide
On clearouts, or any penetration situation, off-the-ball defenders are critical to the
success of the defense, whether they help and rotate (protect the basket and cover the
penetrating dribbler) or decide to switch defensive assignments, trap with the defender
on the ball, or bluff to buy recovery time for the teammate guarding the dribbler. Com-
munication is the key—defenders must be ready to help and communicate the decision.
Two options are shown in figure 7.18. The critical help situation in this case, called help
on the help by X1 in figure 7.18a, occurs when X3 helps on dribble penetration by O2 out-
side the free-throw lane.
Defenders should use the help-and-decide defensive technique to combat the offen-
sive tactic of dribble penetration, which clears out one side of the court for the ball
handler to dribble-drive in order to beat the defender. The off-the-ball defender should
be ready to help and decide (to help, switch, or trap) if the defender on the ball is beaten,
or if the assigned offensive player vacates the area.
Screens
When an offensive player screens or shields a defender to help a teammate get an open
shot, the defense must use special tactics, including avoiding screens whenever pos-
sible—defenders should be in motion when offensive players approach them to set a
screen. Screens generally can be defeated by fighting through (going over or under) the
screen, in which case a teammate may help out the screened defender by using a hedge-
and-go (or show-and-go) move (figure 7.19); by switching assigned opponents, espe-
Off-the-Ball
• Close out to the ball on the ball-to-basket line, when it is passed to an assigned
offensive player; sprint, break down, and prevent the drive (always close out short).
Close out on the driving line to the basket.
• Maintain the ball–defender–basket position.
• Get in an open (pistols) stance when far from the ball or a closed stance (hand
across and thumb down) when close to the ball.
• Keep the ball from offensive post players unless they pose no offensive threat (use
a closed or fronting stance).
• Be able to help and make the decision to bluff or switch on screens, penetrations,
and closeouts.
Coaching Points for Defense (continued)
CRITICAL CUE
Capture and chin
a loose ball; never
dribble a loose
ball.

213
Figure 7.19 Fighting through screens: (a) Defender
goes over the top, (b) helper hedges, and (c) teammate
recovers when the offensive player leaves.
b
a
c
E7294/Krause/F07.18a/599902/mh-R2
3
3
2
X
X2
X1
1
Help
Help
on help
E7294/Krause/F07.18b/599903/mh-R2
b
2
4
X2
X4
E7294/Krause/F07.18c/599904/mh-R1
X3
X1
3
1
X2
Trap
2
Figure 7.18 Help and decide (help, switch,
or trap) on dribble penetration: (a) Help and
switch, (b) help and recover, or (c) help and
trap.
a
b
c
214 BASKETBALL SKILLS & DRILLS
cially when a defender is unable to get
through the screen (figure 7.20); or by
trapping the dribbler on a screen. The
defender guarding the screener calls
the switch, switches (hedges) forward
(up), and contains the ball handler.
On screens away from the ball,
players should avoid or slide through
the screens, usually on the ball side.
Defenders should be moving targets
(don’t be screened). Defensive players
should stay sideways and use their
arms as shock absorbers to prevent
the screener from getting to their
body. The player guarding the screener
should jump to the ball, stay on the
ball side, and help a teammate through
the screen; give help when needed.
Traps
Coaches may also want to develop
defensive techniques to handle an
exceptional offensive player or to
function as a surprise tactic. One such
technique, trapping, occurs when two
defenders double-team an offensive
ball handler (2-on-1) in certain court
areas or on ball screens. Coaches
should emphasize that both players
must stop the ball handler from escap-
ing the trap by being in good basic
defensive position, keeping the feet
active, positioning themselves knee-
to-knee with each other, and keep-
ing the inside hands up to prevent
a quick air pass. The objective is to
force a lob or bounce pass, and players
should learn not to reach for the ball
or commit a foul. All other off-the-ball
teammates should close off the near-
est passing lanes to prevent any passes
from the trap into their zones; in other
words, they should play a three-player
zone. As shown in figure 7.21, the best
places to set traps are in the corners
of the court. The figure also shows an
example of a frontcourt trap; specifi-
cally, the trap is made in a frontcourt
corner, and the other defenders deny
the near passing lanes and force the
offense to play on half of the court (frontcourt in this case). Coaches may also want to
trap or double-team a larger effective post player in the low or medium post.
Figure 7.20 Switch screen: (a) Helper calls the switch;
(b) helper steps up to switch on the ball handler; and (c)
teammates exchange the assigned players to defend.
b
a
c

INDIVIDUAL DEFENSE 215

Defensive Charge
The defensive charge—one of the fundamental defensive plays—is used when a defender
has beaten an offensive cutter to a desired position on the floor and is in a legal guard-
ing position. It must be learned properly, not only for its great potential as a team play
(it can prevent an opponent’s three-point play and result in two free throws for the
defender) but also because it involves a contact skill that must be developed progressively
in order to avoid injury. The rules that apply to this situation are that the defender is
entitled to any spot on the floor that is taken in a legal guarding position. The defender
doesn’t have to give the dribbler any certain amount of space, but the defender must be
in a legal position before the offensive player’s head and shoulders pass the defender’s
body. Away from the ball, offensive cutters must be given the chance to change direc-
tion (never more than two steps), and defenders must always be in a legal guarding
position before an offensive player becomes airborne; defenders can move their feet and
protect their bodies. Near the basket, the defender’s feet must be outside the protected
area under the basket where taking a charge is prohibited.
Players should be taught the following techniques for taking the charge:
1. Get in and stay in a good basic defensive stance and keep the feet active (footfire)
to adjust position slightly; the defender must be knocked down from a legal
guarding position and should not flop on contact.
2. Take the blow in the chest area without letting the offensive player get head and
shoulder past the defender’s torso.
3. Resist giving up an established position but keep most of the weight on the heels
(must be knocked down).
4. Keep the arms out of the action and use them for protection without grabbing
the offensive player (as in screen-setting technique). Protect vital areas (men cross
hands over the groin, women cross arms over the chest). Position the shooting
hand close to the body and grasp the shooting wrist with the other hand.
5. Fall properly with the arms up and in front. The buttocks should hit the floor
first, followed by the lower and upper back as the palms either slap the floor or
stay crossed. Keep the head in a curled chin-tuck position (figure 7.22).
E7294/Krause/F07.21/599910/mh-R2
3
2
X2
X1
1
X3
X4
X5
Trap
Trap
D
e
f
e
n
s
e

c
u
p
Figure 7.21 Optimal trapping locations.
CRITICAL CUE
Defensive traps—
feet active, inside
hand up, contain
without fouling.
CRITICAL CUE
Must be knocked
down on the de-
fensive charge.

216 BASKETBALL SKILLS & DRILLS

6. Assume that the officials will not call an offensive foul and scramble up to regain
basic position to help the team defense in the event of a “no call.”
7. Know when to take the charge. Disrupt the offensive player’s movement but pick
a situation in which the offensive player has poor body control and is not alert.
Figure 7.22 Defensive charge—falling properly: (a) The defender must be knocked down
(protect the vital parts with the arms—women cross the chest, men cover the groin area).
(b) Land
on the rear end first, roll onto the back with the neck curled (head tucked), and either slap
the
floor or keep the arms crossed. (c) Scramble to regain basic position in the event of a “no
call.”
b
a
c
Pressuring the Shot
A special skill is needed if defending the player with the ball when a set or jump shot is
taken. The general rule is to pressure every shot as follows:
• Stay in the stance and keep the ball-side hand up with palm facing the shooter
when the ball is in the shooting pocket (triple-threat position); don’t leave the feet
until the shooter does.

INDIVIDUAL DEFENSE 217

• Use the lead hand to force the shooter to alter the shot. Don’t try to block it—
make the shooter change the shot. The lead hand goes up vertically past the face
on the shot.
• Keep the lead hand up in a vertical position with the wrist back (don’t slap down
and cause a foul).
• Also apply verbal pressure (shout, make noise, scream, call the player’s name). Yell
shot to alert teammates of a rebound situation (help them see and hear the shot).
CRITICAL CUE
Pressure every
shot—stay down
with the hand up
with palm facing
the ball and the
wrist back.
Troubleshooting
Here are some common defensive errors, along with coaching responses.
• Problem: Failure to get in and stay in a stance
Correction: Coaches should review or reteach stance and gradually increase the
time spent in defensive stance in drills (increase emphasis and reminders). During
team play, they should develop team consequences when a player comes out of a
stance (mentally or physically).
• Problem: Lack of motivation to play defense
Correction: Coaches should provide players with concrete reasons for the need
to play good defense—both a qualitative rationale (e.g., “don’t let your teammates
down”) and quantitative analysis for sound defense (lower opponents’ shooting per-
centages). They should also emphasize and demand high levels of defense.
• Problem: Slow reaction to ball movement
Correction: Coaches should emphasize sprinting to the next assignment.
• Problem: Failure to talk on defense
Correction: Coaches should emphasize communication, require and practice talk-
ing on every ball movement during drills (use incentives and consequences), and
recognize the best defensive communicator each day. They should also teach and
use echo calls to communicate with team members on defense.
• Problem: Fear of taking defensive charges or diving on the floor for loose balls
Correction: Coaches should do sequential, progressive teaching and physical prac-
ticing of the skill to ensure safety and provide experience. They should also recog-
nize great taking-the-charge team plays (and use incentives).
• Problem: Failure to play hard on defense
Correction: Coaches must convince players that getting coached depends on giv-
ing their best effort. Coaches should establish playing hard as a tradition and substi-
tute for players who do not play hard on defense in competitive practice and game
situations.
• Problem: Lack of confidence on defense
Correction: Coaches should provide progressive success situations in practice, de-
mand effectiveness and execution that produce success, and define success in
terms of proper technique and effort instead of the ultimate result (made or missed
shot).

218 BASKETBALL SKILLS & DRILLS

Defensive Drills
Insist on execution first but also demand intensity on defense. Players must learn to
play hard individually in order to develop a cohesive team defense with skilled tech-
niques.
Stance-and-Steps Progression
Purpose: To provide a sequential method of developing defensive stance and power
push-step (step-slide) technique
Equipment: Half-court floor space for movement
Procedure: Players are spaced facing the coach and perform the sequences on com-
mand or at their own pace. Five repetitions of each move are recommended.
1. One-foot balance, defensive stance, with the chest up, the butt muscles on stretch,
and the trunk slightly forward (alternating hops with right foot and left foot)
2. Lateral jumps (one foot to one foot—right to left and left to right)—i.e., side jumps
from a one-foot stance to a one-foot stance on the opposite foot
3. Lateral jumps with step-slide recovery steps (placing the other foot down to gain
balance in the push-step slide)
4. Consecutive lateral jumps with recovery steps—three repetitions in each direction
(left and right)
5. Lateral continuous seamless push steps—three repetitions in each direction
6. Piggyback seamless push steps in groups of three (three right, three left, three
right or three left, three right, three left)
7. Free-throw lateral lane slides—push steps from outside the lane to the opposite
side and then returning (right to left, left to right)
8. Baseline closeouts and lateral push steps (three right, three left)—four lines or line
drill with one offensive player 15 to 18 feet (4.6 to 5.5 meters) from the baseline
defensive players
• Pass is made to offensive player (O), and defender (D) closes out.
• D closes out and defends with push steps, then O goes for two dribbles to
the right.
• D closes out and defends with push steps, O goes for two dribbles to the
left.
• D closes out and defends, O goes for two dribbles to the right, then revers-
es for two dribbles to the left.
• D closes out and defends, O goes for two dribbles to the left, then reverses
for two dribbles to the right.
• D closes out and defends, O goes for two dribbles to the right or left.
• D closes out and defends, O goes for two dribbles to the right or left, then
one spin-dribble reverse to opposite direction.
Coaching Points
• Stay in defensive quick stance.
• Emphasize quickness with balance.

INDIVIDUAL DEFENSE 219

• Take a stand on the ball—maintain the ball–defender–basket relationship with the
defender’s trunk.
• Use explosive push steps.
• Step and slide, low and wide.
• Defend with the mind, the feet, and the body (in balance).
• Do it properly first, then quickly.
Moving Stance and Steps
Purpose: To develop individual defensive stance and steps
Equipment: One ball for the coach, half-court space (minimum)
Procedure: All players are spaced about the court and facing the coach with a clear
view. Players assume a basic defensive stance on the coach’s signal (palm down), then
respond to the coach’s signals and commands with continuous defensive stance and step
moves. The coach uses the ball for most signals. The direction moves used are shown in
figure 7.23.
Signal
Palm down for live ball
Ball in stomach or back dribble
Ball in right front or dribble drive right
Ball in left front or dribble drive left
Finger point left or right (or side dribble)
Ball in triple-threat position, then toss
Ball overhead or dead ball
Ball shot in place
Meaning and Movement
Assume basic stance (active feet).
Slide forward.
Angle-slide retreat left.
Angle-slide retreat right.
Push-step (three).
Close out and dive on floor for loose ball (on
floor or passed from coach to floor).
Stay in stance and get hands tracing ball.
Call shot, block out, and rebound simulation.
Note: This drill can be done with three steps and active feet for any step-slide signals
and then later continuously until the next signal is given.
E7294/Krause/F07.23/599914/mh-R3
Angle
right
Angle
left
Slide
right
Slide
left
Straight
forward
X
X
X
X
X
X
X
X
X
X
X
X
X
X
C
Figure 7.23 Moving stance and steps—direction of movement.
220 BASKETBALL SKILLS & DRILLS
Line Drill: Individual Defense
Purpose: To develop individual defensive skills in a progressive manner
Equipment: Ideally, one ball for every two players (at least four balls, or one per line)
Procedure: Players form four lines on the baseline and execute offensive and defensive
zigzags in pairs. The first player in each line assumes a defensive stance, and the next
player assumes an offensive stance. The offensive player zigzags down the floor while the
defender maintains defensive distance and ball–defender–basket position. The players
switch positions for the return trip.
Options: These moves should be done in the following sequence as a learning progres-
sion:
• Offensive zigzag—90-degree change of direction. Perform without the ball and then
with the ball (dribbling).
• Defensive zigzag—three push steps or 45-degree backward defensive slides (lead-
hand palm up, flicking at imaginary ball, and trail hand near shoulder or with thumb
in the air). On change of direction, players lead with the elbow as they rear-turn and
continue slides at a 90-degree change of direction, going from baseline to baseline
using swing steps and push-step sliding technique.
• Defensive zigzag—90-degree change of direction with running steps (to simulate
getting beaten by the dribbler). The move always starts and ends with push-step
sliding steps; slide diagonally left (dribbler gets past), sprint to reestablish position,
break down and slide again. Change direction and repeat (slide, run, slide). Con-
tinue from baseline to baseline.
• Offensive–defensive zigzag—offensive and defensive pairs. The dribbler first coach-
es the zigzag defender while moving zigzag and carrying the ball under the armpit
to simulate the dribble. The defender starts with three push-step slides, then contin-
uously zigzags. The offensive player then dribbles down the floor (using pull-back-
crossover, regular-dribble-crossover, spin-dribble, or behind-the-back moves). The
focus is still to make the defender perfect.
• Offensive–defensive zigzag in pairs—live offense and defense. Use two side alleys
(free-throw lane line to sideline) down the court.
• 1-on-1 full-court—live offense and defense to score. The defender slides, runs when
needed, turns the dribbler in the backcourt, pushes the dribbler to the weak hand or
the sideline in the frontcourt, maintains the ball–defender–basket relationship, and
prevents layups. Mix all player pairs.
On-the-Ball and Off-the-Ball: 2-on-2
Purpose: To teach defenders to adjust quickly to on-the-ball and off-the-ball positions
while defending against penetration (help-and-decide situations)
Equipment: Two lines of players at wing positions, one ball, and a half court
Procedure: The coach starts with the ball in the middle (both defenders are in a closed
stance) and then dribbles to one side as the defenders adjust to positions of closed and
open stance. The coach may pass, and offensive players go live or penetrate at any time.
The drill rotation is from offense to defense to the back of the opposite line (figure 7.24).

INDIVIDUAL DEFENSE 221

1-on-1 Closeout Progression
Purpose: To develop the individual defensive skill of closing out on an off-the-ball offen-
sive player who has just received a pass
Equipment: One ball and basket per group (ideally per pair)
Procedure: When practicing the closeout
technique, the defensive player starts under
the basket with a ball (figure 7.25). The of-
fensive player is in basic position, facing the
basket within a range of 15 to 18 feet (4.6 to
5.5 meters). The defender passes the ball to
the offensive player with a crisp air pass and
closes out to defend. The coach can select a
pass, preferably a nonpreferred-hand pass.
The rule is to first prevent the drive by break-
ing down in the stance halfway to the ball
handler (with the feet active, the inside foot
forward, and both hands up with the palms
facing the ball). The defender then pressures
the ball and the shooter and blocks out when
a shot is taken. From that point, live compe-
tition between offense and defense ends
when a basket is made or when the defense
gains possession of the ball. The dribbler is
limited to two dribbles.
Options
• Closeout—shot only
• Closeout—shot fake, drive only (right, left)
• Closeout—live offense (rotating lines each time)
• Closeout—live offense and defense (rotating)
• Closeout—live make-it-take-it (rotation when defense stops offense)
Figure 7.24 On-the-ball and off-the-ball (2-on-2): (a) starting positions and (b) coach
dribbling and passing.
E7294/Krause/F07.24a/599915/mh-R2
a
X2
X1
1
2
C
E7294/Krause/F07.24b/599916/mh-R2
b
1
X1
X2
2
a
b
E7294/Krause/F07.25/599917/mh-R2
X2
X1
X3
X4
1
2
3
4
Figure 7.25 1-on-1 closeout drill.

222 BASKETBALL SKILLS & DRILLS

Closeout: 1-on-1, 2-on-2, 3-on-3, 4-on-4
Purpose: To practice all outside moves by perimeter players
Equipment: One ball and one basket per group
Procedure: Form a line of players under each basket (off the
court). The first player steps under the basket with the ball and
serves as the defender. A line of offensive players is positioned
15 to 18 feet (4.6 to 5.5 meters) away, facing the basket from
the corner, wing, or point position. The defender makes a crisp
air pass with the nonpreferred hand (and with the feet on the
floor) to the first player in the offensive line, then closes out
to defend that player. The drill begins as soon as the pass is
made for both offense and defense. The perimeter offensive
player should catch the ball with the feet in the air and facing
the basket, read and react to the defender’s actions, and apply
fundamentals to shoot or make an outside move. Players may
rotate to the back of the opposite line each time, play make-it-
take-it, or use any other arrangement of their choice. The drill
may be run as a 3-on-3 option (figure 7.26) that then becomes
a teamwork competition with on-the-ball and off-the-ball play.
Defensive Slide: Moving Stance and Steps
Purpose: To develop individual defensive steps
Equipment: Full-court boundary lines
E7294/Krause/F07.26/599918/mh-R2
X
X2
X3
X
X1
X
1
2
3
Figure 7.26 3-on-3 closeout: Coach
passes; closeout defenders cannot cover
players in their line and must communicate.
Figure 7.27 Moving stance and steps (may be
started from right or left side).
E7294/Krause/F07.27/599919/mh-R2
Hash
mark
(1)
(2)
(3)
(4)
(6)
(7)
(8)
(9)
(10)
(5)
Start
Finish
Procedure: All players begin the drill in the court corner on
the right side and use defensive steps as described in the
following list; they follow the path noted in figure 7.27. Play-
ers should allow the preceding player to reach the adjacent
free-throw line before starting. The drill includes the follow-
ing 10 movements and combinations:
1. Forward slide
2. Slide to the left
3. Closeout to the baseline
4. Slide to the right
5. Angle slide, run, slide
6. Slide to the right
7. Closeout to the half-court line
8. Facing belly to the sideline with an angled left side
9. Facing belly to the sideline or to the baseline with an
angled right side
10. Closeout to the free-throw line
Players then repeat the circuit starting from the left side
of the court; thus they complete one circuit starting at each
corner of one end line. Coaches may want to record the
time taken to complete the circuit after using the drill sev-
eral times and after emphasizing proper technique.

INDIVIDUAL DEFENSE 223

Half-Court: 2-on-2, 3-on-3, 4-on-4
Purpose: To develop individual defensive skills in a team setting
Equipment: One ball, half court
Procedure: Three (or four) offensive and three (or four) defensive players play a half-court
game centered on various offensive moves and situations to be played by the defender.
Start with various sets and situations. The coach may rotate players after one defensive
stop (successful team defense) or set challenging group goals, such as two or three con-
secutive defensive stops.
Options
• Screens (on and off the ball)
• Post play
• Penetration
• Closeouts
• Traps
• Charges
Half-Court Plus Transition: 4-on-4
Purpose: To develop individual defensive skills in a team setting and make the transition
from defense to offense after defensive rebounding
Equipment: One ball, full court
Procedure: Begin play as 4-on-4 half-court action with the defensive players defending
against any offensive situation desired. When the defenders gain the ball on a steal or
defensive rebound (i.e., make a defensive stop), they may fast-break to score at the other
end of the court. Four new defenders then take their positions, and the successful defend-
ers come to the original half court as offensive players.
Team Transition:
Offense-to-Defense and Defense-to-Offense
Purpose: To practice adjusting quickly as a team to critical transition situations
Equipment: One ball, full court
Procedure: The coach initiates play with one team on offense and one on defense (5-on-
5) playing on the full court. A transition coach (usually the head coach) can interrupt play
at any time by loudly using the word floor. On this signal, the player with the ball instantly
places it on the floor and makes the transition from offense to defense with teammates.
The closest opponent picks up the ball (two-hand capture and chin) and transitions from
defense to offense with teammates. Both transitions are repeated each time the transition
coach makes the floor call. The drill continues for 5 to 7 minutes. Offensive players can
run primary and then secondary fast breaks into an attacking set offense in a controlled
5-on-5 team transition situation (offense to defense and defense to offense).

224 BASKETBALL SKILLS & DRILLS

3-on-3 Get-Back Transition
Purpose: To practice offense-to-defense and defense-to-offense transitions in a break-
down of 3-on-3 situations
Equipment: Full court, one ball, 10 players at a time (5-on-5 with opposite-color jerseys),
and a third team of 5 rotating into the drill if available
Procedure: Three offensive players
are positioned at one end of the court
near a starting basket, and three
defenders are positioned inside the
three-point arc (figure 7.28). Two of-
fensive teammates are positioned
near the hash marks (called the “heat
line” in this drill). Coach (C) starts the
drill by passing to O1, O2, or O3 (O1 in
figure 7.28a), who passes ahead to
O4 or O5 to create a transition chal-
lenge for X1, X2, and X3. These de-
fenders must respond quickly, both
physically and verbally, to cover the
basket (X2), pick up the ball handler
(O4) to slow or stop the ball, and pick
up the remaining open offensive play-
er (O2 or O3). After passing the ball
ahead, O1 replaces O4 at the sideline
near the heat line. The offense tries
to score by the following means (in
order): primary fast break (numbers),
finding an open teammate, or pass-
ing and cutting to get a good shot.
The defenders try to protect the bas-
ket, stop the ball, and pick up open
offensive players.
Figure 7.28b illustrates the second
transition with the drill running in the
opposite direction. When the defense
gets the ball from a rebound, the ball
handler (X1 in figure 7.28b) passes
ahead to a teammate waiting at the
heat line (X4), then replaces that play-
er. The 3-on-3 transition drill contin-
ues until it is stopped by a coach’s
whistle to make corrections or to ro-
tate in a new team and start the drill
again with a pass from the coach to
an offensive player.
Wooden Wisdom
“Success is never final; failure is never fatal. It’s courage that counts.”
—John Wooden
E7294/Krause/F07.28a/599920/mh-R1
C
C
Pass-and-replace
Heat line at
hash marks
3
4
1
2
5
X1
X2
X3
X2
X4
X5
X1
X3
E7294/Krause/F07.28b/599921/mh-R2
5
2
3
4
1
X5
X4
X3
X2
X1
X1 replaces X4
Figure 7.28 3-on-3 get-back drill: (a) first transition (to offense), (b)
second transition (defense to offense).
a
b

8
Rebounding
“Offense sells tickets, defense wins games, [and] rebounding wins championships.”
Pat Summitt, Naismith Hall of Fame coach, former head coach at University of Tennessee,
seven-time national championship coach
CHAPTER

226 BASKETBALL SKILLS & DRILLS

I
n basketball, rebounding can be defined as gaining possession of the ball after a
missed shot. Players need to learn both offensive and defensive rebounding skills.
The objective of offensive rebounding is to regain possession of the ball after your
team attempts a shot, whereas defensive rebounders try to gain possession of the ball
after the other team has attempted a shot. Rebounding is a major part of the game at
all levels. It may even be more important in a game played by younger players because
of the higher percentage of missed shots at beginning levels.
Rebounding Tools
Although height and jumping ability provide advantages, the keys to rebounding are
determination, discipline, and technique. Statistics on the leading rebounders in pro-
fessional and college basketball are not merely a list of the tallest players or the ones
with the highest vertical jumps. Most rebounding, even in the college and professional
ranks, is done below the rim. The most essential factor in rebounding, then, may not be
leaping ability, or vertical movement, but positioning and quickness to the ball—that is,
horizontal movement or angle jumps to the ball (more horizontal than vertical). Thus
rebounding requires more than physical tools; it also requires considerable effort and
proper execution of skills.
Examples abound. Joan Crawford was a center who stood 5 feet 11 inches (1.8 meters)
tall and became an AAU star in the 1950s and 1960s as she led her team and the compe-
tition in rebounding. She took the U.S. national team to the 1957 World Championship
and was inducted into the Naismith Hall of Fame in 1997. Denise Curry, at 6 feet 1 inch
(1.9 meters) tall, was also a 1997 Hall of Fame inductee. She holds the UCLA rebound-
ing record, was the 1981 USA Player of the Year, won an Olympic gold medal, and was
named French Player of the Decade for the 1980s. Dennis Rodman came from a small
NAIA school in Oklahoma to lead the NBA in rebounding for many years despite stand-
ing only 6 feet 8 inches (2 meters) tall, which is short for an NBA frontcourt rebounder.
Notwithstanding these keys to rebounding, it is of course also true that certain phys-
ical attributes are advantageous to rebounders. Players who are tall and have long arms,
large hips, and well-developed leg and upper-body musculature hold an advantage over
other players. In addition, vertical jumping ability and skill is an asset for a rebounder.
Therefore, although coaches should ensure that all players learn rebounding skills—not
just jumping skills—players should also develop their jumping ability and skill to their
full potential. Coaches can use strength and power programs and other conditioning
programs to enhance players’ vertical jumps in practices. In addition to helping them
jump their highest, coaches must make sure that they are jumping correctly and skill-
fully. Proper jumping technique involves bending the knees, jumping from both feet,
and using the thrust of both arms to reach full extension (2-and-2 rebounding). Teach-
ing players to jump in this manner not only develops their leaping abilities to the maxi-
mum but also helps them maintain their balance in contact jumping situations and
reduces the number of over-the-back fouls when rebounding.
Motivating Players to Rebound
The first step in teaching rebounding is to convince players that it is a relevant and
important skill to learn and perform in game situations. Explain that the entire team—
not just those who are tallest, play post positions, or have exceptional jumping abil-
ity—must master rebounding skills. Every player can become a good rebounder. If
CRITICAL CUE
Defensive re-
bound—gain
possession of
the ball; offensive
rebound—regain
possession of the
ball.
CRITICAL CUE
Rebounding
depends on skill,
positioning, effort,
and determination.

REBOUNDING 227
coaches bypass this initial step, they will probably be disappointed by the rebounding
performance of certain players during the season, especially the smaller players. In fact,
smaller guards are essential defensive rebounders for many teams.
Reasons for Rebounding
Coaches should give players solid reasons to develop the crucial skill of rebounding.
They must see the importance of rebounding in getting and maintaining control of
the ball and its key role in team offensive and defensive production. Rebounding at
both ends of the floor can improve efficiency by providing extra possessions when on
offense and ending possessions when on defense; indeed, as the final phase of defense,
rebounding is a critical finish for team defensive possessions.
Ball Possession Rare is the player who does not like to shoot the basketball. But
players can’t shoot if they don’t have the ball, and rebounding is the primary way of
gaining or maintaining possession of the ball. At the offensive end of the court, rebounds
maintain possession and frequently lead to quick and easy baskets. Getting an offensive
rebound is like causing a turnover by the opponent—it takes the ball away from the
other team. At the defensive end, rebounding gains possession, which is the final part of
defense. One of the best confidence boosters for a team is to complete the defense with
a defensive rebound (or a steal).
Fast Break A team’s ability to begin a fast break depends on defensive rebounding
and forcing turnovers by the opponent, which is why teams with a well-developed fast
break implement effective defensive rebounding. Whether a team’s offensive style is
fast or slow, the basic strategy should emphasize getting the ball up the court quickly
to prevent opponents from sending their whole team to the basket for an offensive
rebound on a shot attempt instead of keeping some players back to defend against the
fast break.
Players usually like to fast-break, so it should be easy to motivate them to concen-
trate on defensive rebounding: no rebounds, no fast break. Defensive rebounds provide
more fast-break chances. The fast-breaking Boston Celtics of the 1960s were at their
best when triggered by a defensive rebound and an outlet pass from Bill Russell, one
of the best college and professional rebounders in history. Russell excelled at this blue-
collar basketball skill for his entire career and is considered one of the greatest leaders
in the history of the game, both as a player and as a player-coach. His example as a
defender and rebounder was integral to his leadership.
Winning Perhaps the strongest evidence of the importance of rebounding lies in
its high correlation with winning games. In one U.S. study (National Association of
Basketball Coaches 2000) of rebounding and winning over a 10-year period, teams
that outrebounded their opponents won the game 80 percent of the time. In addition,
national leaders in team rebounding in the United States win more of their games and list
rebounding as the third-most-important factor related to winning. More games are also
won by teams that lead the nation in fewest turnovers (the second-most-important factor
at both ends of the floor) plus field-goal and free-throw accuracy (the most important
factor). These statistics suggest that teams that gain possession of the ball only after their
opponents score are, at best, trading baskets. In contrast, effective rebounding allows a
team to create a winning edge at both ends of the floor.
Work Ethic Rebounding is a blue-collar skill that depends mostly on hard work. It
requires players and teams to get down in the trenches and do the physical dirty work.
Among other reasons, then, players should develop the tradition of rebounding (for
themselves and for their team) because it enhances the core value of working hard.

228 BASKETBALL SKILLS & DRILLS

Reinforcing the Motivation
To review, coaches can convince players to rebound by helping them understand that
rebounding is not only essential for ball possession and for the fast break but also cru-
cial to winning. With this understanding established, coaches can praise and encour-
age players who give maximum effort in rebounding and single out individual play-
ers for particular rebounding accomplishments—for instance, most rebounds for the
half, most defensive rebounds for the game, most rebounds per minute, best blockout,
most consistent rebounding, and highest rebounding efficiency. Coaches should make
sure that players know how much their coach and teammates value rebounding as a
team skill and that their efforts to rebound effectively will be rewarded. Once all players
feel responsible for rebounding and understand why they must rebound, coaches can
explain and demonstrate the fundamental rebounding skills.
Rebounding Rules
Offensive and defensive rebounding hinge on four concepts—the “big bullets of the
boards”—that are critical to any player or team that wants to succeed at rebounding:
1. Assume that each shot will be missed and do the assigned job at both ends of the
floor.
2. Keep hands up (hands above the shoulders) when in rebounding areas, whether on
offense or defense.
3. Use 2-and-2 rebounding. When going for any rebound (on offense or defense),
rebound from two feet with two hands. Go up tall and small; come down big and
wide.
4. Capture and chin the ball and turn away from pressure. On all rebounds, use two hands
to capture the ball and chin it to protect it. To chin the ball, use two hands, with
the fingers pointing up, to bring the ball up under the chin or move it from
shoulder to shoulder (the power position); the elbows should be out and up
(big and wide). The last step of rebounding is to pivot and turn away from the
opponent’s pressure to protect the rebound while clearing the ball to an open area
on the court.
The assume a miss prompt reminds players and coaches to assume that every shot
will be missed. When that assumption becomes habitual, players are conditioned to
focus on carrying out their rebounding assignment on every shot attempt. Even on an
uncontested layup by a teammate, players should always assume a miss—then they will
develop the habit of rebounding consistently or carrying out their team-rebounding
assignment.
The verbal prompt keep hands up provides a reminder of an essential skill in rebound-
ing, especially when players are blocking out on defense or near the offensive basket.
In fact, this point was viewed as the most important rebounding reminder by John
Wooden during his time at UCLA. The correct arm position is shown in many of the
figures included in this chapter. Players should start in quick stance, ready to jump (sit-
ting into the stance with the legs bent) and with the hands up and ready to rebound the
ball (upper arms horizontal and level with the shoulders; forearms vertical and slightly
forward). The rationale for the hands-up arm position is as follows:
• It keeps players ready for a quick rebound (e.g., ball hits the rim and bounces
directly to the player with no time to respond).
• It allows players to prevent the opponent from rebounding—just get close to the
opponent, with the hands up. Doing so prevents the opponent from getting the
CRITICAL CUES
FOR REBOUNDING
1. Assume a miss.
2. Keep hands up.
3. Use 2-and-2
rebounding
technique.
4. Capture, chin,
and turn.

REBOUNDING 229
hands up to rebound the ball without lifting the defender when going up for the
ball.
• It makes a difference when players are blocking out on defense. The hands-up tech-
nique (figure 8.1a) prevents the defensive rebounder from using the illegal method
of locating and grabbing the opponent in the hands down behind position to feel
and control and to hold and control the offensive rebounder (figure 8.1b). When
blocking out on defense (figure 8.1a), the defender blocking out with “rigid arms
of steel” creates a larger area that the offensive opponent must get around (from
elbow to elbow) and creates a more effective legal blockout technique.
The prompt “use 2-and-2 rebounding” refers to the important skill of rebounding
from two feet with two hands. This concept was popularized by hall of fame coach Jim
Brandenburg, formerly the University of Wyoming’s men’s basketball coach. Because
rebounding is a contact skill, players should use a quick stance (sit into the game) with
the feet shoulder-width apart before and after jumping into the air for a rebound. To be
effective, rebounders also need to capture the ball securely with both hands, preferably
at the peak of the jump.
The teaching technique for 2-and-2 rebounding is as follows:
• Get into a rebounding ready position (quick stance, hands up).
• Execute the 2-and-2 rebound. Go up tall and small and come down big and wide
(figure 8.2). Use an angle jump (between vertical and horizontal) to the ball to get
rebounds out of your area.
• Capture and chin. Grab the ball with two hands and rip it to a position under the
chin or into the power position and against the chest. The fingers should be
pointed up (not out), the elbows should be out and up, and the ball should be
forcefully squeezed under or near the chin to protect the ball. It is necessary to use
a turn or pivot away from nearby opponents to then clear the ball while protecting
the ball using the trunk as a barrier.
• Protect the ball (chin it or squeeze it tightly); see figure 8.2b.
a
Figure 8.1 Hands-up rebounding: (a) correct, (b) incorrect and illegal (hands down to hold
or wrap opponent).
b
INCORRECT
INCORRECT

230 BASKETBALL SKILLS & DRILLS

All players need to learn these “big-bullet” principles that are essential to successful
rebounding: assume; hands up; 2-and-2; and capture, chin, and turn.
Defensive Rebounding
The suggested rebounding technique requires that players gain the inside position on
an opponent, block out the opponent, and then get the rebound. Getting a position
between the basket or the ball and the opponent enhances the defense’s positional
advantage to secure a rebound bouncing from the rim or the backboard. Although
rebounding seems to consist of three distinct phases, they occur very quickly as if they
were a single action. The rebounding technique is commonly referred to as blocking out
but is sometimes called boxing out or checking an opponent (the first phase).
All players should understand the following fundamental rebounding principles
associated with blocking out:
• See or hear the shot (either the defender guarding the shooter or another defender
calls shot).
• Assume that the shot will be missed (all players).
• Locate the opponent.
Figure 8.2 2-and-2 rebounding: (a) Go up tall and small; (b) come down big and
wide (capture and chin the ball).
a
b

REBOUNDING 231
• Go to the opponent and block out (only when the opponent is inside the three-
point field-goal arc and is rebounding).
• Go to the ball.
• Get and keep the ball.
• Move the ball out or down the court by pivoting and turning away from pressure.
See or Hear the Shot
Players must be aware of when and where a shot is taken. Whether they are guard-
ing an opponent on defense or attempting to get open on offense, they should know
where the ball is at all times. Therefore, coaches should emphasize to players the need
to position themselves so that they can see both their assigned player and the ball on
defense and use their peripheral vision (big vision) to see the ball while moving to get
open on offense. Players who are blind to the ball usually have other problems with
fundamental skills, such as positioning and movement, which should be corrected. See
the opponent; guard the ball.
Once players see a shot being taken, they call out shot to alert teammates (who may
have momentarily lost sight of the ball) that they should get in position to rebound
(hear the shot). The defender guarding the shooter has the primary responsibility for
making the defensive call. However, no verbal alarm works as well as a player’s own
observation of the shot being released.
Assume a Miss
Every shot attempt means a potential rebound. Players must learn to assume that every
shot will be a miss and to go to their rebound assignment. When players develop this
habit, they will be conditioned to perform their assigned rebound task every time a
shot is taken, regardless of the outcome. This habit must be implemented, especially
on offense, where offensive rebounding is such a low-percentage individual play (a
good team goal on offense is to get 30 percent of the available offensive rebounds from
missed shots).
Find the Opponent
Almost without exception, young players fall into the habit of watching the flight of the
ball when shots are in the air—the most common defensive rebounding mistake. This
error can prevent players from gaining an advantage in rebounding position. Once the
ball is in the air, their first reaction should be to locate the opponent they are supposed
to block out or the opposing player nearest to them (visual contact before physical
contact).
This principle does not mean that players should be unaware of the direction and
distance of the shot; however, they must avoid becoming mere spectators when the ball
is in the air. Coaches should train players to be active rebounders by teaching them to
locate an opponent while maintaining a sense of the direction and timing of the shot.
Move the feet; rebound with the feet.
To determine whether players are watching only the ball in flight, use a simple
rebounding drill in which the opposing player holds up a given number of fingers after
the shot is released by another player. After rebounding the ball, the player guarding
that offensive player should be able to report the number of fingers that were held up.
If not, the defensive player was probably focusing too much on the ball in the air and
not enough on the opponent.
CRITICAL CUE
Visual contact until
physical contact
on rebounds.
CRITICAL CUE
Assume a miss is
the most impor-
tant rebounding
principle

232 BASKETBALL SKILLS & DRILLS

Go to the Opponent and Block Out
At this point, the defensive player has set the stage for the next step—the actual block-
ing out of the opponent. Players may not have difficulty with the first three steps, but
blocking out is challenging for almost all players, especially for beginners.
The purpose of blocking out, or boxing out, is to gain an
inside positional advantage (usually closer to the basket) over
an opponent for a rebound. Normally, a player is more likely to
rebound a missed shot if positioned closer to the basket than
the opponent. This location is called inside position because
the player is between the basket and the opponent (opponent–
rebounder–basket). However, it is best to get that inside position
farther away from the basket and the associated congestion (i.e.,
to form a deep defensive rebounding pocket).
Occasionally—when an opponent is far underneath the basket
and a shot is taken from a long distance, for example—outside
position (with the opponent between the player and the basket)
is preferable. But the inside position is generally the desired posi-
tion for a player when blocking out an opponent. The difference
between inside and outside positions is illustrated in figure 8.3.
Before blocking out, a player must go to where the offensive
opponent was previously located, as shown in figure 8.4 (visual
contact, then physical contact). The player should move quickly
and prevent the opponent from gaining a positional advantage.
To help players gain inside position for the blockout, coaches
should teach them to use pivots and turns.
When blocking out an opponent, a player must be in a stance
similar to a quick stance with the following modifications.
The feet should be parallel and shoulder-width apart; the arms
Figure 8.3 Inside (right) and outside (left)
rebounding positions.
Figure 8.4 Go to the offensive player to block out. Make contact with the hands up.

REBOUNDING 233
should be raised, with the upper arms parallel to the floor and
bent at the elbows; and the hands should be forward with the
palms up. The standard blockout position is shown in figure
8.4. Make rigid arms of steel when blocking out.
The boxout or blockout is the phase of rebounding in
which players usually make contact with an opponent. Con-
tact is normally initiated by the player with the inside position.
Because players must turn to the basket and be in quick stance
in order to rebound the ball (having already located the desig-
nated opponent after the shot was released), they can no longer
see the opponent being blocked out. Therefore, they must use
the sense of touch to keep track of the opponent’s location.
The body parts most often used for this purpose are the but-
tocks, back, upper arms, and elbows. Players should sit into the
game and make contact using radar bumpers and active feet.
Feel with the radar bumpers, not the hands. Keep the hands up
with rigid “arms of steel.”
Figures 8.5 and 8.6 illustrate the preferred technique for
beginning and intermediate players: Go to the opponent, use a
front turn to step into the opponent’s path (right foot to right
foot or vice versa) followed by a rear turn to make contact, and
take away the opponent’s momentum and remaining path. Be
proactive—go to the opponent. Elite players can use an advanced
technique, blast and box, which is shown in figure 8.7. In this
approach, the defender blasts the offensive player with a fore-
arm shiver (figure 8.7a) and then slides into a regular block-
out with rigid “arms of steel” (figure 8.7b) before pursuing the
ball or rebounding (boarding the ball; figure 8.7c). More spe-
cifically, the defender locates and meets the opponent with the
forearm-shiver blast to take away the opponent’s momentum
to the basket. This blast is followed by a front-turn move to
slide into a box or blockout position with active feet. In short,
go to the opponent, blast and box, and then board (pursue the
ball). This technique is sometimes referred to as the hit-and-get
core of rebounding (go to the assigned player to hit or block
out, then get the ball and capture and chin it and turn or pivot
away from the opponent).
Figure 8.8 illustrates why it is so important for players to
make contact with the opponent. In figure 8.8a, no contact is
made, and the opponent has a clear lane to the basket and an advantage for the rebound.
In figure 8.8b, however, the inside player establishes contact with active feet and pre-
vents the opponent from gaining an inside position for the rebound. Turns and pivots
are not always viable options for defensive rebounders, so it is important for coaches to
emphasize that the key concern in defensive rebounding is not so much the technique
used to block out the opponent but the sheer fact of whether or not the opponent is
effectively blocked out. Effective blockout technique forces an offensive rebounder to
rebound with a positional disadvantage and commit over-the-back rebounding fouls.
Against an exceptional offensive rebounder, players might use the “face-block” tech-
nique: Face the player and use a two-forearm shiver to get and maintain contact. This
move has the disadvantage of preventing the defensive rebounder who uses it from
pursuing and capturing the ball—teammates must do so. The scouting report on an
E7294/Krause/F08.05/599929/mh-R3
b. Rear turn
X1
X1
a. Front turn
Figure 8.5 Front-turn–rear-turn
technique for blocking out.
Figure 8.6 Rear-turn completion of blockout
with contact.
CRITICAL CUE
Defensive re-
bounding: Go to
the opponent and
make contact with
a front-turn–rear-
turn move or a hit-
and-get rebound
technique.

234 BASKETBALL SKILLS & DRILLS

opponent may identify an aggressive, disciplined rebounder that necessitates using the
“face-block” technique to negate this type of offensive rebounder.
Despite widely held perceptions, basketball is a contact sport. Coaches know that
some players are better prepared than others for the physical side of rebounding. In
drills and games, coaches should match up players according to size, strength, and
readiness for contact.
Figure 8.7 Blast and box, then go to the ball to board: (a) Deliver a forearm blast, (b) use a
radar bumper block
(rear turn into a blast-and-blockout), and (c) get the ball.
b
a
c

REBOUNDING 235
Go to the Ball
The old saying that certain players have a “nose for the ball” may be true. Some
rebounders seem to be in the right place for a rebound on every missed shot. In real-
ity, these apparently instinctive rebounders have probably studied where shots taken
from various spots on the court are likely to go when missed; furthermore, they hustle
and actively pursue the ball. This combination produces effective
rebounders who just go to get the ball (the desired final product).
Coaches can help players develop this kind of rebound-
ing instinct by pointing out the rebounding distribution dia-
grammed in figure 8.9. Shots taken from the side of the court
are much more likely (70 to 75 percent) to rebound to the oppo-
site side. Therefore, players should learn to take a position on
the opposite side of the basket from where the shot was taken
(the weak-side or help-side position). From a team perspective,
at least two rebounders should be sent to the weak side on all
shots from the side of the court. Low- or medium-post offen-
sive players are instructed to rebound to the middle when shots
are taken from their side of the floor where posting. In contrast,
shots taken from the middle of the court tend to rebound to an
area in the middle of the lane.
Players should also know that shots taken from close range
tend to rebound closer to the basket than do shots launched
from longer distances (long shots produce long rebounds). For
instance, three-point field-goal shots rebound farther from the basket, whereas shots
taken from in front (the top of the key) rebound near the free-throw line. Finally, play-
ers should be aware that some rims tend to make the ball rebound farther away from
Figure 8.8 Blockout contact: (a) Contact is not made, and the opponent (#52) has an
advantage for the rebound. (b) Contact is made, effectively blocking out the opponent and
possibly leading to an over-the-back offensive-rebounding foul.
b
a
E7294/Krause/F08.09/599936/mh-R2
Shot
location
on side
(wing or
corner)
Help-side
area
Middle
area
Figure 8.9 Rebound distribution areas.

236 BASKETBALL SKILLS & DRILLS

the basket, whereas others seem to cushion the impact of shots
and produce much shorter rebounds. For that reason, players
should test the bounce of the rims during warm-up (except for
NCAA Division I games where impact–rebound ball interaction
is controlled by the rules).
Another reason that some players seem to get to the ball is
sheer hustle. Players who are good rebounders take the approach
that every free ball is theirs, effectively telling opponents, “I want
the ball more than you do.” Coaches can instill this mentality in
players by giving praise and other rewards for coming up with the
most rebounds, loose balls, and steals (sometimes called garbage
plays). Remind players to find a way to go and get the ball with two
hands.
Rebounding can certainly be aided by timing and jumping abil-
ity, but all the spring in the world means nothing if a player does
not know when or how to use it. Fortunately, several drills can
help players get a feel for when they should leave the floor for a
rebound. One especially effective drill is to have players repeatedly
toss the ball off the backboard and attempt to grab the rebound at
the maximum height of the jump each time (additional drill ideas
are presented later in this chapter). Coaches must also instill in
players the concept of angle-jumping to the ball and rebounding
out of their area (to the side or forward); players should pursue
and board the ball (see figure 8.10).
Get and Keep the Ball
Too often, players make perfect rebounding plays only to lose pos-
session because of poor ball protection. Therefore, when teaching
rebounding, coaches should emphasize that all players’ efforts to
gain possession of the ball will go for naught if they fail to protect it afterward.
As discussed earlier, rebounding from two feet with two hands (2-and-2 rebounding)
is a strong, balanced technique. Specifically, two-foot jumping and two-handed grab-
bing of the ball reduce the chances of letting the ball slip away or get dislodged by an
opponent. Coaches can help players develop this skill by insisting that they use it for
every rebound they pursue. Because rebounding contact often causes young players to
close their eyes when capturing the ball, coaches should train young players to keep
their eyes open and focused on the ball as they capture the rebound.
Occasionally, the ball may come off the rim in an area where the player is unable
to grasp it with both hands. In such cases, players should gain control using only one
hand (block it and then tuck with two hands) or tap the ball to a nearby teammate.
Maintaining possession of the rebound once it is captured is frequently more dif-
ficult than it might seem. Opposing players try to knock the ball from the rebounder’s
hands. In addition, they often trap the rebounder with two or even three players, thus
making it nearly impossible for the player to pass or dribble the ball. Therefore, players
need to learn to handle such situations and protect the ball with proper technique.
When players rebound the ball in the vicinity of an opponent or opponents, their
first move should be to bring the ball in under the chin with the elbows out and a hand
(with the fingers pointing up) on each side of the ball, squeezing it tightly (see figure
8.11). The best position for the ball is directly under the chin, but it may also be moved
from shoulder to shoulder anywhere in the power position to keep it away from oppo-
nents.
Figure 8.10 Angle jump to the ball.

REBOUNDING 237
The teaching points are
as follows: The fingers are
pointed up (to prevent dan-
gling the ball and exposing
it away from the body); the
elbows should be out and up
to clear space for a low, wide-
base 2-and-2 rebound space;
and the player should squeeze
the ball and make herself big.
Coaches should tell players
to use two hands to capture
and chin the rebound (and
whenever handling the ball
in a congested area) in order
to protect and retain the ball.
Players should not swing the
elbows around to ward off
an opponent; doing so can
constitute a violation or foul.
Players may, however, take
up space to clear their area
with the elbows out (make
themselves big). In addition,
a rebounder chinning the ball
can always use a pivot or turn
to move away from pressure
(danger) in order to protect
and shield the ball. This move
can involve either a front or a
rear turn to protect the ball
away from the opponent.
Players should always keep the
head up with big vision and
look for teammates breaking
downcourt, to an open spot
in the backcourt, on a defen-
sive rebound situation, or for
an offensive rebound in an
open area to protect the ball.
When a rebounder gains
possession of the ball after a
missed shot, a single oppo-
nent (usually one that the
rebounder has blocked out) is
often nearby and attempts to
steal the ball or pressure the
rebounder. Coaches should
teach players to pivot away
from the opponent (using
EPF footwork), as shown in
figure 8.12. The player should
Figure 8.11 Chin it—elbows out, fingers up: (a) side view and (b) front view.
Figure 8.12 Pivot away from pressure (a) secure possession of the ball and
(b) turn and pivot away from the opponent to keep the ball.
b
b
a
a

238 BASKETBALL SKILLS & DRILLS

have an open passing lane to a teammate or be able to dribble without losing the ball
to a steal. Players should be cautioned, however, not to put the ball on the floor imme-
diately after rebounding a shot in traffic; doing so creates an opportunity for an oppo-
nent to steal or deflect the ball. Players should see or feel pressure from opponents and
use pivots to turn away from that pressure and safely clear the ball.
When rebounders find themselves surrounded by two or more opponents, they
should not panic. If they are trained to remain calm—to keep the ball in the protec-
tive power or chin-it position and look over the entire court—then options will pres-
ent themselves. One escape move that coaches can teach players is the step-through
technique shown in figure 8.13. This move can be followed by a pass or a two-dribble
push to advance the ball up the floor. Big players can then quick-stop, chin the ball, and
look for a pass to an open teammate, whereas perimeter players can continue dribbling
up the floor. This technique can be used when the trapping defenders leave an open-
ing large enough for the ball handler to slither through. Sometimes an overhead pass
fake causes defenders to leave their feet and creates an opening for the offensive player
to step or dribble through. Players should not, however, force their way through the
defenders, which may result in a charging foul.
Another option for a rebounder surrounded by opponents is to throw a pass over
them. Even smaller players can use this approach if they make the proper fakes before
making the pass (“fake a pass to make a pass,” as advocated by Morgan Wootten, Nai-
smith Hall of Fame coach from DeMatha Catholic High School). If the rebounder is
trapped by two or more opponents, a teammate should be open or be able to break
open to receive a pass. Also, one of the defenders may reach in and foul the rebounder.
Given these options, coaches should tell players to keep their composure when they are
trapped by opponents after a rebound and wait for an option to appear.
CRITICAL CUES
• Capture and
chin to protect
the ball.
• Turn and pivot
away from the
opponent to
keep the ball.
Figure 8.13 Trapped rebounder step-through move: (a) outlet pass or (b) two-dribble push.
a
b
Two-dribble
push
Two-dribble
push

REBOUNDING 239
CRITICAL CUE
Use an outlet pass
or a two-dribble
push to start the
fast break or clear
the ball.
Move the Ball
Once possession is assured, the player with the defensive rebound must choose one of
the following options: pass to an open teammate up the floor, use a two-dribble push to
clear the ball, or wait for a ballhandling perimeter player to come for the ball. Whatever
action the player takes should begin with the head up, using big vision, and the ball
in a protected power position. Remember, there is no 5-second count in the backcourt
(defensive rebound location).
Passing the Ball The preferred method for moving the ball after a defensive rebound
is to make an outlet pass. No opponent can outrun a sharp pass down the court. Thus
it is the first option to look for after a defensive rebound regardless of whether game
strategy calls for a fast break or simply moving the ball quickly and safely up the court.
Several types of passes can be used to get the ball to a teammate breaking down the
court. The long air pass (baseball or one-handed pass) is used when a teammate outlet
is open at the other end of the court. The two-handed overhead pass is used when a
teammate is positioned from the free-throw lane to the midcourt area and no opponent
is in the line of the pass; the overhead pass is the most common outlet pass. The two-
handed chest pass is used to get the ball to a teammate who has broken open to the side
or the middle of the court within 10 to 30 feet (about 3 to 9 meters) from the passer.
Because there is often less traffic on the sides of the court than in the middle, players
should be taught to look first for open teammates in this area, on the rebound side of
the court, before looking to the middle.
Successful passing is the responsibility not only of the passer but also of the catcher,
and coaches should teach players to get open after a teammate has claimed a defensive
rebound. If the opportunity to beat an opponent down the court is available, a player
should take advantage of it. Guards should be instructed to move quickly to a spot where
the rebounder can get the ball to them. A particularly good spot for guards to position
themselves for an outlet pass after a rebound is on the rebound side of the court—between
the opponent’s free-throw line and the half-court line—with their backs to the sideline to
allow them to see the whole floor (especially defenders) with big vision. See figure 8.14.
Good basketball teams retain possession of the ball after defensive rebounds. Coaches
must emphasize that the transition from defense to offense can lead to either a success-
ful offensive possession or a return to defense, depending on how players handle the
ball.
E7294/Krause/F08.14/600027/mh-R3
Defensive
rebounder
Preferred
outlet area
Figure 8.14 Preferred outlet position for guard on defensive rebound.
CRITICAL CUE
Perimeter players
move quickly to
receive an outlet
pass:
• Between the
opponent’s free-
throw line and
the half-court
line
• With the back or
butt to the side-
line to enable
big vision of the
perimeter player
receiving the
outlet pass.

240 BASKETBALL SKILLS & DRILLS

Dribbling the Ball Certain players should not be put in the position of dribbling
the ball from one end of the court to the other. However, it has recently become more
common for coaches to allow players to take a rebounded ball the length of the court
using the dribble. As bigger and better players develop the ability to rebound and dribble
safely, the benefits of this full-court maneuver have become apparent.
One major advantage of having a defensive rebounder dribble the ball to the other
end of the court is that it eliminates the possibility of passing errors; there can be no
errant pass if there is no outlet pass. In addition, the rebounder or dribbler can quickly
assume the middle position on the fast break without having to wait for a teammate
to get open. Players must be able to respond to this situation quickly. Therefore, team-
mates should practice spreading out quickly and filling the passing lanes as they run
down the court.
Having defensive rebounders dribble the ball usually creates a numerical advantage
over the opposition. Because one or more opponents are often slow to react in making
the transition from offense to defense, a defensive rebounder or dribbler can get down
the court ahead of them. If players are trained to recognize the situation quickly and
hurry down the court, the team can frequently create a 5-on-4 or even 5-on-3 advantage.
Almost all big players can be taught to rebound, pivot and face up the court, use one
or two dribbles (two-dribble push) to clear the ball, use a quick stop, chin the ball, and
look for a clear pass ahead to a better ballhandling teammate to continue the fast break.
Offensive Rebounding
A coach must decide on a rebounding philosophy, especially on offense. Generally,
all players should have the same assignments and use the same rules as for defensive
rebounding. On offense, coaches decide which offensive players should be assigned to
go to the boards (go to a gap) as offensive rebounders and which players should transi-
tion back to defense. Most teams have three players rebound
and two players get back on defense (one as a full safety and
one to stop the advancing of the ball). For a more aggressive
approach, a team could send four players to rebound and
assign only one safety or fullback to get back on defense.
Offensive rebounding is especially difficult in a successful
ball–defender–basket defense because defensive players have an
advantage in the contest to get inside position. However, offen-
sive players can gain an edge by knowing when and where a
shot is going to be taken. Therefore, coaches should emphasize
the need for players to anticipate shots by teammates, as well
as to react to their own shots. Otherwise, offensive players have
difficulty succeeding against good defensive rebounders. It is
not always possible to get around a rebounder who is in proper
position for blocking out; moreover, players should not go over
the defensive rebounder’s back when trying to get an offensive
rebound because doing so can lead to being called for a foul.
With both hands up, however, an offensive rebounder may be
able to tip the ball out to a teammate and thus keep possession
of the ball.
The primary positioning objectives for an offensive rebounder
are as follows (in order of importance): Players should go to a
gap, not a back (figure 8.15); get an inside position and block
out the defender; get at least even with the defender by going
to one side and around to the basket; make contact with and
CRITICAL CUE
Offensive re-
bounding—go to a
gap, not a back.
E7294/Krause/F08.15/599944/mh-R2
X1
X5
5
2
3
X4
X3
X2
or
or
or
Shot
4
Best
piece
of pie
Ball-side
post player
always go to
middle gap
Figure 8.15 “O” boards: Go to a gap—
know where the shot is taken and go to the
best gap where more rebounds are likely
to fall (i.e., get the best piece of pie). For
example, on help side (weak side), go to the
gap toward the baseline, and on shots from
the middle, go to either gap; ball-side post
player always goes to middle gap (get two
rebounders to the weak side).

REBOUNDING 241
nudge the inside defender under the basket, pinning the defender
inside by chesting with the hands up (figure 8.16); and tap to self
or a teammate only to keep the ball alive if they can’t get both
hands on the ball.
The techniques for going to a gap are the V-cut and swim
move (primary) and the rear-turn roll. On the shot, the offensive
rebounder selects the best gap by the defender (depending on
position and predicted rebound location) and makes a V-cut to
the gap. When blocked out, the offensive rebounder executes a
tap with the outside hand or arm, followed by a forceful, quick
overhead swim stroke with the near hand or arm to get at least
even with the defender in the hands-up position (figure 8.17).
Another move for getting by or at least even with a defender is
the rear-turn roll, which is best used against a physically aggres-
sive defender who actively blocks out. The offensive player meets
the contact with the forward leg in the direction of the desired
gap. Using that foot to make contact and as the turning foot,
the offensive rebounder makes a 180-degree rear turn to get the stepping foot outside
the defender’s foot in the desired gap (figure 8.18, a and b). Then, using that stepping
foot as the new turning foot, the rebounder uses a 180-degree front turn to get by the
defender at the gap in a hands-up position (figure 8.18c). This technique requires using
the EPF turning skill, as shown in figure 8.18.
To review, offensive rebounding is important because it gives the offensive team
another opportunity to score. This new life also discourages defensive players, who have
lost a chance to gain possession of the basketball. Many options are available to the
offensive rebounder.
E7294/Krause/F08.16/599945/mh-R2
X1
2
X2
Nudge
under
basket
Figure 8.16 “O” boards: Block in when
the defense is too close under the basket.
Figure 8.17 Offensive rebound techniques for going to a gap: (a) V-cut to the gap, tap with
the outside hand, and use the inside hand to swim through with an overhand stroke; (b)
move to
the inside position with the hands up. (Note: Offensive player’s hands should be up in photo
b.)
b
a

242 BASKETBALL SKILLS & DRILLS

Shooting After Rebounding
When a player gets an offensive rebound, the first option is to quickly shoot the ball
with a power move to the basket. Players should first look to shoot, and then, if this is
not possible, pass to an open teammate (passing outside for a three-pointer is a good
option) before finally exercising the option of dribbling (choose action over reaction).
Coaches should emphasize that the moment after a rebound is a very good time to take
advantage of the defense. Because the defensive opponent was unable to prevent the
offensive player from getting in position for the rebound, the defender may also be in
a poor position to defend against a shot. In addition, the defense is packed inside to
block out, and the three-point field-goal area is usually open after an offensive rebound,
especially near the rebound area. An offensive rebounder can take a shot either without
dribbling (preferred) or after dribbling.
Tips If players are skilled enough and big enough, they should tip the ball back toward
the basket or out to a teammate outside the rebound area. Tipping is a misleading term
for a leaping player who shoots a rebounded ball before returning to the floor. Tips that
involve slapping at the ball with one hand are usually unsuccessful. Instead, coaches can
teach players to catch the ball with the elbows locked and shoot it with both hands if
possible (tip with two hands). Tipping the ball outside to an open teammate away from
the congested rebound area is also a viable offensive rebound option.
Tipping the ball is the most efficient way to take advantage of defensive players who
are out of position. By not bringing the ball down from the jump, offensive rebound-
ers take away the defenders’ opportunity to recover and give them almost no chance to
block the tip attempt. However, before coaches suggest the tip as a rebounding option,
they should make sure that their players are physically mature and sufficiently skilled.
Figure 8.18 Rear-turn roll for offensive rebounding: (a) Meet blockout contact with the
turning foot, (b) use a
180-degree rear turn to get outside, and (c) use a 180-degree front turn into the gap with
the head up.
c
b
a

REBOUNDING 243
The tip is often too difficult for beginning players but provides an excellent option for
more skilled players.
Shots Without Dribbling Coaches should encourage players to go up with the shot
after a rebound without putting the ball on the floor. Dribbling takes time and allows
the defense to recover. It also exposes the ball to the defense, making it more likely that a
defender will steal or deflect the ball. If players have learned the correct rebound-jumping
technique, they should land with the ball ready to go back up for the shot. They can
shoot the ball from either an overhead position (explode to score from the forehead) or
from a chin-it position, but they should always keep the ball up.
Players often develop the bad habit of dribbling the ball right after they get it from a
pass or a rebound. To counter this tendency, coaches should highlight instances when
players do not put the ball on the floor after rebounding and praise them for it.
A good time to help players develop the habit of going back up with a shot after a
rebound is during individual shooting practices. On every missed shot, players should
hustle for the rebound, get their balance, and, with the shoulders square to the basket,
go back up for another shot: Keep the ball overhead and explode to the basket; chin the
ball and explode; or chin the ball, do a shot fake, and explode. Players should continue
to shoot and rebound until they make the basket and then start over from a new spot
on the court. In this way, shooting without dribbling after an offensive rebound can
become an automatic response.
Shots After Dribbling Although it should be avoided whenever possible, it is
occasionally acceptable for a player who has grabbed an offensive rebound to dribble
before shooting. One obvious example is when a player grabs a rebound far away from the
basket and has an open lane to the goal. Because this situation presents an easy scoring
opportunity, the player should dribble the ball in for the layup (attack the basket with
one power dribble). Another option is to dribble out of the lane in order to clear the ball
from a congested area.
Passing After Rebounding
The player who has captured an offensive rebound can also pass the basketball to a
teammate. The pass is the second option (after shooting) that players should look for
after getting an offensive rebound. When they turn to the basket to look for the open
shot after the rebound, they should also locate any open teammates (big vision) to
whom they could pass the ball for an easy shot, especially a three-pointer. Coaches can
encourage offensive players to take advantage of defenders’ having to recover after the
rebound, either by taking a shot or by passing to a teammate (usually outside) who has
a good shot. Coach John Wooden believed that a good option is to pass out of the col-
lapsed defense that results from an offensive rebound and set up a teammate for a trey.
Sometimes an offensive team chooses to reset the offense, either to run a play or to
take more time off the clock. In that case, the option to shoot is the lowest priority for
the offensive rebounder, and passing and dribbling are the more preferred options.
Dribbling After Rebounding
In most situations, the offensive rebounder should dribble only if a shot or a pass is
impossible. Usually, dribbling only gives the defensive players an opportunity to recover
and possibly steal the ball, especially since the offensive rebounder is often surrounded
by defenders. Therefore, coaches should continually advise players to look first for a
shot and then for a passing opportunity before dribbling after they get an offensive
rebound.
CRITICAL CUE
Offensive rebound
options—score,
pass, or dribble
(in that order).

244 BASKETBALL SKILLS & DRILLS

Rebounding Assessment
Coaches should keep rebounding statistics for each player and for the team as a whole.
Offensive and defensive rebounds should be recorded separately to help identify play-
ers who have success or difficulty in rebounding at a particular end of the court. This
information may reveal a problem with a player’s offensive or defensive rebounding
technique or indicate that a player is not hustling enough at one end of the court.
Individual rebounding statistics are just some of the many pieces of information that
coaches can use to evaluate the contribution of each player, particularly those posi-
tioned nearest the basket.
An excellent team goal is to get 60 percent of all rebounds—30 percent in offensive
rebounding situations and 80 percent in defensive rebounding situations. Goals based
on percentages are generally better than goals based on number of rebounds because
they are valid for all styles of play (e.g., slow or fast).
Assessment of individual rebounding can also be carried out in terms of a percentage
by comparing the number of times a player did the assigned job with the total number of
Coaching Points for Rebounding
• Rebounding is the responsibility of all players on the team.
• Good rebounding is closely associated with ball possession,
fast breaks, and winning.
• The most important principle of rebounding is to assume
that the shot will be missed; this assumption initiates an
automatic response to do the assigned task in that situation
(offense or defense).
• The 2-and-2 rebound technique is most effective: Rebound from two feet with two
hands.
• The hands should be kept up when players block out or are positioned near the
basket (offense or defense).
• The best overall rebounding technique emphasizes blocking out the opposing
player as follows:
-
Be aware when a shot is taken and assume that it will miss.
-
Find, go to, and block out an opponent (blast and box) while attending to the
direction and distance of the shot. Hit the opponent.
-
Go to (pursue) and capture the ball and get it into the protected position un-
der the chin (pursue the ball; capture and chin the ball). Get the ball.
• The most important specific technique of rebounding is to chin the ball (chin it—
protect it when you get it, and then pivot (turn) to protect and clear the ball from
congestion).
• Offensive rebounders should assume a miss and go to a gap (not a back) with the
hands up.
• Offensive rebounders should use the 2-and-2 technique and look to shoot, pass, or
dribble—in that order.
• Defensive rebounders should blast, box, and board (pursue the ball); some
coaches prefer the hit and get terminology.
• Defensive rebounders should either pass, dribble, or hold the ball, depending on
their skills and the situation.
REBOUNDING 245
rebounding opportunities. This approach to assessment measures the process that leads
to the desired outcome of obtaining rebounds. For instance, a player with an offensive
rebound efficiency of 70 percent might have done the job correctly 14 times in 20 situ-
ations (i.e., 20 shot attempts by the team), thus requiring a coach or program assistant
to define and evaluate all 20 possessions and decide whether the player passed or failed
on each. For instance, on a given shot attempt, did the offensive rebounder go to a gap
(V-cut and swim move or rear-turn roll or nudge under the basket), make a 2-and-2
attempt to capture the rebound and (if captured) chin the ball, and, finally, protect or
turn away from danger? In another example, if a player is a designated safety on the shot
attempt, did he or she sprint back to half-court before the shot hit the rim in order to
prevent the layup and organize the defense? In this way, the whole process of individual
rebounding is graded on a pass-fail basis; in other words, a player is graded (pass or fail)
on the whole process of meeting assigned responsibilities in each offensive or defensive
rebound situation.
Assessment of individual defensive rebounding is more challenging, and coaches
must remember that each player should be graded on each attempt; grade the process.
For example, when an assigned offensive player is inside the three-point arc, did the
defender blast, box, and board; put the hands up on the blockout near the basket; and
actively pursue, capture, and chin the ball with a 2-and-2 rebound move (hit and get)?
Defensive rebounding efficiency can be expressed as a percentage by dividing number
of successful rebound attempts (i.e., instances of performing the assigned task) by the
total number of shot attempts by the opponent. A goal of 80 percent is a reasonable but
challenging target for defensive rebounding efficiency (again, as a measure of player
process). If players do their rebounding job 80 percent of the time, the team will be a
successful rebounding team. Remember: This efficiency does not require getting the
rebound (although doing so certainly enhances a team’s chances of winning!).
Rebound percentages can be tracked in practices and in games; in either setting, one
evaluator can directly rate two players at a time. In practices, evaluators can chart any
competition situation that involves offense and defense (1-on-1, 2-on-2, and so on up to
5-on-5). The two players selected should remain anonymous during each practice, and
the results should be totaled, announced, and posted after each practice. For games,
video analysis allows a coach (given enough time) to assess each player on each posses-
sion in order to determine percentages for offensive, defensive, and total rebounding
efficiency. Assessment should be performed at least every fifth game to ensure realistic
feedback in order to change players’ behavior and enhance learning. Assessment experts
advise that regular, periodic assessments—as well as status and progress reports—are
needed in order to enhance learning and change players’ rebounding behavior. The
totals for all individual players can be used to obtain team percentages for rebounding
efficiency (offensive, defensive, and total).
Troubleshooting
The following list identifies common rebounding errors and possible remedies. Coaches
should provide appropriate feedback in order to change players’ behavior and enhance
their learning.
• Problem: Lack of motivation to rebound
Correction: Review the importance of and rationale for rebounding and sell players
on technique, effort, and the benefits of rebounding success.
(continued)

246
• Problem: Errors in rebounding in terms of the “big bullets” of rebounding
Correction:
-
Assume: Evaluate to ensure that each shot attempt prompts each player to
know, understand, and try to carry out his or her rebounding responsibility.
-
Hands up: Practice and correct or reinforce this position until it becomes au-
tomatic. For this purpose, an assistant coach can stand on the baseline under
the basket to provide feedback on the hands-up skill for either offensive or
defensive players.
-
2-and-2: Penalize players for losing the ball on one-foot or one-handed re-
bounding (unless they are tipping to self or a teammate).
-
Remind players to capture, chin, and turn away from danger: Reinforce these
points, and (as a last resort) levy penalties for losing possession of the ball.
• Problem: Losing or failing to capture the ball
Correction: Check 2-and-2 technique. Stand under the basket to see if players are
capturing the ball with a click (using both hands) and with both eyes open and fo-
cused on the ball. Beginners often close their eyes during contact rebounding.
• Problem: Small rebounding pocket on defense (defenders not going quickly to the
assigned player to block out—blast or make contact—first)
Correction: This problem often results from defenders following the flight of the ball
on a shot attempt (i.e., being ball watchers or rebound spectators). Teach them to
see the defender first (make visual contact after a shot attempt). In other words, they
must locate the assigned offensive player both visually (see the player) and then
physically (block the player). Visual contact comes before physical contact.
• Problem: Hands down (feeling or holding the opponent with the arms down behind
when rebounding)
Correction: Caution players that it is illegal to hold when blocking out and impossible
to capture the quick rebound in a hands-down position (on offense or defense).
Players should keep the hands up for the quick rebound, make contact with radar
bumpers, and use active feet to maintain contact until pursuing the ball. They should
get the elbows level with the shoulders and make “arms of steel” when blocking out.
• Problem: Rebounding only overhead or near the basket
Correction: Focus on angle-jumping out of the one’s area at less than vertical angles
(60 to 85 degrees), as well as using 2-and-2 technique to capture the ball with bal-
ance and protection. Emphasize that the only rebounds available under the basket
come from made shots.
• Problem: Dangling the ball or putting it overhead and away from the power or chin-it
position
Correction: Losing the ball after a rebound typically results from failing to capture
and chin the ball. Have players attack rebounders in practice: slap from under, pres-
sure, reach over, or bat the dangling ball.
• Problem: Failure to use a pivot or turn away from danger after a rebound is secured
Correction: On defensive rebounds, add a two-dribble push move to clear the ball
up the floor. On offensive rebounds, add a rear turn and crack-back pass for a three-
point field-goal attempt by a teammate.
Troubleshooting (continued)

REBOUNDING 247
Rebounding Drills
Effective rebounding requires players to be aggressive and make legal contact with
opponents; therefore, players should be given drills that progressively develop the trait
of aggressiveness.
Line Drill: 2-and-2 Rebound Progression
Purpose: To teach 2-and-2 and capture-and-chin-it rebound techniques
Equipment: Half court, one basketball per line
Procedure: The drill begins without the ball as players use the 2-and-2 rebound tech-
nique to get an imaginary rebound at the free-throw line, the half-court line, the opposite
free-throw line, and the opposite baseline. Next, the first player in each line has a bas-
ketball and creates a simulated rebound with a two-handed underhand or overhead toss,
uses 2-and-2 rebound technique, captures and chins the ball, and uses an EPF turn tech-
nique away from an imaginary defender to pass to the next person in line, who repeats
the sequence.
Here is the learning progression:
• Get an imaginary 2-and-2 rebound.
• Toss the ball directly overhead and get a 2-and-2 rebound.
• Toss the ball to the right, left, or in front to force rebounders to use 2-and-2 technique
to rebound out of their area—that is, to angle-jump to the left, right, or forward to
capture and chin the ball.
• A variation is to use a coach at the top of the key level as the tosser for each line for
the first three progressions (see previous bullets).
• Toss the ball overhead in pairs. The second person can contest the rebound and
pressure the rebounder to check the chin-it position and turn move. The rebounder
must pivot away from pressure and execute an outlet pass back to the next person
in line.
• Practice a two-dribble push upcourt. The rebounder can get a 2-and-2 rebound,
capture and chin the ball, pivot away from pressure, and practice the two-dribble
push toward the half-court line. After completing the sequence with a quick stop,
the rebounder can pivot and execute an outlet pass back to the next person on the
baseline.
Line Drill: Defensive Rebound Progression
Purpose: To teach the techniques of defensive rebounding through simulation
Equipment: Half court (minimum)
Procedure: Players are organized in four lines on the baseline. When the coach gives
the verbal command shot, the first player in each line sprints onto the court 6 to 15 feet
(1.8 to 4.6 meters) from the basket in defensive closeout position and then uses the blast-
box-board (hit-and-get) technique to obtain an imaginary defensive rebound. Each player
simulates the blockout, captures the imaginary rebound, chins the ball, and makes an
outlet pass using EPF technique. Then the next four players sprint onto the floor in basic
position or quick stance for defense.

248 BASKETBALL SKILLS & DRILLS

Variations
• “D” boards help-side box: The first four players sprint onto the floor in an offensive
basic stance near the free-throw line extended, and the next four assume a prop-
er defensive basic position to support the defender (who is pointing pistols at the
imaginary ball and the player being guarded) while facing a sideline. On the shot
command, all four defenders carry out defensive rebounding assignments, and all
must make contact at the free-throw line. No ball is needed for this variation.
• “D” boards with a ball (blocking the shooter): The four defensive players on the base-
line each have a ball in triple-threat position. They each pass to the corresponding
offensive player at the free-throw line, then close out from off-the-ball to on-the-ball
position to prevent the drive and contest the shot. The offensive player catches the
ball with the feet in the air and ready to shoot, executes a shot fake, and then shoots
a short shot to an imaginary basket from 12 to 15 feet (3.7 to 4.6 meters) away by
focusing on shooting up (not out) and holding the follow-through until the ball hits the
floor. The shooter then serves as the buddy coach for defender by checking his or
her defensive rebounding technique. The shooter coaches the buddy, who becomes
the next shooter and then goes to the back of the line. This variation can be used to
practice many “D” board repetitions in a short time.
Line Drill: Offensive Rebound Progression
Purpose: To teach players the techniques of offensive rebounding—getting past the de-
fender to block out, getting to a gap (getting at least even with the defender), and making
contact to move the defender closer to the basket (when the defender doesn’t move away
from the basket to block out)
Equipment: Half court
Procedure: Players are organized in four lines on the baseline. The first four players are
positioned at the free-throw line, facing away from the baseline in quick stance with hands
up. (For a more realistic perspective, place the lines at the half-court line and the first four
players at the top of the key, facing the baseline.) The coach controls the drill with the fol-
lowing commands:
• Swim-move by right or left and block out with hands up.
• Swim-move by right or left and go to a gap.
• Go to a gap with hands up and return to the baseline.
The first player in each line near the free-throw line extended learns the feeling of the
hands-up, ready-to-rebound position, then moves to the back of the line; the second per-
son in line practices offensive rebounding technique past them and then becomes the first
in line (hands up, ready to rebound). The drill is performed without a ball and allows many
repetitions of basic offensive rebounding technique in a short time. The same procedure
can be carried out to practice the rear-turn roll. The offensive player approaches the de-
fender from behind, places one foot or knee in the middle of the defender (split legs), and
performs a rear turn and then a front turn to get to the gap and by the defender.

REBOUNDING 249
Line Drill: Pivot-and-Pass Progression
Purpose: To teach basic rebounding rules with special emphasis on the pivot-and-pass
to avoid committing an offensive foul while clearing the defender with the elbow
Equipment: Half court, one ball per line
Procedure: Players are organized in four lines on the baseline. The first four players step
onto the court from the baseline to start the drill.
• Toss-and-turn: The first player in each line starts with the ball and uses a two-handed
underhand toss out of the area (not overhead) high enough to allow the same player
to get a 2-and-2 rebound, capture and chin it, and finish with a pivot-and-pass EPF
move to pass to the next player in line, who catches the ball with the feet in the air
while moving onto the court. The catcher then repeats the toss-and-turn sequence
and passes to the next player in line, and so on.
• Bounce-and-turn: This is a similar drill starting from four lines, but in this version the
next person in line starts the drill with a two-handed bounce pass off the floor to a
simulated rebound spot above and out of the rebounder’s area. The rebounder gets
a two-handed capture-and-chin rebound followed by a pivot move and pass to the
next person in line.
Rebound and Outlet
Purpose: To teach players the skill of taking a defensive rebound off the backboard and
making an outlet pass (or dribble)
Equipment: One ball per basket (option: two lines operating simultaneously, one on each
side of the basket)
Procedure: Have the receiver call the passer’s name while breaking to get open. All pass-
es should be caught with the feet in the air. The first player, X1, passes to X4, gets open
for a return pass, receives it with a quick stop in the free-throw lane, and tosses the ball
underhand above the rectangle level to simulate a defensive rebound (figure 8.19). Player
X1 angle-jumps to the ball, captures it with two hands, brings it to the forehead, makes
a front turn on the right pivot foot, makes an outlet pass to X4, and takes the place of X4.
E7294/Krause/F08.19a/599951/mh-R2
a.
X4
X2
X1
X5
X3
(1)
(2)
E7294/Krause/F08.19b/599952/mh-R2
b
X4
X1
X2
X5
X3
(1)
(2)
Ball
(3)
Figure 8.19 Rebound-and-outlet drill for defensive rebounding: (a) start and (b)
continuation
(changing sides).
a
b

250 BASKETBALL SKILLS & DRILLS

Player X4 passes to X2 and goes to the back of the line. The sequence is repeated on the
other side with players X2, X5, and X3.
Variation: The outlet lines can be placed at the half-court line, and the defensive re-
bounders can use a two-dribble push, make a quick stop, and deliver an outlet pass.
Rebound Number
Purpose: To practice seeing the opponent and the ball when a shot is taken
Equipment: Ball and basket
Procedure: Divide players into pairs and assign two or three pairs per basket. Put two
players on offense and two on defense—one offensive–defensive pair on each side of the
lane, halfway between the baseline and the free-throw line. A coach is positioned at each
free-throw line with a ball. The defensive player on each side of the lane assumes a basic
position and guards the offensive player. The offensive players begin to move to get open,
and the coach can pass to them if they get free. Otherwise, the coach takes a shot, and
each offensive player immediately raises a hand and holds up a certain number of fingers
as they rebound. The defensive players try to block out the offensive players and get the
rebound. If one of the defensive players gets the rebound and both defenders correctly
name the number of fingers held up by their offensive opponent, then the offensive play-
ers switch to defense during the next repetition of the drill as defense switches to offense.
Closeout and Blockout
Purpose: To simulate team competition in a controlled 1-on-1, 2-on-2, or 3-on-3 rebound-
ing situation that includes on-the-ball and off-the-ball blockouts
Equipment: Ball, basket, and half court
Procedure: To start the drill, one, two, or three offensive players are positioned 15 to 18
feet (4.6 to 5.5 meters) from the basket, and the corresponding number of defensive play-
ers are positioned under the basket. The drill is played as a competitive make-it-take-it
exercise that is restarted only when a basket is made. In defensive rebounding situations,
the defense must clear the ball above the top of the key area before changing to offense.
The coach may require the three defenders to stay on defense whenever an assignment
is missed.
Line Drill: Full-Court Offensive Boards
Without the Ball
Purpose: To teach offensive rebounding skills by simulation
Equipment: Half court (minimum)
Procedure: Players are in four lines at baseline. The first four players make a get-ahead-
or-get-even move from basic position, move to the free-throw line area, jump quickly,
simulate capturing the ball, land in the chin-it position, and use a designated scoring
move. They repeat this process at the half-court line, the opposite free-throw line, and the
opposite baseline. The return is made when all groups of four reach the end line. Players
should maintain proper offensive spacing (15 to 18 feet, or 4.6 to 5.5 meters) from the
player immediately ahead.

REBOUNDING 251
Hands-Up, Figure-8, Backboard-Passing Rebound
Purpose: To teach players to control the rebound and always keep both hands up when
rebounding
Equipment: One ball per basket
Procedure: The drill starts with three players at a basket—two on one side of the basket
and one on the other side. On the overloaded side with two players, the first player starts
the drill with a pass off the backboard (above the rectangle) to the next player on the op-
posite side of the basket. The object is for the group to perform continuous, controlled,
two-handed tipping or chin-it rebounding for a given number of repetitions. Players tip
or rebound and then go behind the next player on the opposite side of the basket while
keeping their hands up throughout the drill.
Most players need to rebound the ball with a two-footed, two-handed approach and a
chin-it or “ball-to-forehead” move and then go back up with an offensive scoring move
designated by the coach (ball overhead, power shot, or shot fake and power shot). Re-
bounders should keep the feet at right angles to the baseline (point the toes at the base-
line) and shoot the ball above the rectangle so that it rebounds from the backboard to the
next rebounder. All players keep their hands up as they move continuously in a figure-
eight movement pattern back and forth across the lane (2-and-2 rebound, shot across
backboard and above rectangle, and going behind the player on the other side with the
hands up). After a coaching goal is met—for instance, 10 passes and the last one makes
a basket—the coach can have players each make one-and-one free throws before con-
tinuing; a free-throw miss by any player restarts the drill.
Garbage
Purpose: To teach players to score on an offensive rebound
Equipment: Two balls per basket
Procedure: Two lines of players are positioned at the free-throw line area while facing the
basket; each line has a ball. The first player in each line passes the ball to the backboard
with a two-handed underhand toss, rebounds the ball, and then uses a designated scor-
ing move. After scoring (and only after scoring), the player passes the ball to the next
player in line and goes to the end of the opposite line. Each player assumes a miss and
continues rebounding until the basket is made. Players use the following scoring moves:
• Two-handed tip and score
• Overhead (ball on the forehead with two hands), quick jump to score
• Chin-it and score
• Chin-it, fake (lifting the ball head-high and keeping the legs locked), and score
• Chin-it, pass to an outlet (player in line) for a trey
A final competition phase of the garbage drill can be added to teach aggressiveness
and scoring in the lane. The coach has one ball at the free-throw line and works with
two players at a time, one from each line. The coach usually shoots the ball and players
rebound until one captures the ball and scores. On a loose ball, players should use a two-
handed rebound or two-handed pickup and chin it. The player with the ball must score
in the lane without dribbling while the other player defends. There are no out-of-bounds
areas, and the ball handler may use the coach for a release pass (which is returned if a
quick move to get open is used).

252 BASKETBALL SKILLS & DRILLS

No-Babies-Allowed (NBA) or Survival Rebounding
Purpose: To teach aggressiveness
Equipment: One ball per basket
Procedure: Groups of four to eight
players are positioned at each basket;
three players from each basket are in
the game at any given time. If six to
eight players are used, extra players
should be shooting free throws until
they are rotated into the game. The
next player rotating in waits inside the
arc ready to replace one of the three
players in the drill as they meet the
goal and rotate out. See figure 8.20.
A coach or manager is positioned at
each basket to shoot the ball (inten-
tionally missing) and act as a pass-
ing outlet for the rebounder. The rules
of competition are as follows:
• Play starts with a missed shot.
• All three players try to get the rebound.
• The player who obtains the rebound is on offense, and the other two players become
defenders. Rebounders use scoring moves; all shots must be taken in the free-throw
lane without dribbling.
• The rebounder may outlet to the coach and get open for a return pass in the lane.
• There is no out-of-bounds area.
• Scoring three baskets allows a player to rotate out (the other players retain their to-
tals). When starting, the best variation is one scored basket to move out of the drill
and into the line that feeds players into the drill.
• Significant fouls are the only ones called by the coach; a player may lose a score by
fouling or by not playing defense.
Individual Rebounding
Purpose: To have players practice rebounding skills on their own
Equipment: Ball, basket, and toss-back rebounding device (or a partner)
Procedure: Players carry out rebounding options at game speed using the two-footed,
two-handed rebounding technique.
Options
• Toss the ball against the backboard or above the rim with a two-handed underhand
toss to create a rebound, then use an angle jump to capture the ball and make an
offensive scoring move (overhead; chin and score; chin, shot fake, and score). As-
sume a miss.
• Toss the ball to create a defensive rebound. Make a quick outlet pass to the toss-
back or the partner or use a two-dribble push to clear the ball.
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C
Extra players
Free-throw
station
Figure 8.20 No-babies-allowed (NBA)
rebounding.

REBOUNDING 253
• Advanced: Players jump as high and as quickly as they can and pop the ball against
the backboard with two hands on each jump.
• Place the ball on the free-throw lane block. Players grab it with two hands, explode
to the backboard, and score from 2 feet (0.6 meter) without gathering: Capture, chin,
and explode to the basket. Then place the ball on the opposite block and repeat the
drill.
• Super rebounds: Players start outside the lane and pass the ball off the backboard
above the rectangle to the other side of the lane. They take one step into the lane,
jump over to get the rebound, and land on two feet outside the lane on the other side.
Repeat five times and finish with a power-move score.
Rebound Progression: 3-on-0, 3-on-3
Purpose: To provide a three-player format to review and practice rebounding skills as a
team and as part of a practice or a game warm-up
Equipment: Ball, basket, half court, and three air dummies (if available)
Procedure: Half of the team performs the drill near the basket while the other half stretch-
es or performs other skill work. The drill includes two sections:
1. In the offensive (3-on-0) team-rebounding section, the coach controls the drill and
shoots the ball from one side of the court to create the rebound. Variations include
the following:
• Regular 3-on-0 at any three positions: On the shot, the low-post player
rebounds to the middle toward the weak side to get two rebounders to the
weak side.
• Tip up (to keep alive) and tip out.
• Out-of-bounds save: The coach bounces the ball toward the out-of-bounds
area; a saver and a savee (a teammate not pursuing the ball) communicate
verbally (ball and help).
• 3-on-3 with air dummies or dummy defenders: Offensive players must go to
a gap and rebound.
• No babies allowed: The player who gets the rebound tries to score while
the other two players harass. All three offensive rebounders assume a miss,
rebound until a score, and then sprint toward the half-court line (or to the top
of the key) with vision on the ball and the basket over the inside shoulder.
2. The defensive (3-on-3) team-rebounding section uses three air dummies or dummy
offensive players to block out. When the coach shoots, the three defenders blast
and pursue (hit and get) and either outlet the ball to the coach or execute a two-
dribble push outlet and then pass to the coach. Follow the BOPCRO sequence:
Block out (or blast), pursue and chin, rebound, and outlet.
Cutthroat Rebounding: 3-on-3, 4-on-4
Purpose: To simulate gamelike offensive and defensive rebounding in a continuous,
coach-controlled drill
Equipment: Ball, basket, half court, three groups of players (three or four per group)
separately identified (e.g., red, white, and blue)

254 BASKETBALL SKILLS & DRILLS

Procedure: Begin with a group on offense, a group on defense, and a group behind the
baseline underneath the basket. The coach has the ball and is underneath the basket be-
hind the baseline to start and control the drill. Two outlet receivers are positioned near the
sideline near half-court. The rotation is as follows: As a shot is missed, both offensive and
defensive groups rebound. If the defensive group gets the ball, the players use the BOP-
CRO sequence to the outlet and move to offense, and the baseline group comes in on
defense. If the offensive group gets a rebound, the players stay on offense (after a score,
they transition to half-court and stay on offense). The baseline group again comes in on
defense. The ball is always returned to the coach to continue the drill for the designated
period of time. Winners can be determined by getting the most defensive rebounds, the
most offensive rebounds, or the most points scored; any of these options can be empha-
sized by the coach.
War Rebounding
Purpose: To emphasize aggressive defensive or offensive rebounding in a 5-on-5 situa-
tion
Equipment: Ball, basket, half court
Procedure: This live drill begins with the coach shooting the ball (and missing most of the
time). The drill is played on live, made, or missed shots without regard to out-of-bounds
lines in order to get players to capture, secure, and chin the ball in all circumstances. The
usual scoring scheme is 1 point for a defensive rebound, 2 points for a score, and 3 points
for an offensive rebound. Coaches can emphasize offense or defense by giving points to
that phase only and allowing a team to stay in the scoring mode when players score; for
instance, if a group makes a defensive rebound score, it stays on defense. The drill can
be done for a certain time period or played to a certain score. It can be started with many
variations, such as the following:
• Closeouts: Defenders start on the baseline, pass to an offensive player or pass to
the coach for the shot.
• Make a skip pass, then shoot.
• Use a secondary fast-break set, swing the ball, and then shoot.
• Start from a zone defense.
• Use any special offensive set or situation, then shoot.
Wooden Wisdom
“Be more concerned with your character than your reputation, because
your character is what you really are, while your reputation is merely
what others think you are.”
—John Wooden

9
Team Offense
“Basketball is a game of finesse and reason, especially on offense.”
Phil Jackson, Naismith Hall of Fame coach, Chicago Bulls and Los Angeles Lakers
(Jackson used a concept from a Lakota Indian war chant: “Don’t overpower; outsmart the
opponent.”)
CHAPTER

256 BASKETBALL SKILLS & DRILLS

C
oaches should instill in players the confidence to go all out—to have fun, to learn
and improve, and to take chances and make mistakes, especially on offense. By
preparing players to handle all situations and helping them improve their basket-
ball IQ, coaches can strengthen their confidence in their ability to succeed. To accom-
plish this goal, coaches and players must focus on teaching and learning not just plays
but how to play on offense.
Specifically, in order to prepare the team for all situations, the following areas should
be covered: general offensive principles, responsibilities of players at each offensive
position, offensive team tactics, and special situations for team offense. As these areas
are taught and learned, players and coaches should always remind themselves that every
offense is based on fundamentals and that quick and proper execution of those funda-
mentals is the key to any successful offense.
General Offensive Principles
Unless coaches are familiar with the offensive strengths and weaknesses of team mem-
bers, they should select a basic offense that can be adapted to a variety of players and is
flexible enough to allow team members to use their individual strengths. The coach’s
basic philosophy should be stable and should evolve slowly, but the offensive and defen-
sive styles of play should change to fit the players.
Offense depends heavily on proper spacing and timing; all five players should be
spread out on the court area, moving and cutting together with the right timing. Any
offense should have court balance; that is, it should maintain proper court spacing—
about 15 to 18 feet (4.6 to 5.5 meters)—between offensive teammates (unless cutting
and screening). Balance also involves producing high-percentage shots with assigned
offensive rebounders and assigned players to prepare for defense when a shot is taken.
Making the quick transition from offense to defense (and vice versa) is referred to as
the transition game—going to get the offensive rebound or to return to defense quickly.
In addition, balanced scoring from several players is always better than dependence on
a scoring star in a team game. Offensive players need to use their strengths to produce
a balanced offense.
A good offense includes both player movement and ball movement and may, with
more experienced players, include screening. Scoring should come from the inside
(close to the basket) as well as the outside (on the perimeter of the defense). The offense
should be developed from the inside out: Establish an inside game and a complemen-
tary outside game, thus preventing the defense from concentrating on one area or one
player. The execution of any system is much more important than the system itself. What
a team does is not as critical as how well the players do it; therefore, focus on execution.
Player Positions and Responsibilities
Each player on a basketball team has a position to play that is related to role, ability, and
skill. The three basic positions are guard, forward, and center or post (figure 9.1). Some
coaches use other names, such as point, wing, and inside player. The authors favor equip-
ping all players with all fundamental skills so they have the flexibility to play position-
less basketball where there is more flexibility for players to be interchangeable.
The center is usually the tallest player, with forwards coming next, and guards being
the smallest. Centers and forwards tend to be the best rebounders, whereas guards are
often the best ball handlers. Guards also tend to play outside more than forwards and
CRITICAL CUE
Team offense
must produce
high-percentage
shots, transition to
defense, balance,
movement, and
execution.

TEAM OFFENSE 257

centers. No matter what term is used, all perimeter players and all inside players should
learn the basic skills so that they can be interchangeable in selected situations. In addi-
tion, some coaches favor “positionless” basketball, in which all players are expected to be
prepared to play various aspects of the game, regardless of position and skills required.
Guards Grouped together, guards are usually referred to as the team’s backcourt. This
grouping can be broken down further into the point guard (normally the best ball
handler and often the player who directs the team on the floor) and shooting guards
(also called big guards or off guards). Because of their dribbling ability, point guards can
often create a scoring chance for a teammate (such as the shooting guard) by penetrating
and passing—that is, by driving past defenders to the basket and then passing to an
unguarded teammate (a move known as a penetrate-and-pitch or drive-and-dish). Thus
point guards are called playmakers because they direct teammates and create scoring
opportunities. The point guard is usually among the best ball handlers on the team
and should also be a leader who can serve as a coach on the floor. Shooting guards, on
the other hand, should be chosen from the best ball handlers, shooters, and scorers on
the team.
Forwards Forwards are sometimes called corner players because their normal offensive
position is in the corner of the frontcourt. Most teams play a small forward and a big
forward (sometimes called the power forward or strong forward). The small forward is
more
of a swing player who can play guard or forward and who plays facing the basket, where
good ballhandling and outside shooting are essential. In contrast, the big forward is
often a strong rebounder who swings from outside to inside (back to the basket). Small
forwards should be able to play as a combination guard-forward, handle the ball well,
play on the perimeter, and rebound. Big forwards must be able to play as a combination
forward-center.
Center or Post Player Players for the center position should be chosen from
among the biggest players and those who relish playing inside, near the basket, where
contact and congestion are readily accepted. Usually the biggest player, the center plays
inside, either around the free-throw lane in the high post (near the foul line) or in the
low post (close to the basket) and outside the free-throw or three-second lane with the
back to the basket. Post players may also play facing the basket on offense—getting the
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Frontcourt
players
Center
or post
F1
Backcourt
players
G1
G2
F2
Guards
Forwards
Figure 9.1 Player positions.

258 BASKETBALL SKILLS & DRILLS

ball in the high post (free-throw lane area) or in the short corner when stepping out
from the low or medium post to face the basket (see chapter 6). The center and the two
forwards are known collectively as the frontcourt. It is recommended that all players
develop all fundamental skills, equipping them to crossover positions and enhancing
team flexibility.
Offensive Team Tactics
Coaches develop team tactics to prepare the team to face all basic defensive situations;
these tactics include the following essential elements:
• Defense-to-offense transition game—primary fast break to keep the defense honest and
put immediate pressure on the defense; secondary fast break for use when the
defense is back but not fully organized
• Press offense to handle ball safely and attack against defensive presses (ranging
from half-court to full-court)
• Player-to-player set offense for situations in which opponents guard offensive players
individually
• Zone set offense to be used against zone or area defenses
• Combination set offense to be used against combination defenses (which mix zone
and player-to-player defenses)
• Delay or control offense to use when time and score dictate controlling the game and
maintaining ball possession for longer periods before a shot and forcing the oppo-
nent to defend a larger court area (with or without a shot clock)
• Special-situation plays—for example, jump balls, out-of-bounds plays, free throws,
and last-second plays
• Offense-to-defense transition game (providing offensive rebounders while preventing
easy scores and fast breaks by the opponent)
Primary Fast Break:
Transition From Defense to Offense
A team can set up a good shot by running the fast break when it gains possession of
the ball and brings it up the court before the opposing players get into a good defensive
position. This situation, in which the defense is outnumbered, is called a primary fast
break (figure 9.2a). The fast break, which usually develops after a rebound or steal (and
sometimes after a made basket), is the fastest way to make the transition from defense
to offense. As soon as the defense gains control of the ball, it uses an outlet pass or
dribble to start the break; passing is the first option and dribbling the last when moving
the ball up the court. Then teammates try to beat the defenders up the court while
staying spread out; thus they should run at top speed under control. For balance, one
player should stay a few steps behind the action in a defensive safety role (often called
the fullback).
A typical three-lane fast-break pattern is shown in figure 9.2. A team can effectively
use a three-lane fast break (with the ball in the middle) when its players outnumber
the opponents in a 3-on-2 situation. In a 3-on-1 scenario, the offense should convert
to a two-lane fast break (2-on-1 plus a trailer), as shown in figure 9.3. In a two-lane fast
CRITICAL CUE
Three-lane fast
break: ball in the
middle, side lanes
wide, and banana
cut to the basket
(at the top of the
key) or drift to the
corner for three.
CRITICAL CUE
Go to the glass
unless forced to
pass.

TEAM OFFENSE 259

break, the offensive players should
split the floor (stay at least as wide
as the free-throw lane) to make the
defender commit. The best ball han-
dler should handle the ball at the com-
pletion and go to the glass unless forced
to pass. The dribbler always needs to
offset the middle staying to the side of
the lane, preferably dribbling with the
outside hand in the 2-on-1 situation.
Advanced players can dribble with the
inside hand (which makes it easier to
push a bounce pass by the defender)
or shoot the reverse layback shot if the
defender doesn’t pick up or guard the
dribbler on defense.
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or
a
4
2
5
1
3
a
c
b
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b
2
Post
1
4
3
5
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c
1
2
5
4
3
Post
Trailer
or
Veer
X
X
Figure 9.2 Primary fast break: (a) starting after a defensive rebound,
(b) spreading out and filling the lanes, and (c) completing a three-lane
fast break.
E7294/Krause/F09.03/599958/mh-R2
3
2
X1
1
Trailer
Stay at least free-throw lane wide
Figure 9.3 Primary two-lane fast break finish:
Offensive players should stay at least as wide
as the free-throw lane, attacking the basket from
the edges of the free-throw lane— (i.e., stay out
of the middle of the free-throw lane with the ball).

260 BASKETBALL SKILLS & DRILLS

Secondary Fast Break:
Transition From Defense to Offense
If a primary fast break (outnumbering the defense 3-on-2, 3-on-1, or 2-on-1) is not avail-
able, then the team should employ a secondary fast break. This tactic keeps pressure on
the defense by taking the ball up the side to the baseline (which flattens or collapses the
defense), posting a player inside, and reversing the ball from a 4-out–1-in formation to
the second side before flowing into the set offense (figure 9.4).
Transition Game (Alternative Secondary Fast-Break System) This
alternative fast-break system is used by coach Craig Nelson with his team at Washington
High School in Sioux Falls, South Dakota. It employs the following patterns in which
players run the floor from defense to offense every time down the floor:
• Player 1 (point guard) tries to
get all outlets on the side of the floor
where the rebound is taken while get-
ting as high and wide up the floor as
a safe outlet will allow.
• Player
2
(shooting
guard)
always runs the right wing, making
sure to get within 3 feet (1 meter) of
the sideline when crossing half-court.
• Player 3 (small forward) always
runs the left wing, getting as wide as
possible before crossing half-court—
within a couple feet (0.7 meter) of the
sideline.
• Players 4 and 5 (the “bigs”) are
interchangeable. The one who gets
the rebound becomes the trailer, and
the other one sprints from rim to
rim. After throwing the outlet pass, the trailer stays at least two or three steps behind
the point guard and usually runs directly down the middle of the court to maintain
proper spacing (15 to 18 feet, or 4.6 to 5.5 meters) from the point guard. If the point
guard is unable to pass the ball ahead to player 2 or player 3 on the wing, then the trailer
will need to throw a quick reversal pass to get the ball to the other side of the court. If
neither player 4 nor player 5 gets the rebound, then they are in a race to become the first
one down the floor and get a layup or set up in good posting position. Whichever one is
not first down the court automatically slows down and becomes the trailer.
Drills for this approach are provided in the drills section later in this chapter.
Press Offense
Any specific press offense is less important than fundamentals such as spacing, cutting,
meeting the pass, catching and facing, and passing first and dribbling last. Still, if the
defense is defending on a full-court basis (i.e., all over the court), then coaches need a
press offense to help the team get the ball inbounds safely. Players should get the ball
inbounds before the defense gets set (i.e., use the transition fast break to beat a pressing
defense before it is set). Therefore, coaches should designate a frontcourt player to take
the ball out after all made baskets and quickly inbound the ball to a guard (figure 9.5a).
The catcher of the inbounds pass should stay out of the corners and not get too close to
the sideline, all of which are prime trapping areas.
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X3
X1
X4
3
2
5
4
X2
1
Post to rim
Trailer
(1)
(2)
(3)
X5
Figure 9.4 Secondary fast break (four out, one in).
CRITICAL CUE
Two-lane fast
break: Split the
floor and go to
the glass unless
forced to pass
from outside the
free-throw lane.

TEAM OFFENSE 261

Against any zone press, coaches should teach players to attack the defense in the
backcourt or frontcourt by establishing a sideline pass outlet, two middle pass out-
lets (short and long to attack the middle of the defense), and a safety valve pass outlet
slightly behind the ball handler (figures 9.5b and 9.6). Coaches should emphasize to
players the need to use good passing and catching fundamentals and remind them to
move to get open and to keep their poise. Pressing defenses take chances, and offensive
players should be prepared to take advantage of those overcommitments. For example,
in figure 9.6, by attacking the middle of the defense (X4 and X5), the offense can get the
ball to O5 or O4, especially where O5 can catch and face without dribbling and look for
the best option, usually with a pass ahead or a dribble drive through the defense.
Generally, players need to attack a pressing defense. They should be aggressive and
look to score layups by getting the ball up the side or to the middle of the pressing
defense.
As a last resort, the offense can use the safety valve to reverse the ball and attack on
the second side (figure 9.7). In extreme emergencies, when the ball handler is trapped
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a
If needed
2
1
4
3
5
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Sideline
4
Safety
valve
Middle
long
Middle
short
2
1
5
4
3
X3
X4
X5
X2
X1
a
b
Figure 9.5 Press offense—getting the ball in quickly: (a) Get the ball in; (b) use press offense
when trapped.
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Safety
valve outlet
3
2
X1
1
X2
Defensive
trapping cup
5
4
Sideline
outlet
Middle
short outlet
Basket
threat
deep
X4
X3
X5
Middle
long
Figure 9.6 Beating the trap: Form the three-
player cup (O3, O5, O2) with a basket threat deep.
Figure 9.7 Press offense: Reverse the ball.
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2
Side
5
4
1
3
Safety
valve
Sideline
Middle
long
Middle
short
New
safety

262 BASKETBALL SKILLS & DRILLS

or double-teamed, the nearest teammate (usually the safety valve) can come to the ball
directly behind the trap (an area that is usually undefended) for a pass. In this case, the
ball handler can use a rear turn to protect the ball and make the pass. The safety-valve
player should then attack the press immediately on the second side.
Set Offense
If the defense is set and waiting after the primary and secondary fast breaks, a set
offense should be used to get a good shot. The team should get into a basic starting for-
mation and then use fundamental skill moves with and without the ball to create scor-
ing opportunities. This basic set or formation may take a variety of starting positions.
Coaches should select a preferred starting formation that fits personnel and favored
tactics.
2-2-1 Give-and-Go Offense This offense is based on the first team play used in
basketball—the two-person play called give-and-go or pass-and-cut—in which the ball
handler
passes to a catcher and cuts to the basket for a possible return pass. This play is started
from a four-out–one-in, two-guard–two-forward set (see figure 9.8, which also shows
possible give-and-go, or pass-and-cut, options). It can be initiated by any two players at
any time. Basic rules of this offense are as follows:
1. The middle of the court is the cutting highway. Cutters must cut through the
middle after a pass, go toward the basket, pause, and face away from the baseline,
clearing the middle quickly after using big vision to see the whole court. This cut
controls the offense.
2. Players should read and react to defenders: Pass and cut against the sag (soft)
defense, cut in front of defenders when possible, and use the backdoor (back cut)
on defensive overplays.
3. Cutters can post up briefly but must clear the middle area after 2 seconds.
4. Players should make a catching spot (open hand) available to the passer, space
themselves 15 to 18 feet (4.6 to 5.5 meters) away, and meet the pass.
5. Against zone defenses, players should cut through the middle of defensive gaps
or holes and drive into gaps after a catch to explore drive-and-dish or penetrate-
and-pass options.
6. This offense is player generated (i.e., players have much freedom) and rule based.
The key is the penetrating cut.
7. The post player is stationed on the low post near the block and is responsible for
rebounding on the weak side and being ready for the strong-side 2-on-1 dumpdown
on cut-or-pass penetration by a player with the ball. The post player may post up
when the ball is on that side and flash-post for a layup only occasionally when the
defender is not alert or loses vision.
8. Some optional moves can be used by verbal call:
• Perimeter screen on the ball
• Perimeter pass and screen off the ball
• Perimeter drive after a clearout on one side of the floor
• Flash post by cutters (2-second rule) and clear to an open area
9. On traps or double teams, players should pass to the middle cutter in a hole or to
another player coming to the ball (emergency).
10. The offense can be run full-court, three-quarter-court, or half-court. The
movement of the ball and the cutters is more important than the formation or

TEAM OFFENSE 263

the set. Coaches should teach player spacing. Players should cut with a purpose;
they may go on the same side or on the opposite side on the middle clear.
11. Here is the offensive teaching progression:
• 2-on-0, 2-on-2 (guard, forward)
• 3-on-0, 3-on-3, 3-on-3 with weak-side post
• 5-on-0, 5-on-5 half-court, 5-on-5 full-court
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5
1
2
4
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5
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2
5
4
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1
5
or
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5
E7294/Krause/F09.08f/599969/mh-R2
3
5
1
or
Figure 9.8 Pass-and-cut offensive variations: (a) forward go—forward cut and replace self;
(b) guard go—guard cut and rotate; (c) guard around—guard around and follow through;
(d) forward on-ball screen, roll, and clear; (e) guard to forward pass-and-cut, clear (and
post
flash); (f) guard to forward pass-and-cut to post up.
a
c
e
b
d
f

264 BASKETBALL SKILLS & DRILLS

1-2-2 Give-and-Go Another offense for
beginning players is the 1-2-2 give-and-go, which
can be used effectively against player-to-player
defenses. This simple team offense uses passing,
catching, basic moves without the ball, and
individual moves with the ball. The 1-2-2 double
low-post or open-post set is a one-guard, open-
post formation that allows any player to V-cut
into the post area and keeps the middle open
for individual offensive moves plus give-and-go
options (figure 9.9). The give-and-go offense from
the 1-2-2 open-post formation can also be used
against zone defenses and combination defenses
(zone and player-to-player) by depending less on
cutting and emphasizing more individual moves
from stationary spots.
The rules for this offense are as follows:
1. The give-and-go from the point-to-wing pass is a pass-and-go-to-the-basket
move after a V-cut is made by O3 (figure 9.10). Cutting players who don’t receive the
return pass should balance the floor opposite the first pass (figure 9.10a). The give-and-
go from the wing position to the corner position is shown in figure 9.10b. Notice how
floor balance is regained.
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3
1
2
5
4
or
or
4
5
Figure 9.9 A 1-2-2 double low-post set
(or open post).
E7294/Krause/F09.10a/599971/mh-R2
3
4
Big
vision
2
5
1
E7294/Krause/F09.10b/599972/mh-R2
1
4
2
5
1
E7294/Krause/F09.10c/599973/mh-R3
1
3
4
2
5
X3
Overplay
Figure 9.10 1-2-2 offense: (a) give-and-go from the point, (b) give-and-go on wing-to-corner

pass, (c) backdoor cut by the wing. (continued)

2. If a wing player is overplayed or denied the
pass by a defender, then offensive players should
use a backdoor cut to the basket and replace on
the same side (figure 9.10c). A corner player who
is overplayed should make a backdoor cut and
come back to the same side (figure 9.10d).
3. A wing or forward may V-cut into the post
area (high or low). Players who make ball cuts and
don’t receive the ball within 2 seconds should re-
turn to their starting position (figure 9.10e).
4. When a shot is taken, the point guard
(O1) should go to defense near the half-court line
as the safety (fullback), and the other four play-
ers should go to offensive rebounding positions.
a
c
b

TEAM OFFENSE 265

This rule applies to all offensive situations: The
offensive team should always maintain defensive
balance and make a quick transition to defense.
Coaches may prefer to have two players change
to defense as “fullbacks” when a shot is taken.
1-4 Offense The 1-4 double high-post set
requires a good point guard and two accomplished
inside players. It is difficult to press, and there are
four possible entry passes (figure 9.11).
1-3-1 Offense The 1-3-1 high-to-low-post set
locates a point guard in front, positions forwards
for individual moves, and requires two inside
players (the high-post player must be able to face
the basket); see figure 9.12.
1-2-2 Stack Coaches may consider using a 1-2-
2 stack formation, which calls for a point guard in front, one open side for individual
moves, and a stack on the other side. This set may be used with one player (O4) cutting
to any position while the other stack player acts as a screener and then takes up a single-
post position (O5). The stack allows a variety of cuts by player O4 (figure 9.13) and allows
excellent open-entry passes to initiate offense.
Figure 9.10 (continued) 1-2-2 offense: (d) backdoor cut by the corner, (e) V-cut to the post
area and return.
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X5
Overplay
3
1
4
2
5
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3
4
2
5
1
E7294/Krause/F09.11/599976/mh-R2
3
1
2
5
4
Figure 9.11 A 1-4 set or formation (point
O1, wings O2 and O3, and posts O4 and O5),
sometimes called a double high post.
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3
1
2
5
4
Figure 9.12 A 1-3-1 high-to-low-post set.
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2
1
3
4
5
or
Figure 9.13 A stack set with a one-player
front.
e
d

266 BASKETBALL SKILLS & DRILLS

2-2-1 or 2-3 Set The final suggestion for an
offensive formation is the traditional 2-2-1 or
2-3 set (figure 9.14). It uses a two-guard front
with a single post (high or low). The sides
and corners of the court are open for forward
moves. The 2-3 formation is more vulnerable
to pressing defenses.
Zone Offense
Against a zone defense, coaches can opt for
the modified, recommended give-and-go
offense or select another formation. In any
case, they should teach players to use the fol-
lowing zone offense rules:
• Perimeter players align in the gaps on
the perimeter and step up into shoot-
ing range (figure 9.15).
• Attack the defense, but be patient.
Look for opportunities for dribble or
pass penetration inside the zone after
quickly passing around the perimeter.
Dribble penetration best occurs right
after a catch and after second perimeter
passes.
• Watch floor spacing between team-
mates. Proper spacing spreads the
defense and makes it difficult to cover
offensive players.
• Cut through the zone. Test the zone by
moving players and relocating (figure
9.16).
• Screen the zone. Beat a zone defense by
screening inside or outside (figure 9.17).
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3
1
2
5
4
or
5
Figure 9.14 A 2-2-1 or 2-3 set (high or
low post).
E7294/Krause/F09.15/599980/mh-R2
X3
X4
X1
X5
X2
Perimeter
gaps
Figure 9.15 Against a zone defense,
align in the gaps.
E7294/Krause/F09.16a/599981/mh-R2
3
1
2
5
4
or
Rim
cut
E7294/Krause/F09.16b/599982/mh-R2
1
2
3
4
5
Through
cut
Overload
or
Figure 9.16 Zone offense: (a) Point cuts through the zone; (b) wing cuts through the zone.
b
a

TEAM OFFENSE 267

Coaches should encourage player and ball movement. Because most zone defenses
are ball oriented, ball fakes are effective. Players should put the ball overhead in order
for defenders to see it and react to a fake (pass or shot): Fake a pass to make a pass. How-
ever, players should place the ball overhead only after properly catching it and putting
the ball in triple-threat position.
Offense Against Combination Defenses
When the opponent uses a combination of player-to-player and zone defense (e.g., tri-
angle-and-2, box-and-1, or diamond-and-1), the offense needs an organized approach
to attack the defense. It can do so by using either the regular player-to-player offense
or the zone offense. Coaches need to choose an offense that involves player movement,
ball movement, and screening action. Analyze the defense and use an offense (play or
set) that exploits it. For example, in the set shown in figure 9.17a, the offensive player
being guarded one-on-one could serve as the baseline runner using the screens.
Control or Delay Game Offense
When a team has a lead late in a game, the coach may decide to have players spread out
on the court and use the whole frontcourt to make the defense cover a larger area. This
approach, called a delay game (or control game), usually involves taking only close-to-
the-basket shots. In such situations, it may
be best to run a normal offense with greater
spacing modified by stricter rules for shot
selection or for making a certain number
of passes before a shot is taken (unless the
shot is a layup). This offense can be used
with or without a shot clock. When a delay-
game shot rule calls for waiting until only 8
to 10 seconds remain on the shot clock, the
ball handler looks for dribble penetration
and other players start individual moves to
set up a good shot. The decision of when
to use delay-game tactics to control the ball
and use the clock should be dictated by
time and score.
The most common formation for this
offense is shown in figure 9.18, in which
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X
X
X
1
2
X
X
3
4
5
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2
3
1
5
4
or
b
a
Figure 9.17 Zone offense: (a) Screen the zone low; (b) screen the zone inside.
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3
2
4
5
1
Figure 9.18 Four-corner offense: delay-
or control-game set.

268 BASKETBALL SKILLS & DRILLS

four offensive players are placed in the four corners
and the best dribbler or ball handler is out front
in the middle of the court. Player O1, usually the
point guard or playmaker, constantly looks for
chances to penetrate and pass. All offensive players
should read and react to the defense and wait for
their defender to make an error on which they can
capitalize. When using the control game, coaches
should put good free-throw shooters on the floor,
because defenders may foul more, either out of
frustration or by design.
Players should not get passive or lose momen-
tum; to the contrary, they should stay on the attack.
They can decoy the defense by appearing to delay
while always looking for chances to score. If they
don’t want to shoot, they can also run a normal
offense and act as though they are attacking.
With 8 to 10 seconds left on the shot clock, a
special play may be used (figure 9.19). The options
are for O1 to use the pick, for O2 or O3 to move for
the penetrate-and-pitch three-pointer, for O4 to
use the backpick by O5, and for O5 to step out after
the screen.
Special Situations
for Team Offense
Offensive players should be prepared to face a vari-
ety of special situations, including out-of-bounds
plays, free throws, jump balls, and last-second scor-
ing plays. The purpose is to prepare the team for
any game situation.
Bringing the Ball Inbounds Every team
must have a plan for bringing the ball into play
underneath its own basket and on the sidelines.
The sample formations and plays shown in figures
9.20 and 9.21 can be used against any defense.
Most important, the team must be able to get the
ball inbounds safely against all defensive tactics on
baseline out-of-bounds (BLOB) plays.
Free Throws Free-throw situations must also
be planned carefully. For the offense, the two best
rebounders should occupy the second lane spaces
and try to gain an offensive rebound in the middle
of the lane or to the baseline side of the defender.
In figure 9.22, player O3 is stationed in a position
to be alert for any long rebound or loose ball that
might be tipped out, and O1 has safety (fullback)
responsibilities on defense and must not let any
opponent get behind him or her for a long pass
reception, while shooter O2 assists in transition
defense. For the defensive free throw, as shown in
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2
4
To short corner
3
5
1
Shooter
Shooter
Screen
and roll
to basket
Slide
for 3
Pick
and pop
Figure 9.19 Last-second play.
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2
5
4
1
Safety
Options
3
Figure 9.20 Under-basket or baseline
out-of-bounds (BLOB) play: O5 and O2 run a
pick-and-roll.
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2
5
4
1
3
Figure 9.21 Sideline out-of-bounds
(SLOB) play: O2 screens for O1, O5 screens
for O4, and O3 has four passing options.

TEAM OFFENSE 269

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3
1
5
4
2
or
or
E7294/Krause/F09.23/599990/mh-R2
X3
X4
X2
X1
X5
Figure 9.22 Offensive tactics on free
throws: O2 is shooting, O4 and O5 occupy the
second lane spaces, O3 is at the top of the
circle (the key), and O1 serves as the defensive
safety with O3 assisting after the basket.
Figure 9.23 Defensive tactics on free
throws: Four defenders block out or check
their opponents on the free-throw lane,
while X1 is alert for an opponent’s offensive
tip out.
figure 9.23, player X1 must be alert for a loose ball
or long rebound. Player X2 blocks out or checks
the shooter by getting between the shooter and the
basket. Players X4 and X5 check the opponents on
their respective sides of the lane (from the second
lane spaces), while player X3 rebounds in the middle
area. When a defensive rebound is captured, all team
members transition to the fast break.
Jump Balls Special plays should be developed
for the jump balls that start games and overtime
periods. Regardless of the formation used, the ball
should be tipped to an open spot—that is, a spot
where two teammates are next to each other without
an opponent between them. Smaller, quicker players
should defend the basket. See figure 9.24.
Last-Second Shots The last-second-shot play
diagrammed in figure 9.25 can be used in the delay
game or in any situation where a move to the basket
is made with 8 to 10 seconds remaining. Use of the
play should depend on the level of play (younger
players need more time) and allow time for a good
shot opportunity, a possible offensive rebound,
and a second shot—but not enough time for the
opponent to get a good shot at the other end of the
court.
No matter what offensive situation, formation,
play, or system is chosen, the key is execution—not
what players do but how well they do it. Practice these
special situations using the game clock so players
can execute well with proper offensive timing.
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X3
X1
X4
2
1
X2
X5
4
3
5
Defensive
open spot
Offensive
open spot
Figure 9.24 Jump-ball tactics.
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3
2
5
1
4
Figure 9.25 Last-second shot: O4 and
O5 cross under the basket while O2 and O3
slide into scoring position and are ready to
shoot. O1 has four passing options, as well
as penetration options for a shot.

270 BASKETBALL SKILLS & DRILLS

Defensive Transition: Offense to Defense
Offensive players should make the transition to defense quickly, without getting out-
numbered on the fast break, in order to set the defense. One way to achieve this goal is
for the coach to create transition roles for all offensive players.
• Fullback—the designated safety, usually the point guard, who is responsi-
ble for preventing easy scores (no layups). As a teammate takes a shot, the fullback
sprints to the half-court center circle, then retreats by running backward to the basket
with big vision, and directs the defense from there (figure 9.26). If the fullback is the
shooter, then another player makes the call and switches assignments. On an offensive
fast break, the last player down the floor serves as the fullback and never crosses the
half-court line until a score is made or a secondary fast break begins.
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2
5
4
3
Sprint (3 quick steps
and look inside)
Run
backward
Rebound
Offensive
basket
first
Shot
1
Fullback
Figure 9.26 Offense-to-defense transition.
Troubleshooting
Most offensive errors result from a lack of proper sequential and progressive development.
Therefore, it is critical to start by going slowly and carefully with no defenders, then
progress
to 5-on-0 at game speed to get spacing and timing. Only then can defenders be added
to simulate game conditions; first use a dummy defense, then live defense in all variations
so that offensive players learn to read and respond properly to all defensive situations.
• Tailbacks—all other players. When the shot is taken, tailbacks are responsible
for going to the offensive boards (assume a miss) until a basket is made or the opposing
team gets the ball. At that point, all four tailbacks sprint to half-court, seeing the ball
over their inside shoulder while running backward to their defensive assignment (i.e.,
getting their tails back on defense) if they are not outnumbered. When outnumbered
(3-on-2, 2-on-1), the top priority is to protect the basket (no layups) while teammates
transition to defense to help. Most teams use three tailbacks, while the fourth player
(usually the shooter) serves as a rebounder at the free-throw line or as a long rebounder.
With this tactic, this player then transitions to defense early and becomes a halfback
who is responsible for stopping the ball coming up the court.
Variations of the plan can be developed for special situations—for instance, to pres-
sure the rebounder or stop the ball from coming up the floor.

271
Coaching Points for Team Offense
• Tell players to be quick but not to hurry—focus first on execu-
tion and timing, then on speed.
• Maintain balance in all areas:
-
Individual (physical and emotional)
-
Offensive and defensive
-
Offensive rebounding and defensive coverage (on all
shot attempts)
-
Floor spacing (spreading out and moving the ball)
-
Inside and outside scoring
-
Passing and scoring
• Teach players to strive for good spacing and timing.
• Teach intelligent teamwork on offense.
• Teach players to put the team first and individual plays second.
• Encourage players to play fearlessly—to make mistakes and learn from them.
• Develop individual play within the team context.
• Both the ball and players should move on offense; players should move with a
purpose.
• Be patient with team offense. Play must be coordinated with player movements; as
a result, learning progress is slower than with team defense.
Checklist for Team Offense
• Development of general principles
• Definition of positions and responsibilities
• Offensive fundamental skills
• Body control
• Ballhandling
• Shooting
• Perimeter play
• Post play
• Rebounding
• Press offense
• Transition to offense (primary and secondary fast break)
• Player-to-player set offense
• Zone set offense
• Combination set offense
• Delay (control) offense
• Special situations: jump balls, offensive free throws, out-of-bounds plays
• Transition to defense

272 BASKETBALL SKILLS & DRILLS

Drills for Team Offense
Team offense should first be executed slowly and correctly. Then moves are carried out
at game speed to develop team coordination and timing. Emphasize proper spacing
and timing unless players are screening or cutting to the basket.
Skeleton Offense: 5-on-0 (Dry Run)
Purpose: To teach movements and assignments for basic team offensive formation
Equipment: One ball and half court
Procedure: Five players at a time take the court to practice team offensive formations,
plays, or movements, as well as individual assignments within the team offense. The of-
fense should be initiated in all situations: backcourt, frontcourt, out-of-bounds, and free
throws. Offensive play should be completed with a score each time (rebound each shot),
and transition should be made to half-court by all five players after a made basket. This
drill includes five offensive players at a time and no defenders.
Options
• Half-court offense—all sets
• Half-court to full-court (defense to offense)—after made or missed baskets, press
offense, secondary fast break, set offense
• Half-court defense to full-court offensive options to defensive transition
On all offensive shots, assume a miss and make a transition (always rebound until the
basket is made). Players should always make a transition to half-court on all drills, regard-
less of whether the shot is made or missed. Coaches should ensure that transitions on
missed shots are also practiced at least weekly in this drill.
Team Offense and Defense: 4-on-4, 5-on-5
Purpose: To teach team offense and defense in a progressive manner that culminates in
4-on-4 competition or 5-on-5 gamelike competition
Equipment: Ball, basket, and half court or full court (when practicing full-court transition)
Procedure: Four defenders and four offensive players practice team play. They should
practice all offensive situations in order to prevent surprises at game time. The progres-
sion is for defenders to play dummy position defense and then no-hands defense (players
may grasp the front of their own jersey) before going to gamelike offense and defense
with no restrictions and various defensive tactics. Play should continue until the defense-
turned-offense (after a miss) transitions to the other end of the floor (i.e., go from half court
to full court). The drill may also be run as a 5-on-5 gamelike format.
Options
• Half court only
• Half-court make-it-take-it with full-court transition on misses
• Half court to full court (defense to offense transition—press offense, fast break, set
offenses)
• Full court—stopping for corrections and shooting drills (field goals, free throws)

TEAM OFFENSE 273

Blitz Fast Break
Purpose: To teach fast-break fundamentals (two-lane and three-lane) for offense and de-
fense
Equipment: One ball and a full-court space
Procedure: A full team (10 to 16 players) is divided into two teams aligned as shown in
figure 9.27, with opposing teams at half-court. One team is selected to start on defense at
one end of the court; the other team starts on offense at half-court.
E7294/Krause/F09.27/599994/mh-R2
X3
X1
X4 (wait until ball
crosses half-line)
3
2
4
X2
1
The drill begins when player O1 crosses the half-court line with the ball for a 2-on-1 fast
break. Player X2 is allowed to help X1 in the outnumbered situation after touching the cen-
ter circle. Defender X1 should bluff, anticipate, and delay the offensive duo in the two-lane
fast break until X2 can recover to help. The defenders should talk and get both players
covered if they don’t complete the break.
When the basket is made or missed, X1 or X2 captures the ball and advances it in a two-
lane fast break toward the other basket. As soon as the X team gains possession of the
ball, the next O player, O3, touches the center circle and becomes the defensive safety
(figure 9.28). When X2 crosses the half-court line with the ball, O4 can sprint to join the
defense after touching the center circle. The drill usually continues to 9 baskets by one
team. Score can be kept on the scoreboard. Coaches should officiate.
The other blitz fast-break option is the three-lane fast break, 3-on-2, which requires
at least 12 players to form the two teams; the alignment is shown in figure 9.29. The two
defenders usually align in tandem, with the inside player (X4) positioned forward and the
outside player (X1) covering the basket and taking the first pass on a closeout. The other
defender sprints to help as soon as the middle ball handler crosses the half-court line.
Then dribbler O1 veer-dribbles to one side after reading the back defender X1 and passes
to the open teammate.
Figure 9.27 Blitz fast break: 2-on-1.
274 BASKETBALL SKILLS & DRILLS
When defenders on the X team get the ball, they form a three-lane fast break to the
other end, with the ball in the middle. As soon as the X team gains the ball, the next two O
players, O2 and O5, sprint to join the defense after touching the center circle. The drill runs
continuously until one team reaches 10 baskets.
Options
• Use the 2-on-1 blitz.
• Use the 3-on-2 blitz.
• Sideline players start at the top of the key; the defender touches the top-of-the-key
circle before going to the other end.
E7294/Krause/F09.28/599995/mh-R2
X3
X1
X4
3
(wait until offense
crosses half-line)
2
1
4
X2
Figure 9.28 2-on-1 blitz fast break (part 2).
E7294/Krause/F09.29/599996/mh-R2
X3
X5
X2
X1
X4
3
Start
2
5
6
X6
4
1
Figure 9.29 3-on-2 blitz fast break.

TEAM OFFENSE 275

Transition Fast Break
Purpose: To teach transition basketball
from a structured start with an unpredict-
able finish
Equipment: Ball, two opposing teams,
and a full court
Procedure: The drill begins at one end
of the floor (figure 9.30). The coach be-
gins by passing to any offensive player
(O4 in this case) and calls numbers or
names for one or two defenders. When
a name is called, that player touches the
baseline before going to play defense,
thus creating an outnumbered fast-break
situation. The defensive team sprints
back and talks to protect the basket,
stop the ball, and quickly cover all offen-
sive players. The offensive team attacks,
reads the defense, and runs the primary
or secondary fast break. Play continues
for one, two, or three transitions before
starting over.
E7294/Krause/F09.30/599997/mh-R2
2
4
5
1
3
X1
X4
X5
C
3
X
X2
Figure 9.30 Team transition fast-break
drill (5-on-4, 5-on-3, or 5-on-2).
Defense-to-Offense Transition
Purpose: To teach defense-to-offense transition with a sequenced, progressive method
(two-person, three-person, five-person)
Equipment: Ball, full court
Procedure: Follow the drill progressions (2-on-0 and 3-on-0) and the 5-on-0 options in
the scripted format. The advanced completion option may be added as needed during
the season. Coaches pick the core transition package and then add options that fit their
personnel.
Before using all five players in the same transition drill and going through the 5-on-0
script which follows, run a series of drills with fewer players involved so that you can pay
special attention to how each part of the drill breaks down for this team transition plan.
Two-Person Transition Progression
• Player 4 or 5 (i.e., an inside player) throws the ball up to self off the glass to simulate
a rebound. The rebounder then practices pivoting on the outside foot (closest to the
sideline on the rebound side of the court) and throwing the outlet to player 1 (point
guard). Player 1 practices getting to the sideline, getting out wide on the court, and

276 BASKETBALL SKILLS & DRILLS

then working up the court to start the fast break. The higher and wider the outlet pass
can be received, the better the chance of creating a fast-break scoring opportunity.
• Player 1 starts at about the 28-foot (8.5-meter) mark beyond half-court, simulates
catching an outlet pass, and then passes the ball ahead to player 2 or 3. Practice on
each side of the court. Also, practice throwing the diagonal pitch-ahead pass, which
is longer and more difficult to throw on time and on target.
• Player 1 practices the correct pass to player 4 or 5, who is outrunning the defense
for a layup. This pass requires using the proper arc to go over the defense but still
catchable by player 4 or 5 to set up the layup finish.
Three-Person Transition Progression
• This drill will quickly simulate many reps to work on the outlet pass and pitch-ahead
pass. Player 4 or 5 simulates the rebound (thrown off the glass), then throws the
outlet to the point guard, who uses either no dribbles or one dribble and pitches
the ball ahead to player 2 or 3, who in turn shoots or drives to a finish. This drill can
be practiced simultaneously in both directions to keep six players active. Players
should switch sides and practice the outlet and pitch-ahead pass up the other side
of the court as well.
• This drill also works on the quick pitch ahead into a post feed. Set up the drill with a
point guard, a wing player (2 or 3), and a big (post). The point guard starts the drill
with ball near midcourt by simulating an outlet pass to self and quickly pitching the
ball ahead to player 2 or 3, who works on a quick shot fake and pass to the big. The
big is either running to the rim and catches the pass on the run into a layup or has
run ahead of the ball and is already in posting position, sealing off the defender and
waiting for the post-feed pass from the wing.
5-on-0 Defense-to-Offense Transition Options
Use a progressive team format to practice from a missed shot or rebound.
• 1-2-1-4-3 give-and-go 4
• 1-2-1-5 backdoor 4
• 1-2-1-4-3 screen-and-roll with 4
• 1-2-1-4-3, 5 backpick for player 2
• 1-2-1-4-3-2 coming off staggered double screen from 1 and 4 (as 4 or 5 gets re-
bound and throws outlet but also needs to be practiced with guards or wings as
rebounder)
• 4/5-1-2 layup or three-point shot
• 4/5-1-3 layup or three-point shot
• 4-1-5 layup
• 5-1-4 layup
• 4-1-2-5 layup
• 4-1-3-5 layup
• 4-1-2-4- top-down pass to 5 for layup
• 4-1-3-4- top-down pass to 5 for layup
• 4-1-2-1 three-pointer
• 4-1-2-4 trailer three-pointer
• 4-1-2-skip pass to 3 for three-point shot

TEAM OFFENSE 277

• 4-1-3-skip pass to 2 for three-point shot
• 4-1-2-3-5
• 4-1-2-1-4-3 drive or feed to 5 for shot
• 4-1-3-1-4-2 drive or feed to 5 for shot
Advanced Completion Options
• 1-2-4-3, then 5 backpick for 4 and bigs interchange spots to work on high–low post
game
• 1-2-1, trailing 4 high-ball screen for point guard 1 to attack toward basket
• 1-4-3, 5 diagonal backpick for 2 to cut across lane
• 1-2-1-4-3, 5 swing cut for 2 once ball crosses midline
• 1-2-1-4 backdoor cut to 3 as reversal pass gets denied
Wooden Wisdom
“It isn’t what you do, but how well you do it.” (This is especially true
on offense.)
—John Wooden

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10
Team Defense
“Team defense and ballhandling are the cornerstones of successful teams.”
Henry “Hank” Iba, Naismith Hall of Fame coach, former head coach at Oklahoma State
University,
U.S. Olympic coach (1964, 1968, and 1972)
CHAPTER

280 BASKETBALL SKILLS & DRILLS

C
oaches should build a team on a solid foundation. That foundation should begin
with defense, which is one of the most concrete and unchanging elements of the
game and can be the most consistent phase of team play. A team that prevents
its opponents from getting good shots is tough to beat. Sound defense depends on
coaches to develop a team of individuals who play hard, smart (with purpose), and
together (putting team first) while having fun. In a prime example, Bill Russell, the
cornerstone of the Boston Celtics dynasty in the 1960s, has been called the first person
who ever dominated his team sport by being a great defender. He was the quintessential
defensive player who rebounded, defended, and competed. Moreover, he was the com-
plete team player who played for others and made everyone else better.
Team defense can be even more dominant among beginners, because younger players
possess limited individual and team offensive skills. Therefore, coaches should strive to
convince them that defense is the key to building a foundation for team play. Beginners
may have trouble understanding the relationship between defense and winning (doing
their best), and they may need to be convinced that preventing a score by the opponent
is just as important as scoring for their own team.
Untrained defenses tend to be reactive rather than proactive—a defender usually
reacts to the moves of an offensive player. Players must learn instead to be aggressive
and to initiate action on defense. Coaches must teach players to act—not react—when
playing defense. A team can develop effective defensive play that is more proactive than
reactive through encouragement, determination, and practice.
Team defenses are based on fundamental individual skills, and coaches should moti-
vate players to develop pride in their ability to play defense. Any team can be made
better by developing a sound team defense—one in which each defender can count on
defensive help from teammates. Don’t let your teammates down.
One precept of team defense is to prepare players for action and prevent problems
before they happen. For example, a player in quick stance can often anticipate moves
by an offensive player before they are made and then take those moves away. Coaches
should teach players to be ready for anything, which means being prepared to defend
against an opponent’s best offensive moves. This preparation makes the defender men-
tally and physically ready for secondary offensive moves by an opponent. Players should
get in a defensive quick stance and stay in that stance—a measure of team defense and
dedication to the principle of being ready and prepared to help one’s teammates as well
as defend your assigned player.
One main objective of any defense should be to make the other teams do things that
it does not want to do. Offense depends on confidence and rhythm, both of which can
be disrupted by an effective defense. Defenders should take away opponents’ strengths
and make them learn how to play differently during games. This approach forces
offenses to resort to secondary moves and options, which is especially difficult to do
during a game. In short, a good defense makes the offense play to its weaknesses by
taking away its strengths. Defense is a game of give and take; if players take something
away, they will likely give an opponent access to an alternative (secondary) move—which
is usually a good tradeoff. This reality applies to strengths and weaknesses, as well as
each defensive level and category of defense. Defenders should always be prepared to
take away opponents’ strengths or best offensive moves—for example, preventing a
dribbler from using the preferred hand to go by a defender.
The glue that holds team defense together is communication. To be effective on
defense, teams need to develop and implement excellent communication skills—both
verbal and nonverbal, and both talking and listening. In the team sport of basketball,
players cannot communicate too much, and coaches cannot emphasize communica-
tion too much. This point is especially important to emphasize in the current digital
era, in which face-to-face communication is less common than in the past.
CRITICAL CUE
Prevent easy
scores by allowing
only one contest-
ed shot.
CRITICAL CUE
Take away the
offensive player’s
best move or
strength.

TEAM DEFENSE 281

E7294/Krause/F10.01/599998/mh-R2
Full court
Offensive
basket
Defensive
basket
3/4 court
1/2 court
1/4 court
Team defense also depends on the effectiveness of your team offense, including ball-
handling and good shots. Efficient offense tends to energize and complement team
defense; it also reduces the pressure on the defense and enables the defense to be more
aggressive and confident.
Defensive Court Levels
The many varieties and styles of defense can be played at various levels of the court
(figure 10.1). Coaches can instruct players to begin defending the opposing team at any
point (level) on the court.
Full-court team defense is a pressing defense in which defenders guard or pick up
opponents as soon as possible all over the court. In a three-quarter-court defense,
defenders usually allow the first inbounds pass and then pick up offensive players near
the free-throw line or the top of the offensive circle. The most common pickup point
is at midcourt; in fact, half-court, player-to-player team defense is recommended for all
players of upper-elementary age in the United States (i.e., ages 10 to 14). Coaches can
also activate team defense at the top of the defensive key. This quarter-court defensive
level is used if the other team has greater individual talent; it is the foundation level. A
team can increase its level of defense as it gets better at defense or develops better team
defense.
A team defensive level that is set at full-court or three-quarter court puts more pres-
sure on opponents but also forces the defensive team to cover more of the court. Thus
it takes away the opponent’s opportunity for free movement in the backcourt but also
gives the opponent the possible advantage of beating the pressure, gaining a numeri-
cal advantage over the defense, and getting an easy score. With this trade-off in mind,
coaches should select a starting defensive level at which the team can succeed in pre-
venting the opponent from getting good shots.
Figure 10.1 Levels of defense—defending and protecting the basket on the right.

282 BASKETBALL SKILLS & DRILLS

Defensive Categories
Team defenses fall into three general categories: player-to-player, in which each defender
is assigned to a specific offensive player (strongly recommended for all players from age
7 through 14); zone, in which each player is assigned a specific area of responsibility
depending on the position of the ball and the positions of the offensive players; and
combination, which includes elements of both player-to-player and zone defense. All
defenses can be started at different levels and with various amounts of pressure (proac-
tive pressing versus reactive sagging).
Player-to-Player Defense
Coaches should emphasize player-to-player as the basic defense for all teams. This
defensive approach is valuable because its techniques can be applied in all defenses. It
should be the primary defense, and really the only one, used in elementary-school levels
of play in the United States (ages 7 through 14).
Contrary to this advice, elementary, middle, and junior high school (U.S.) teams often
use defenses and pressing tactics that take advantage of young players’ lower skill levels
in ballhandling and perimeter shooting. This approach hinders the player’s long-range
development and should therefore be discouraged. Players at these age levels should
focus instead on fun and fundamentals. Everyone should get a chance to play in every
game in order to use strengths, work on weaknesses, and develop fundamental skills.
Moreover, if players in this age group learn the basics of player-
to-player defense, then they can adapt to other defenses later.
Player-to-player defense is also the most challenging and
most personally rewarding type of defense. No defender can
hide: The offense is likely to score an easy basket after any
defensive lapse, thus ensuring specific personal accountabil-
ity. As a result, player-to-player defense promotes individual
responsibility to the team as well as team cohesion. The basic
principles of this type of defense are explained in chapter 7.
Zone Defense
Zone defense assigns each defensive player the responsibility
not for an individual offensive player but for a certain area or
zone; it also focuses more on the ball. A zone defense usually
changes as the ball moves and is designed to protect a limited
area of the court. Zone defenses are often weaker in the gaps or
seams between defenders and on the outside, but they can be
modified to disguise those weaknesses.
Zone defenses can also be designed to give and to take away.
For instance, sagging zones give up more outside shots but
take away the inside, whereas lane or pressure zones take away
outside shots but may be vulnerable inside. Zones can also be
changed to lane defenses designed to intercept passes, trapping
defenses (in which two players double-team an offensive player
who has the ball), and sagging defenses that heavily protect the
inside area near the basket.
The 2-3 Zone The 2-3 is the most commonly used zone
defense. Its basic coverage areas are shown in figure 10.2a, and
its weak areas are shown in figure 10.2b. Coaches can use this
defense when playing a team with a good post player or when
CRITICAL CUE
Use only player-
to-player defense
for young play-
ers through the
U.S. elementary
grade levels (i.e.,
through age 13
or 14)—no press-
ing defenses
until players are in
secondary school
(at the earliest).
E7294/Krause/F10.02b/600000/mh-R2
b
X3
X4
X1 X2
X5
E7294/Krause/F10.02a/599999/mh-R2
a.
X3
X2
X1
X5
X4
Figure 10.2 The 2-3 zone defense: (a)
coverage and (b) weak areas.
a
b

TEAM DEFENSE 283

they need to ensure good corner coverage. As shown in figure 10.3, players using this
defensive scheme shift with the ball in various positions.
E7294/Krause/F10.03b/600002/mh-R2
b.
X3
X5
X1
X2
X4
E7294/Krause/F10.04b/600004/mh-R2
b
X3
X4
X1
X2
X5
E7294/Krause/F10.05b/600006/mh-R2
b
X3
X4
X1
X2
X5
E7294/Krause/F10.03a/600001/mh-R2
a.
X3
X2
X1
X4
1
X5
E7294/Krause/F10.04a/600003/mh-R2
a.
X5
X3
X4
X2
X1
E7294/Krause/F10.05a/600005/mh-R2
a.
X3
X4
X2
X1
X5
1
Figure 10.3 The 2-3 zone: (a) ball on the wing and (b) ball in the frontcourt corner.
Figure 10.4 The 1-3-1 zone defense: (a) coverage and (b) weak areas.
Figure 10.5 The 1-3-1 zone defense: (a) ball in the corner and (b) ball on the wing.
a
a
a
b
b
b
The 1-3-1 Zone The 1-3-1 zone defense is also commonly used to cover the high post
and wing areas. It is strong in the center, on the wings, and at the point. Its coverage
and gaps are shown in figure 10.4, and its shifts are shown in figure 10.5, with the ball
in the corner and on the wing, respectively (when the ball is in the corner, most zones
revert to a 2-3 formation).

284 BASKETBALL SKILLS & DRILLS

The 1-2-2 Zone The 1-2-2 zone defense provides good coverage on the perimeter but is
vulnerable inside. Its coverage and weak areas are indicated in figure 10.6. Its movement
and shifts (figure 10.7) are similar to those of the 1-3-1 zone.
Combination Defense
Combination defenses are used to take away an opponent’s
strength and confuse the offense. They may take several forms.
For example, a triangle-and-2 defense might be used against a
team with only two good scorers, whereas a box-and-1 could be
used against an opponent with one key scorer or ball handler.
Triangle-and-2 Two defenders are assigned player-to-player
responsibility for selected opponents while the other three
defenders play a triangular zone (figure 10.8). To use this
defense effectively, coaches must decide on the extent of floor
coverage and shifts for the triangle zone defenders. They must
also decide how they want the two player-to-player defenders to
play (e.g., tight, loose, denying the ball). Although this defense
undercuts the effectiveness of the two focal offensive players
(usually perimeter players), it is vulnerable in other outside
shooting areas.
E7294/Krause/F10.06b/600008/mh-R2
b
X4
X1
X5
X3
X2
E7294/Krause/F10.07b/600010/mh-R2
b
X3
X4
X1
X2
X5
3
2
1
4
5
E7294/Krause/F10.06a/600007/mh-R2
a.
X5
X3
X4
X2
X1
E7294/Krause/F10.07a/600009/mh-R2
a.
X5
2
X3
X4
X2
X1
3
1
4
5
E7294/Krause/F10.08/600011/mh-R2
X5
X2
X1
2
1
X3
X4
3
5
4
Figure 10.6 The 1-2-2 zone defense: (a) coverage and (b) weak areas.
Figure 10.7 The 1-2-2 zone: (a) ball on the wing and (b) ball in the corner.
Figure 10.8 Triangle-and-2 (combination
zone and player-to-player defense): triangle
zone plus two player-to-player defenders
(X1 and X2).
a
a
b
b

TEAM DEFENSE 285

Box-and-1 or Diamond-and-1 In this approach, one defender has player-to-player
responsibility while the other four play a zone defense near the basket. This defense
works well against a team with one outstanding scorer or ball handler. Two forms of
this defense are shown in figure 10.9. Coaches using this approach should assign their
best player-to-player defender to the opposing player who is the best scorer, ball handler,
or team leader. After determining the key player for the other team, determine how to
take away that player’s strength, either through ball denial or by assigning that player
to the best defender on the team. Although this defense undercuts the effectiveness of
one player and uses the other four zone players to help and protect the basket, it can be
vulnerable to outside shooting.
Pressing Defenses
Player-to-player pressure defenses can be played at the half-court, three-quarter-court,
or full-court level. All basic principles apply, but helping situations are much more chal-
lenging as the defense expands to cover the full court. Therefore, this approach places
a premium on individual defenders’ ability to stop and pressure the ball handler. This
type of pressure defense was first developed in the 1940s in the men’s game and has
become commonplace, especially on
teams that have greater athletic abil-
ity than the opposition.
Zone pressure defenses can be
played at all levels. Probably the
most famous instance of a full-court
zone press was popularized in the
unprecedented success experienced
at UCLA under John Wooden. The
staple of his first national collegiate
championship team was the full-
court 2-2-1 zone press (figure 10.10).
Zone presses tend to speed up the
game by forcing opponents to pass
more because of the use of traps or
double teams as offenses tend to
use more dribbling tactics, whereas
player-to-player pressure defenses
tend to slow the tempo.
E7294/Krause/F10.09b/600013/mh-R2
b
X3
X5
X4
3
1
5
2
4
X1
X2
E7294/Krause/F10.10/600014/mh-R3
X3
X5
X2
X1
X4
Defensive
basket
E7294/Krause/F10.09a/600012/mh-R2
a
X5
X2
X1
1
X3
X4
Figure 10.10 2-2-1 zone-press starting set.
Figure 10.9 Combination defenses: (a) diamond-and-1 and (b) box-and-1.
a
b

286 BASKETBALL SKILLS & DRILLS

This press is usually used as a
containing tactic to keep the ball
out of the middle, and it tends
to set at least one sideline trap
before half-court. In the trapping
sequence shown in figure 10.11,
player X1 covers the middle, X5
covers the sideline, and X3 protects
the basket.
Coaches need to make decisions
about when and where to trap
(usually when the dribble comes
to the defense and near the half-
court line), how to rotate, whether
to use continuous trapping, when
to drop back to the regular half-
court defense, and what type of
defense to transition into on the
half-court. With player-to-player
defense, one method is to retreat
to the basic defense after one trap—
specifically, protect the basket,
stop the ball, and pick up all open
players (in that order). During the
transition to half-court defense,
communication is crucial as teams
can transition into another type of
defense after one trap (e.g., from
a full-court zone press into a half-
court player-to-player defense).
A half-court zone press is exem-
plified by the 1-3-1 defense used
by the Kentucky team that won a
national championship in 1978
with coach Joe B. Hall. The basic set
is an extended 1-3-1 (figure 10.12).
In this approach, the perimeter players (X3, X4, and X2) play in the passing lanes and
force the offense to pass over the top (i.e., to use slower passes). The ball is then forced
into the corners and trapped (figure 10.13).
E7294/Krause/F10.13b/600018/mh-R2
X3
X5
X2
X4
X1
E7294/Krause/F10.13a/600017/mh-R2
X3
X5
X1
X4
X2
Figure 10.13 1-3-1 corner traps: (a) near the half-court line, (b) near the baseline.
a
b
E7294/Krause/F10.11/600015/mh-R3
X3
X5
X2
X1
X4
5
1
3
4
2
E7294/Krause/F10.12/600016/mh-R3
X3
X5
X2
X1
X4
3
2
1
4
5
Figure 10.11 2-2-1 zone-press trap.
Figure 10.12 1-3-1 half-court zone press.

287
Coaching Points for Team Defense
• Select one defense as the primary team defense. The half-
court player-to-player defense is recommended for young
players (ages 7 through 14, or through upper elementary
school in the United States).
• Treat attitude and motivation as major concerns when
developing team defensive play. Teach players why defense
is important to success.
• Focus on practicing against all offenses. Prevent surprises for the defense during
games by preparing the team fully in practice for all game situations.
• Place equal emphasis on offense and defense (while spending more time on of-
fense because it requires ballhandling and shooting).
• Require defenders to play hard—all five players must move with every pass or
dribble.
• Begin with an effective transition from offense to defense.
• End with a defensive rebound, a steal, or an opponent’s turnover.
• Require communication—both verbal and nonverbal and both talking and listening.
Checklist for Team Defense
• Development of general principles
• Development and use of fundamental defensive skills
• Fundamental stance and steps
• On-the-ball defense (live-ball, dribble, dead-ball)
• Off-the-ball defense (closed or open stance)
• Defensive closeouts (off-the-ball to on-the-ball)
• On-the-ball to off-the-ball defense (jumping or exploding to the ball)
• Special situations for defense
• Post defense
• Help-and-decide (bluffing, switching, trapping)
• On-the-ball screens
• Off-the-ball screens
• Double screens
• Defensive charge
• Pressuring the shot
• Loose ball
• Defensive rebounding
• Team defense
• Player-to-player (ages 7 through 14)
• Zone
• Combination
• Levels of defense
• Zone press
• Out-of-bounds, under the basket (defense against baseline out-of-bounds plays
[BLOB])
• Out-of-bounds, side (defense against sideline out-of-bounds plays [SLOB])
• Defensive free throws
• Transition to offense

288 BASKETBALL SKILLS & DRILLS

Drills for Team Defense
Defense needs to be learned for all situations and built up progressively from individual
play (1-on-1) to team play (5-on-5). To lay the foundation for developing team defense,
see chapter 7 for the following individual defensive drills:
• Moving Stance and Steps
• Line Drill: Individual Defense (especially 1-on-1 for live ball, dribble, passer, and
dead ball)
• Closeout: 1-on-1, 2-on-2, 3-on-3, 4-on-4
• On-the-Ball and Off-the-Ball: 2-on-2
• Defensive Slide: Moving Stance and Steps
Half-Court Basic Defense: 3-on-3, 4-on-4
Purpose: To break down all situations of two-person and three-person offensive play and
learn to defend them in a team situation (to prepare the team for all situations—no game
surprises). This is the basic defensive drill for practicing all basic defensive tactics; most
offensive team plays are one- or three-person tactics.
Equipment: Ball, half court, and 8 to 12 players
Procedure: Each practice can emphasize a selected offensive situation to defend. Set up
a drill rotation—offense to defense to off-court.
Options
• On-the-ball screens
• Off-the-ball screens
• Double screens
• Use of traps
• Two out, two in (perimeter, post)
• Four outside players, flash post on the cut
• Give-and-go moves
• Dribble penetration
Troubleshooting
The biggest challenge on defense is to get players to play as hard as possible at the
defensive end of the floor. Especially on defense, coaches cannot coach well unless players
play extremely hard with maximum physical and emotional effort. Therefore, coaches
must convince players that they cannot succeed without an all-out effort. Part of that effort
involves giving maximum mental effort, which requires high levels of communication for
defensive effectiveness. Coaches should encourage players to be their best on defense,
both physically and mentally. The “mad dog in a meathouse” approach does work on
defense: Play as hard as you can for as long as you can. Teams must learn to play hard
with a purpose.
TEAM DEFENSE 289
• Post play (single, double)
• Three out, one in
• Three in, one out
• One-guard front or two-guard front
Half-Court to Full-Court: 3-on-3, 4-on-4, 5-on-5
Purpose: To practice basic half-court defense and transition to offense and vice versa
Equipment: Ball, full court, and at least two groups of players
Procedure: Set up selected offensive situations to defend and then transition to offense
on missed shots. Work on selected offensive situations, then carry out an effective defen-
sive transition on made or missed baskets.
Options
• 3-on-3 (the most basic and efficient team-defense drill)
• 4-on-4
• 5-on-5 team offense and defense
Full-Court: 3-on-3, 5-on-5
Purpose: To teach all phases of defense progressively—3-on-3 breakdowns and 5-on-5
with full teams. This drill is one of the best, most taxing drills for offense and defense be-
cause players must play full-court offense and defense while executing all fundamental
skills.
Equipment: Ball, full court, and at least two groups of players
Procedure: For 3-on-3 full-court play, players or groups should change (switch offense
and defense [and off-court]) after no more than three circuits up and back. The ball must
be dribbled over half-court, and no breakaway lob passes are allowed in an early use of
this full-court defensive drill.
Variation: Play full-court 3-on-3 games to two baskets using the following rules:
• Offense calls fouls (which count as a score).
• No lob passes are allowed over half-court (i.e., no breakaways).
• No dribbling is allowed on offense (use pass-and-cut and pass-and-pick away from
the ball).
• New team is waiting to come in (to face the winner, who stays).
2-on-2 Avoid the Screen
Purpose: To simulate defensive schemes against a down screen
Equipment: Four players, one passer (coach or player), one ball, half court
Procedure: As shown in figure 10.14, two defensive players align themselves with O1 at
the top of the key and O2 on the wing. O1 starts with a ball and delivers a pass to the op-
posite wing (a coach or extra player) away from teammate O2. On the pass to the wing,
both defensive players jump to the ball in order to be about halfway between their respec-
tive assigned players and the ball. With this proper defensive alignment, they have the

290 BASKETBALL SKILLS & DRILLS

best opportunity to react to what the offense is doing and
avoid any potential screens that may be set.
The offensive players now begin the process of set-
ting a down screen—specifically, O1 setting a screen for
O2. X1 follows O1, providing a tunnel for X2 to get through
in order to avoid the down screen and defend O2. The
coach (or extra player) passes the ball to O2, who is com-
ing to the top of the key. For purposes of the drill, O2 takes
a quick look at the rim from the quick-stance triple-threat
position, then passes the ball right back to the coach.
Now all players are located at different positions from
their starting points, and O2 will set a down screen for
O1. After this rotation, the drill is reset with a new set of
defenders.
Sprint to Low-I Help Position
Purpose: To practice closeout technique
Equipment: Four players, one ball, and half court
Procedure: As shown in figure 10.15, player O4 starts
on the left wing with the ball while being guarded by de-
fender X4, and player O3 is positioned on the opposite
wing while being guarded by defender X3. Defender X3
uses proper on-ball defensive stance, and defender X4
is located with two feet in the key and with his or her
head right under the rim in the proper low-I (where the
off-side defenders are aligned vertically with the basket
and ready to help on the ball-side; the 2 defenders in
the vertical line help position are called low-I and high-I
defenders) help-side defensive position. Player O3 then
throws a skip pass to player O4, which forces defender
X3 to sprint from on-ball defense to getting two feet in
the paint with his or her head under the rim (the low-I
spot). Defender X4 must use proper closeout technique
to go out from the rim to player O4, who is catching the
ball and looking for a shot or drive. The offensive play-
ers continue to throw skip passes back and forth. On
the fifth skip pass, players finish the drill with live play to
either a score or a rebound. On each catch, the offensive
players should look at the rim and perform a couple of
fakes or attack moves, essentially holding the ball for 2
or 3 seconds, rather than immediately throwing the next
skip pass.
Wooden Wisdom
“Failure is not fatal, but failure to change might be.”
—John Wooden
E7294/Krause/F10.14/600019/mh-R2
X1
1
X2
2
Tunnel
Figure 10.14 Avoid-the-screen drill.
E7294/Krause/F10.15b/600021/mh-R2
4
3
Closeout
Sprint to
low I help
position
X3
X4
E7294/Krause/F10.15a/600020/mh-R1
X3
3
4
Closeout
Sprint to
low I help
position
X4
Figure 10.15 2-on-2 sprint to low-I help
position: (a) skip pass closeout and cover
low-I help; (b) return skip pass.
a
b

291
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Gladwell, M. 2011. Outliers: The Story of Success. New York: Little, Brown and Co.
Harle, S., and J. Vickers. 2006. Quiet Eye Improves Accuracy in the Free Throw. Calgary, AB:
Univer-
sity of Calgary.
Hays, D. 2006. Developing Your Shot and Offensive Moves. Oklahoma City: Self-published.
Jaimet, S. 2006. The Perfect Jump Shot. Indianapolis: Elemental Press.
Krause, J., and B. Brown. 2006. NABC’s Youth Basketball Coaching Handbook: Beyond the
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Triumph
Books.
Krause, J. 2005. Lessons From the Legends: Beyond the X’s and O’s. Monterey, CA: Triumph
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Martens, R. 1997. Successful Coaching, Updated 2nd ed. Champaign, IL: Human Kinetics.
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Three-Point
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ed. Seattle, WA: Pear Press.
Nater, S., and R. Gallimore. 2010. You Haven’t Taught Until They Have Learned: John
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National Association of Basketball Coaches. 2000. 1999-2000 Annual Research Report of
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Journey. New
York: McGraw-Hill.

292
Index
Note: Page references followed by an italicized f or t indicate information contained in
figures or tables, respectively.
A
Abdul-Jabbar, Kareem (Lew
Alcindor) 111
Allen, Forrest “Phog” 124
arc, shooting 92-93, 101-102
automatic stage of learning xxi
B
baby hook shot 111
back dribble 73
balance 2, 21, 92, 94, 146
ballhandling

about 54-55

catching principles 62-65

communication 65

dribble types 68-77

dribbling strategies 66-68,

66f, 67f, 68f

dribbling technique 65-66

passing and catching coach-

ing points 64

passing principles 55-58, 56t,

57f, 58f
pass types 58-62
ballhandling drills

ballhandling 77-78

basic ballhandling drill 85-86

Coach Beilein’s perfect pass-

ing 80

full-court dribbling 84-85

Gonzaga full-court footwork

and layup (peer-pressure
drill) 86-87, 87f

Gonzaga team pass–catch

(around the world) 81, 81f

line drill: passing and catch-

ing 79, 79f

line drill: stance, starts, and

skill breakdown 82-83

line drill: starts, stops, and

turns 83

mass dribbling 83-84

moving pairs passing 82, 82f

2-on-1 keepaway passing 81,

81f

two-player passing and catch-

ing 79, 80f

wall dribbling 85

wall passing 82
ball possession 227
basic body-control drills

full-court team rebounding

28-29, 29f

line drill: quick jumps 26

line drill: quick stance, starts,

steps, jumps, turns, and
stops 27

line drill: quick starts, steps,

turns, and stops 24-26,
24f, 25f

line drill: rebound jumping

and turns 27

line drill: starts, stops, and

turns 27-28

mass quick moves 22-24

quick-stance check 22

quick-stance mirror 22
BEEF principle 92
behind-the-back dribble 74, 75f
between-the-legs dribble 76-77,
76f
Bird, Larry 40
blocking out 201, 232-234, 232f,
233f, 234f
body control. See movements and
positions
BRAD shot 93
Bunn, John 124
C
catching

catch and face 146, 147f

catching the ball inside 173-

175, 174f

coaching points 64

communication in 65

in perimeter play 146, 147f

principles 62-65
catching drills. See ballhandling
drills
centers 257-258
change-of-pace dribble 68
coaching. See teaching and learn-
ing
cognitive stage of learning xxi
combination defenses

box-and-1 285, 285f

diamond-and-1 285, 285f

triangle-and-2 284, 284f

communication

in defense 199, 201, 217, 280

echo calls xxi, xxii

in passing and catching 65

in teaching and learning xxii-

xxiii
confidence building

field-goal shooting 94-95

free-throw shooting 120

consistency xxiii
Crawford, Joan 226
credibility xxii
crossover dribble 68-70, 70f
Curry, Denise 226
D
dead-ball moves

crossover step-through move

155, 156f

jump shot 155

shot fake and jump shot 155

spinner 158, 158f

step-through move into one-

foot layup 155

step-through move into

power shot or layup 155,
157f

troubleshooting 158
defense. See team defense; indi-
vidual defense
defensive charge 215-216, 216f
defensive rebounding

about 230-231

assume the miss 231

find the opponent 231

get and keep the ball 236-238,

237f, 238f

go to opponent and block out

232-234, 232f, 233f, 234f

go to the ball 235-236, 235f,

236f

move the ball 239-240, 239f

see or hear the shot 231

dribbling

about 65

after offensive rebounding

243

after rebounding 240

back dribble 73

behind-the-back dribble 74,

75f

between-the-legs dribble
76-77, 76f

change-of-pace dribble 68

coaching points 76

crossover dribble 68-70, 70f

head-and-shoulders crossover
move 71, 72f

head-and-shoulders move
70-71, 71f

low dribble 68

power dribble 68, 69f

INDEX 293

pull-back crossover 74, 74f

speed dribble 68

spin dribble 72-73, 73f

strategies 66-68, 66f, 67f

technique 65-66
E
either pivot foot (EPF) moves

crossover drive 154, 154f

direct drive with the direction

foot 153, 153f

direct drive with the opposite

foot 153, 153f
emotion xxii-xxiii, xxiv
F
fake-and-break. See V-cuts
fast break 227
feedback xxiii-xxiv
field-goal shooting

coaching points 95

confidence building 94-95

desired percentages 91t

general concepts 90-94, 91t

footwork. See movements and
positions
forwards 257
free-throw shooting

about 116-117

coaching points 117, 120

confidence building 120

offensive tactics 268, 269f

percentage goals 117t

technique 117-120, 118f, 119f

G
guards 257
H
Hays, Dan 96, 99
head-and-shoulders crossover
move 71, 72f
head-and-shoulders move 70-71,
71f
hook shot, post 111-112, 112f,
113f
hop-back jump shot 106, 106f
I
inbounding balls 268, 268f
individual defense

about 198

blocking out 201

coaching points 211

communication 201

defensive charge 215-216,

216f

fundamentals of 198-199

help-and-decide 212, 213f

line of the ball 200-201, 201f

moving 200

off-the-ball defense 206-208,

207f, 208f, 212

off-the-ball to on-the-ball
defense 210-211, 210f

on-the-ball defense 201-206,

202f, 203f, 205f, 206f, 211

on-the-ball to off-the-ball
defense 210, 210f
position 200

post defense 208-209, 209f

pressure 200

pressuring the shot 216-217

prevention of penetration
200, 200f

purpose 199-200

screens 212-214, 213f, 214f

special situations 212-216,

213f, 214f, 215f, 216f

transition 199

traps 214, 215f

troubleshooting 217
individual defense drills

closeout: 1-on-1, 2-on-2, 3-on-

3, 4-on-4 222, 222f

defensive slide: moving stance

and steps 222, 222f

half-court: 2-on-2, 3-on-3,

4-on-4 223

half-court plus transition:

4-on-4 223

line drill: individual defense

220

moving stance and steps 219,

219f
1-on-1 closeout progression
221, 221f

on-the-ball and off-the-ball:

2-on-2 220, 221f

stance-and-steps progression
218-219

team transition: offense-to-

defense and defense-to-
offense 223

3-on-3 get-back transition

224, 224f
information xxii-xxiii, xxiv
inside offensive moves

about 170

post moves 175-184

post-play fundamentals 170-

172, 170f, 171f

post skills 172-175, 172f,

173f, 174f, 175f
J
Jaimet, Scott 107
jump balls 269, 269f
jump-hook shot, post 114-116,
114f, 115f
jumps. See quick jumps
L
last-second shots 269, 269f
layup 103-105, 103f, 104f, 105f
learning xix-xxvi
listening skills xxiii
live-ball moves

coaching points 10
EPF crossover drive 154, 154f

EPF direct drive with the

direction foot 153, 153f

EPF direct drive with the

opposite foot 153, 153f

EPF quick start 11, 12f, 23

perimeter fundamentals 146-

149, 147f, 148f

PPF crossover drive 7, 8f, 9,

23, 152, 152f

PPF direct drive 7, 8f, 9, 23, 149

PPF hesitation or step-step

move 149, 150f

PPF rocker step move 150-

151, 151f
Lloyd, Tommy 38
long layup 105, 105f
low dribble 68
M
Malone, Karl 38
Martens, Rainer xxii
Meyer, Ray 172
Mikan, George 172
Miller, Ralph 124
movement abilities xx-xxi
movements and positions

quick jumps 17-21

quick stance 2-5

quick starts 6-10

quick steps 10-12

quick stops 16-17

quick turns and pivots 12-15

movement without the ball. See
also screens

assigned moves 36

coaching points 44

concepts 32-33, 33f

decoy moves 36

front and rear V-cuts 35, 35f

shot moves 36

troubleshooting 45

V-cuts 34-35, 35f

movement without the ball drills

4-on-4 defense-to-offense
transition 48-49

4-on-4 half-court offense and

defense 48

line drill: moving without the

ball 45-46, 45f

one-minute continuous game

49

pick-and-roll 49

3-on-3 motion screen 50-51

3-on-0 motion 50, 50f

2-on-2 offense and defense 48

V-cut 46-47, 47f

294 INDEX
N
NABC’s Handbook for Teaching:
Basketball Skill Progressions
(Krause, Janz, & Conn) 91
Naismith, James 124
Noah Basketball shooting system
92-93
nonverbal communication xxiii
O
offenses, set

1-4 offense 265, 265f

1-3-1 offense 265, 265f

1-2-2 give-and-go offense

264, 264f, 265f

1-2-2 stack offense 265, 265f

2-3 set offense 266, 266f

2-2-1 give-and-go offense

262-263, 263f

2-2-1 set 266, 266f

offensive rebounding

about 240-241, 240f, 241f

dribbling after 243

passing after 243

shooting after 242-243

offensive team tactics

control or delay game offense

267-268, 267f
defensive transition: offense
to defense 270, 270f

offense against combination

defenses 267, 267f

press offense 260-262, 261f

primary fast break: transition

from defense to offense
258-259, 259f

secondary fast break: tran-

sition from defense to
offense 260, 260f

set offense 262-266, 263f,

264f, 265f, 266f

special situations 268-269,

268f, 269f

zone offense 266-267, 267f

off-the-ball defense 206-208,
207f, 208f, 212
off-the-ball to on-the-ball
defense 210-211, 210f
1-4 offense 265, 265f
1-3-1 offense 265, 265f
1-2-2 give-and-go offense 264,
264f, 265f
1-2-2 stack offense 265, 265f
on-the-ball defense 201-206,
202f, 203f, 205f, 206f, 211
on-the-ball to off-the-ball
defense 210, 210f
outside offensive moves

about 146

coaching points 154

dead-ball moves 155-158

EPF moves 153-154, 153f,
154f

live-ball moves 146-149, 147f,

148f

perimeter-play drills. See

perimeter-play drills

PPF moves 149-152, 150f,

151f, 152f
P
passes, types

chest bounce pass 58-59, 59f

chest pass 58

lob 173, 173f

one-handed baseball pass

60-61, 61f

one-handed push pass 61-62,

62f

overhead pass 59-60, 60f

passing

about 55

after offensive rebounding

243

after rebounding 239, 239f

coaching points 64

communication in 65

passing to the post 181

principles of 55-58, 56t, 57f,
58f
passing drills. See ballhandling
drills
patience xx
pedestal-pocket shooting 102,
102f, 107-109, 107f
peer-pressure drills 124
Perfect Jump Shot, The (Jaimet) 107
perimeter play

about 146

coaching points 154

dead-ball moves 155-158

drills. See perimeter-play drills

EPF moves 153-154, 153f,

154f

live-ball moves 146-149, 147f,

148f

PPF moves 149-152, 150f,

151f, 152f
perimeter-play drills

closeout: 1-on-1, 2-on-2, 3-on-

3, 4-on-4 161-162, 161f

continuous pass-and-trap
166, 166f

diamond dribble moves (full-

court) 165, 165f

finish the play 167, 167f

five-spot dribble and finish

164-165
guidelines 159

line drill: live-ball, dead-ball,

and completion moves
addition 159-160, 160f

1-on-1 162

outside moves using a spin

pass 160-161

partner passing and shooting

163

partner penetrate-and-pitch
162-163, 163f

perimeter game 164

three-lane-rush pass-catch
168, 168f

timed layups 163

warm-up for perimeter play-

ers 159
permanent pivot foot (PPF)
moves

about 149

crossover drive 7, 8f, 9, 23,

152, 152f

direct drive 7, 8f, 9, 23, 149

hesitation or step-step move

149, 150f

rocker step move 150-151,

151f
positive approach xxii
post defense 208-209, 209f
post drills

All-American post workout

192

big spacing and post feeding

190-191, 191f

5-on-5 post passing 193-194,

194f

line drill: post-player starts,

turns, and stops 187-188

Mikan 193

1-on-1 post cutthroat 194-

195

perimeter-post progression
195-196, 195f, 196f

post pairs 188-189

post progression 190

post score through defense

194

post warm-up 187

spin-pass post moves 189

2-on-2 feeding the post 192-

193, 193f
post hook shot 111-112, 112f,
113f
post jump-hook shot 114-116,
114f, 115f
post moves

facing moves 180-181, 180f

facing-the-basket post play
181, 181f

jump hook 178

passing to the post 181

post shot 176

power move 176-178, 176f,

177f, 178f

wheel move 178, 179f

INDEX 295

Zak-attack post-play tech-

niques 182-184, 182f,
183f, 184f
post play

assume the miss 171

backboard shots 170

coaching points 184, 186

creating contact 171

everyone as post player 171

hands up 171, 171f

patience 172

penetrating 170

troubleshooting 185
post power shot 109-111, 109f,
110f, 111f
post skills

about 172, 172f

catching the ball inside 173-
175, 174f

getting open 172-173, 173f

reading the defense 175

taking out defender 175

power dribble 68, 69f
power layup 105, 105f
practice stage of learning xxi
pressuring the shot 216-217
pull-back crossover 74, 74f
Q
quick jumps

about 17-18, 19, 19f

coaching points 21

drills 23-24

one-foot jumps 21

rebounding 20f

two-foot power jumps 18-19,

18f
quickness 2, 21, 146
quick stance

about 2-3

arms and legs 5, 5f

coaching points 5

foot position 3, 3f

head and trunk position 4, 4f

weight distribution 4
quick starts

about 6

coaching points 10

defensive 7, 7f

front foot first 6, 6f

offensive 7, 7f

PPF crossover drive 7, 8f, 9

PPF direct drive 7, 8f, 9

quick steps

about 10

change of pace and direction

10-11

live-ball moves 11

offensive EPF moves 11, 12f

quick stops

about 16, 16f

coaching points 17, 24

stride stop 16, 17f

and three-point shots 106,

106f
quick turns and pivots 12-15,
13f, 14f, 15f

coaching points 14, 24

R
rebounding

assessment 244-245
assume the miss 171, 231

coaching points 244

defensive rebounding 230-240

motivating players 226-228

offensive rebounding 240-

243

rules 228-230, 229f, 230f

tools 226

troubleshooting 245-246
rebounding drills

closeout and blockout 250

cutthroat rebounding: 3-on-

3, 4-on-4 253-254

full-court team rebounding

28-29, 29f

garbage 251

hands up, figure-8, back-

board-passing rebound
251

individual rebounding 252-

253

line drill: defensive rebound

progression 247-248

line drill: full-court offensive

boards without the ball
250
line drill: offensive rebound
progression 248

line drill: pivot-and-pass pro-

gression 249

line drill: rebound jumping

and turns 27

line drill: 2-and-2 rebound

progression 247

no-babies-allowed (NBA) or
survival rebounding 252,
252f

rebound and outlet 249-250,

249f

rebound number 250

rebound progression: 3-on-0,

3-on-3 253

war rebounding 254

rim-post-action (RPA) vision
progression 15
ROBOT 93-94
Rodman, Dennis 226
Russell, Bill 280
S
Scientific Principles of Coaching
(Bunn) 92
screens 212-214, 213f, 214f. See
also movement without
the ball

back cut 41, 41f, 42f

coaching points 44

curl cut 40, 41f

flare cut 40, 41f

front screens 37f

high ball screens 39-40, 39f,

40f

high middle screens 43-44,

44f

off-the-ball screens 40-42,

40f, 41f, 42f

on-the-ball screens 38-40, 38f,

39f, 40f

pick-and-roll 38-40, 38f, 39f,

40f

pop cut 40, 40f

screen angles 43, 43f

screen–rescreen 42-43, 42f

setting 37

slipping the screen 39, 39f

special situations 42-44, 42f,

43f, 44f

troubleshooting 45

types of 36, 36f

using 38, 38f

shooting

about 90

after offensive rebounding

242-243
arc importance 92-93

coaching points 120

field-goal shooting 90-95, 91t

follow-through 92

free-throw shooting 116-120,

117t, 118f, 119f

mental edge coaching points

122

pedestal-pocket shooting
107-109, 107f

target 92

troubleshooting 121, 136

shooting drills

Coach Hutter’s competitive

shooting 133-135

Don Meyer’s competitive

shooting 135-136

field-goal correction 132-133

field-goal progression 125-

128, 127f, 128f

footwork and field goals (or

free throws) 139

foul-shot golf 138

free-throw progression 137-

138

Gonzaga competitive shoot-

ing 136-137

Gonzaga full-court lay-and-J

141-142, 142f

296 INDEX
shooting drills (continued)

Gonzaga full-court team

layup 124-125, 125f

Gonzaga scramble pass-and-

catch layup 143, 143f

groove-it spot shooting 129

hop-back (step-back) shoot-

ing 141, 141f

individual grooving the shot

132

knockout shooting 138

layup shooting progression

123-124

line drill: shooting addition

(without ball, with ball)
122-123

long layup attack 140-141,

141f

make-it-take-it row shooting

131

mental practice for field-goal

and free-throw shooting
139-140

pairs in-and-out shooting

130-131, 130f, 131f
row-plus free-throw shooting
138-139

shoot-the-line and soft-touch

shooting 128-129, 129f
shooting mechanics

arc importance 101-102

balance 96, 97f

balance hand 99-101, 100f

elbow 92, 99

follow-through 102

pedestal-pocket shooting
102, 102f

release 101-102, 101f

shooting hand 98-99, 98f

target 96-98, 97f

shot fakes 116, 116f
shot types

hop-back jump shot 106,

106f

layup 103-105, 103f, 104f,

105f

post hook shot 111-112, 112f,

113f

post jump-hook shot 114-

116, 114f, 115f

post power shot 109-111,

109f, 110f, 111f
shot fakes 116, 116f

three-point shot 106, 106f

Sikma, Jack 181
skill acquisition xx-xxii
skyhook shot 111
speed 2
speed dribble 68
spin dribble 72-73, 73f
stance. See quick stance
Stockton, John 38
stride stops 16, 17f
Successful Coaching (Martens) xxii
swing step 13
switch screen 214f
T
teaching and learning

communication xxii-xxiii

consistency xxiii

credibility xxii

essential elements for success

xxvi

feedback xxiii-xxiv

general tips on xxiv-xxv

information versus emotion

xxii-xxiii

listening skills xxiii

patience xx

positive approach xxii

skill acquisition xx-xxii

team defense
about 280-281

checklist for 287

coaching points 287

combination defense 284-

285, 284f, 285f

court levels 281, 281f

player-to-player defense 282

pressing defense 285-286,

285f, 286f

troubleshooting 288

zone defense 282-283, 282f,

283f, 284f
team defense drills

full-court: 3-on-3, 5-on-5 289

half-court basic defense: 3-on-

3, 4-on-4 288-289

half-court to full-court: 3-on-

3, 4-on-4, 5-on-5 289

sprint to low-I help position

290, 290f

2-on-2 avoid the screen 289-

290, 290f
team offense

checklist for 271

coaching points 271

general offensive principles

256

player positions and respon-

sibilities 256-258, 257f

tactics 258-270

troubleshooting 270
team offense drills

blitz fast break 273-274, 273f,

274f

defense-to-offense transition
275-277

skeleton offense: 5-on-0 (dry

run) 272

team offense and defense:

4-on-4, 5-on-5 272

transition fast break 275,

275f
three-point shot 106, 106f
traps 214, 215f
triple-threat position 11f, 147f
turns and pivots. See quick turns
and pivots
2-and-2 rebounding 228, 229,
230f
2-3 set offense 266, 266f
2-2-1 give-and-go offense 262-
263, 263f
2-2-1 set 266, 266f
V
V-cuts 11, 34-35, 35f, 38, 38f
W
winning 227
Wooden, John 5, 19
Wootten, Morgan 238
work ethic 227
Z
Zak-attack post-play techniques
182-184, 182f, 183f, 184f
zone defenses

1-3-1 zone 283, 283f

1-2-2 zone 284, 284f

2-3 zone 282-283, 282f, 283f

zone pressure defenses

1-3-1 half-court zone press

286, 286f

2-2-1 zone press 285, 285f

2-2-1 zone press trap 285,

286f

297
About the Authors
Jerry Krause has been a part of Gonzaga Univer-
sity’s men’s basketball program for over 25 years.
In 2001, he returned to the university as the direc-
tor of men’s basketball operations after serving a
five-year civilian term at the U.S. Military Acad-
emy at West Point. There he was a professor of
sports philosophy and director of instruction for
the department of physical education.
Krause’s legendary career includes many high-
lights. He served as head coach at Eastern Wash-
ington University (EWU) for 17 years, where his
Eagle teams posted a 262-196 record and a .572
winning percentage and attained a graduation
record of 84 percent. He has coached at all levels—
youth sport through Olympics—and for both men
and women. He took a sabbatical from EWU to
assist the late Ralph Miller at Oregon State University in writing his first book (Better
Basketball Basics) and then returned to EWU to lead the Eagles from the NAIA into the
NCAA Division I ranks.
He is one of the most prolific authors of basketball books, having written 34 titles, and
has also produced 33 instructional videos. For 50 years he has been research chairman
for the National Association of Basketball Coaches and was a long-standing member of
the NCAA Basketball Rules Committee. He was involved in rule changes that brought
about the 45-second (and later 30-second) shot clock, the three-point shot, and the
breakaway rim as well as inventing the NCAA/NBA approved basketball rim tester to
standardize ball-rim rebounds and make the game the same around the world. He is a
member of the NAIA Basketball Coaches, SHAPE America (formerly National Associa-
tion for Sport and Physical Education), New York State AHPERD, SHAPE Washington
(formerly Washington AHPERD), and the Inland Northwest Sports Halls of Fame.
Craig R. Nelson is the boys’ basketball head
coach at Washington High School in Sioux Falls,
South Dakota. In his six seasons at Washington,
he has guided the team to four state AA tourna-
ment appearances. Nelson graduated from North-
ern State University in Aberdeen, South Dakota
(2008), where he played for legendary coach Don
Meyer. During his college career, Nelson started in
all 121 games and helped lead the team to 98 wins.
In his senior season, he ranked fourth among all
Division II players and ranked first in the Northern
Sun Intercollegiate Conference (NSIC) in three-
point shooting. At the end of his senior season,
he was one of the top five free-throw shooters in
the country (93%). In high school, Nelson played
in back-to-back state tournament titles and was
named the North Dakota Class B Basketball Player of the Year in 2003. Coaching is
part of Nelson’s heritage—his father, Dave Nelson, led teams to multiple high school
state tournaments (including the years he was coach to Craig), and Craig’s grandfather,
Ed Beyer, is the all-time winningest coach in North Dakota high school history.

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