Hitting

Table Of Contents

Overview

Hitting (aka "spiking") is usually a team's third contact. It is an attempt to end the rally by hitting a ball that the opponent cannot return. All hits consist of three factors. In order of importance, they are:

Placement is by far the most important component of any attack. A well-placed hit either lands in your opponents' court, giving your team a point or sideout, or makes it difficult or impossible for your opponent to attack the ball back into your court.

The second most important component is velocity. Many inexperienced players make the mistake of exchanging placement and control for velocity, and their teams pay the price. What matters is where a hit lands, not how fast it gets there. Generally, a 75 to 80% swing will put more than enough pace on a hit to beat the diggers.

The least important component of any hit is steepness. Obviously, if you hit the ball straight down, your opponents will have a difficult time digging it. They will not, however, have a difficult time blocking it, and they will find it amusing when you repeatedly hit the ball into the net.

This page explains the mechanics of hitting. Although it explains the skill in three parts -- approach, plant and jump, contact -- do not think of them as separate tasks. The act of hitting is one fluid motion from beginning to end, and after you learn the basics you must always think of it that way.

*The following description is a step-by-step explanation of a right-hander's attack. Left-handers, of course, do the exact opposite.

Approach

The point of the approach, in scientific terms, is to generate forward momentum that you can then convert to upward momentum. A good approach jump can be as much as 20% higher than a stationary block jump.

Begin your approach 12' to 15' from the net. If you are hitting a left-side set, start far enough out of bounds to approach the set at about a 55 degree angle to the net. For a middle attack, approach at about a 75 degree angle. For a right-side attack, approach at about 90 degrees. These angles vary from hitter to hitter (remember that left-handers should reverse these angles), but in general they allow you to hit the ball comfortably and powerfully from any attack point on your court to any position in your opponents' court.

If you are hitting a high set -- a 4 or 5 -- prepare for your approach by standing with your left foot approximately 18" in front of your right, with your weight resting on the ball of your left foot. As the set nears its peak, take two quick sprinting steps, beginning with your right foot. The second step (your left foot) should be on or behind the 3m line, and you must not touch the ground again until you plant and jump.

**What you do behind the 3m line really doesn't matter all that much; in game situations, your footwork back there will be different every time. Just make sure you put your left foot on the 3m line, then plant and jump near the net.

As your body passes over your left foot and the 3m line, prepare to plant and jump by getting into the "power position":

1. Extend your right leg out in front of you, followed quickly by your left leg, so that you can plant both heels almost simultaneously.

2. Get your butt low and behind your heels so that you don't drift into the net after you jump.

3. Extend both arms straight behind you, palms facing the ceiling, so that you can swing both of them as you jump.

4. Drop your chest toward your knees so that you can use your lower back as you jump

If you do all these things between the 3m line and the time you plant, you will be in an excellent jumping position. This "power" position, combined with your approach speed, will do a nice job of converting forward momentum into upward momentum . . . meaning, you will jump high.

Plant

If you get into a strong power position, the plant is a natural continuation of the approach. You first contact the ground with your right heel, with your left foot making contact, almost simultaneously, about 4" or 5" in front of your right foot. This staggered foot position is extremely important because it keeps your right shoulder (your hitting shoulder) away from the net.

As your feet strike the ground (actually, a moment before they strike the ground), begin your jumping motion by uncoiling every body part at once. As you push with your legs, pull as hard as you can with your back and arms. (Many athletes find it more effective to think of jumping in terms of "pulling" instead of "pushing.") Lock or "block" your arms at about eye-level. This blocking action transfers momentum from your arms to your entire body and lifts you a few inches higher. As you leave the ground your back will arch and your heels will curl up toward your butt. You are now in a prime hitting position.

Contact

As your body lifts into the air, both arms will be almost straight in front of you, your back will be arched, your heels will be up, and your right shoulder will be away from the net. Cock your hitting arm by pulling your elbow straight back as far as it will go. Stay in this "hang position" until you start your swing.

As the ball falls in front of your right shoulder, initiate your swing by pulling your left elbow to your side, constricting your abdominal muscles, and reaching toward the ball with your right elbow. Your right hand follows your elbow toward the ball, and your arm straightens an instant before you make contact.

Hit the ball with the heel and palm of your hand, and quickly whip your fingers through the top of the ball by snapping your wrist. This wrist snap imparts top-spin to the ball, which causes it to dive down into the opponents' court. (*Do not consciously "cup" your hand or make a fist. Both of these techniques limit the amount of contact area and reduce your ability to control the ball.)

Follow through to your right hip, not across your body. Your body will rotate quickly to the left as you swing, and your right shoulder will end up closer to the net than your left. Land softly on both feet and prepare to block.

Transition hitting

Taking a strong approach, making a good plant, and using a high quick armswing is easy to do when your team is in freeball defense and serve receive, but it is difficult to do "in transition" -- that is, when you've just tried to block and have to "transition" (move) from your defensive assignment (blocking at the net) to your offensive position (the start of your approach).

Transition footwork is, in my opinion, the most overlooked portion of the hitting skill. Like most footwork in volleyball, it should be well choreographed most of the time -- that is, there are specific steps you should take at specific times. And back-pedaling is not an option. If you back-pedal from your blocking position to the start of your approach, you will never be a strong transition hitter. In addition to making you face the wrong direction (keep in mind that your team is digging the ball as you're back-pedaling), it's just to friggin' slow to get you back far enough for a strong approach that keeps the ball in front of you.

The proper footpatterns for standard outside transitions look like the diagram below.

**Note: These transition angles are for right-handers, who should start their left-side approaches out of bounds and their right-side approaches in bounds. Lefties must use the exact same footpatterns, but they must reverse the angles, staying in bounds on the left and moving out of bounds on the right.

In a nut shell, what's happening is this: If you've just blocked at the left antenna, you should instantly turn to your right (so you're facing the center of your court) and take as big a step as possible with your right foot. Then take an even bigger step with your left foot and stop your momentum by planting your right foot. If you've just blocked at the right antenna, turn instantly to your left (again, to face your court) and take a big step with your left foot. Then take a bigger step with your right foot and stop your momentum by planting your left foot. Initially, these steps may feel too long and loping to be of any use, but if you work on them, they will become more natural and begin to feel like what the are -- sprinting steps. (Smaller, weaker players may not be able to get back far enough using these exact footpatterns, in which case, they need only add a step or two at the end. But the point remains the same: turn and sprint -- don't back-pedal.)

The outside transitions described and diagrammed above are relatively easy for most players; transitions for middle blocker/hitters are more difficult. Generally, if your're a middle blocker, you will use the same (or very similar) footpatterns as outside blockers, regardless of where you have just blocked. But your transition angles will always take you toward the center of the court, just behind the 3m line, where you start your approach. The hard part is that, as a middle blocker, you must turn in whatever direction the ball is hit and still use the appropriate footpattern to get back to the start of your approach. If you're double-blocking at the left antenna, for instance, and the hit goes down the line, you should turn to your left to see the dig, while taking your first transition step toward the center of the court with your left foot; if you're double-blocking at the same antenna and the hit goes cross court, you must turn to your right to see the dig, while taking your first step with your right foot. Obviously, this is a source of possible confusion, which, compounded with the fact that middles are often hitting quick sets, makes these middle transitions some of the most difficult skills to learn. It takes hours and hours and hours of practice to make this footwork natural, so that all you have to do *react*; if you have to stop and think about which direction you should turn and which foot goes first, all is lost.

Keys to Effective Hitting--

1. Always approach the same way and jump as hard as you can. Whenever a set is not where you expect it, do not make minor foot adjustments as you plant and jump; these tiny last-second steps kill your momentum. Instead use the same footwork (right, left . . . plant), with a slight directional change when you are on your left foot at the 3m line. Making the adjustment at the 3m line maintains your momentum and gives you a very wide "hitting window." And for goodness sakes, do not make the mistake of "half-jumping" at bad sets; that only makes the set less "hittable."

2. When hitting a high ball, you should not start your approach until after the ball leaves the setter's hands. Most inexperienced hitters make the mistake of approaching to early, which is bad for two reasons: 1) They have to stop and wait when they get to the net (which kills their forward momentum); and 2) They can't keep the ball in front of their hitting shoulder, where it belongs.

3. Always hit the ball in play. Ball control is the key to success, even when you're hitting.

4. Get back for an approach after you block. As soon as the ball crosses into your court, turn immediately toward the center of your court and sprint to the start of your approach.

5. Use a variety of shots. Good hitters can hit the ball anywhere at any speed.

6. Lastly, and perhaps most importantly, don't whine at your setter. A setter's job is to improve bad passes; your job is to improve bad sets.

Advanced Hitting

  Overview

This page assumes that you know the fundamentals of attacking, and focuses instead on the philosophy, footwork, and timing necessary for effective quick attacks and combination plays.

The point of running a quick offense that uses combination plays is really quite simple: you're attempting to use deception to confuse your opponent. Quick sets force the opposing middle blocker to stay in the middle of the court longer than he would like, which usually opens up the court for your outside hitters. And if you get the opposing middle blocker to commit to stopping your quick middle attack -- that is, he jumps whenever your middle hitter jumps, regardless of where the set goes -- you will be able to run combination plays in the middle of the court unopposed.

But the goal of combination plays is not simply to create an open net for the second attacker--though that can be a lot of fun -- rather, the goal is to create a lousy block for all of your hitters. When your opponents have to focus on where your hitters are going, rather than what your setter is doing, they will be late, early, spread out, off the net, and all sorts of other things that make them easy to beat.

In the most general terms, an effective, deceptive offense depends on four things. First and most importantly, a deceptive offense requires excellent serve-receive and freeball passing. Always, always, always focus on ball-control.

Second, the setter must orchestrate the offense so that each player knows his/her own set as well as what others are hitting. Without clear communication before and during every rally, a complex offense will self-destruct.

Third, hitters cannot change their calls in the middle of a rally. This sort of free-lancing is both futile and dangerous. If others are depending on you to hit a called set, you must get into position to hit it; otherwise, you might collide with a teammate.

Lastly, the middle hitter must always get up for the quick set, even if the pass is off the net. A deceptive offense is built around forcing the opponent's middle blocker to focus on your middle hitter; if he/she is constantly bailing out by saying "I'm not there," find a new middle hitter.

Names and timing of sets--

The basic quick sets are: a "1" (right in front of the setter, about a foot above the net); a "31" (same height, but the hitter makes contact 5'-6' from the left antenna); and a "back 1" (self-explanatory). The basic combination sets are: a "2" (in front of the setter, about 4' above the net); a "32" (same position as a 31, same height as a 2); and a "flare" (a back 2 that drifts to the right antenna.

The timing for quick and combination sets is crucial, but it is relatively simple to explain. If you have a quick set (either a 1, back 1, or 31), be in the air before the setter contacts the ball. The longer the set, however, the later you can be; if you have a 31 and the setter is 15' away, for instance, you should plant as the setter contacts the ball. If you have a combination set (2, 32, or flare), you should be on your left foot (for right-handers) at the 3m line and moving toward your plant as the setter contacts the ball. If this timing makes you consistently early (which it probably will), your setter is setting the second ball too high.

Footwork --

In general, the approach for most quick and combination sets is the same as the footwork described in detail in the "Hitting" handout: right, left, plant (though many hitters might want to shorten this to "left, plant"). There are, however, two special approaches you should be able to use. When hitting a flare (and in some "broken" situations), you should use a "slide" approach, because it gives you more range. The footwork for a slide approach is "left, right, left," with a one-footed take-off.

The second special approach you can use is called a "step-around." In this approach, you actually complete a left-plant approach, but instead of jumping and hitting out of the plant you plant again several feet to your right or left and *then* jump and hit.

A step-around makes it look as though you will hit a quick set (a 1 or 31), but you quickly step away and hit a slightly higher set (a 2 or back 2). As the diagram illustrates, a step-around, in effect, allows you to run one-person combinations. You can show a 1 and hit a back 2 (as in the diagram); show a back 1 and hit a front 2; show a 1 and hit a 32; or show a 31 and hit a 2. You can also use a step-around in combination with a slide (show a 1 and hit a flare).

**Step-arounds take a lot of practice, so don't get discouraged the first thousand or so times you do it. You should also know that step-arounds, even when performed perfectly, reduce your vertical jump a bit -- so if you're vertically challenged, avoid using step-arounds.

"Break points"

When running combinations, everyone's approaches need to be tightly choreographed. The starting point for each hitter must be exact and the direction(s) of each approach must be planned and precise. More importantly, each hitter involved has a "break point" (discussed below) which allows him/her to incorporate "fakes" into the approach.

Middle hitters, regardless of the set they will hit, must always start slightly behind the 3m line and about 12' from the left sideline. This starting point allows the hitter to hit a 31, 1, or back 1 using a simple left-plant approach, and he can get to a flare using a slide approach.

As the middle hitter starts to approach, his/her left foot lands just inside the 3m line, right in the center of the court. This left-foot position is the "break point"; it allows the hitter to break left for a 31, go straight in for a 1, break right for a back one, or slide wide right for a flare.

If the middle hitter is involved in a play, his/her approach should be straight, loud, and early, so that he/she draws the attention of the opponent's middle blocker. If the middle hitter is not involved in a combination, he/she should use "fakes": step toward a 31 and cut back for a 1; step toward a 1 and cut out for a 31; or step toward a one and cut right for a back 1 (when hitting a back 1 from the middle, plant on the setter's left shoulder and drift out).

Right-side hitters should start their approaches outside the 3m line and 6'-8' inside the sideline.

Their break point is just inside the 3m line, straight out from the setter's left shoulder.This position allows them to hit 2s, 1s, and back 1s with a normal, two-footed plant, and permits them to hit flares using a slide approach. (Some right-side hitters, depending on the location of pass, can hit a flare with a normal approach.)

In most offenses, left-side hitters are generally less involved in combinations than right-side hitters. But they should be able to hit play-sets anyway, and their starting points should always suggest that they might be involved in a combination (which forces the opponent's middle blocker to pay attention to all three hitters).

Consequently, left-side hitters should begin their approaches 5'-6' behind the 3m line and just inside the sideline, even if they are hitting a high outside set. (To hit a high outside set, step out-of-bounds with your right foot and use a standard "left, plant" approach.) If the left-side hitter is involved in a combination, his break point is just inside the 3m line and 4'-6' from the sideline. This allows him to hit a 31, 2, or 1 with a standard two-footed plant. If he has 2 or 1 and the pass is way right, he should use a slide approach.

General Suggstions for Combination Plays

1. Remember that the single most important key to running effective combination plays is ball control. If you don't serve-receive or pass freeballs well, you can't run anything.

2. The first hitter in every combination (the person hitting the quick set) must make lots of noise by shouting "Here, here, here," (for a 1) or "Push it to me" (for a 31). This not only draws the blockers to him, but also helps your setter locate him.

3. When your team serves, your setter will call only one play: a freeball play. You will run that play only on a freeball; on downballs and digs you should run 4-1-4. If your blockers yell, "Downball," and your setter yells, "Freeball," at the same time, be prepared to run the play--after all, that's what your setter intends to do. But if the pass is lousy, the setter must cancel the play loudly and early by yelling, "No," or "Outside."

4. When your opponents serve, your setter should call two plays: a serve-receive play and a freeball play. This will seem confusing at first, perhaps even impossible, and the first few games you do it your setters and hitters will make hundreds of mistakes. But be patient; it becomes easier with practice, and your team will become stronger offensively.

5. Backrow players must know the calls, so that they can stay out of the way and cover the hitters more effectively.

Suggestions for setters

1. Call combinations that cause your hitters' approaches to cross or threaten to cross. In most defensive schemes, blockers follow the person directly across the net from them, and a crossing action on your side of the net will create a basketball-style "pick" -- that is, it will cause the blockers to collide or become confused about their assignments. If there is no crossing action or no threat of a crossing action in your play, you've made the blockers' job much easier.

2. Each play is designed to open the net for the second hitter, so keep the second set (fairly) tight to the net, where he can whack it. After you set the second hitter a few times, the first hitter will be open.

3. Communicate with your hitters before the serve and during the rally. Make sure they know what they're hitting, and make sure they know when you call "Freeball."

4. Don't feel compelled to set the quick or combination hitter every time. After you run a couple plays effectively, the blockers will tend to move toward any motion, which will leave your outlet hitter one-on-one at best.

Suggestions for hitters

1. Know your set. Serve receive plays are easy to run because you only have to remember your set for about three seconds. Mistakes occur during freeball combinations, when 15 or 20 seconds may pass before you execute the play. To help yourself remember your freeball set, say it to yourself several times before and the serve and quickly picture your team getting a freeball and running the called play, with you hitting your set.

2. If you have the quick set, make no attempt to be deceptive: approach in a straight line and make lots of noise. If you have the second set, wait as long as possible and then blast through your approach. The second set should look initially like someone screwed up.

3. Hit the ball in!

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