The Service Rhythm
One of the first things we are told when we begin our journey in tennis is that the serve is the most important shot. Unfortunately, I ask many intermediate and advanced players about the simple biomechanics of the serve, and they become suddenly mute. We all understand that the toss is vital when trying to hit a good serve, but what’s not taught is that the toss should match the wind-up, or what I call the “rhythm” of the serve.
When we go to the U.S. Open, we are mesmerized by the power, accuracy and spin of the servers on both the men’s and women’s side, but what is also quite interesting is that they all look quite different in their approach to the serve. As a general rule, we are taught that the first serve should be tossed between 12 o’clock and one o’clock (for right-handers) and between 11 o’clock and 12 o’clock (for left-handers). The first serve toss should always be out in front of the baseline, giving the server the opportunity to lean into the shot, putting their weight behind it in a linear fashion. For the second serve, however, the toss should be over one’s head, or perhaps behind one’s head to effectively be able to hit a kick serve by hitting upward on the ball. What’s not discussed enough is the height of the toss, and the ability to hit different serves from different tosses.
What is the ideal height for the toss of the serve? The answer … there is none. The height of the toss should coincide with one’s rhythm of motion. There are three distinct rhythms that have been identified by coaches worldwide today. The first and most commonly taught service rhythm is the Classic Rhythm. This style requires a medium ball toss that neither gets lost in the clouds or looks like it’s stuck to your hand. The Classic motion is very efficient and aesthetically pleasing to the eye, as it represents the smoothest motion, as seen by Pete Sampras and Roger Federer.
As you can see, when Federer releases the ball, his racket is up to shoulder height and is soon readying the famous trophy pose, where he will explode up to the ball. Roger exhibits balance between the right and left side of his body as he completes step two of his motion. The most important thing to understand regarding the Classic Rhythm is that because the racket moves up with the tossing arm at the same time, the toss requires a height neither too high nor too low, as can be seen in other service motions.
The most unique and easily identifiable service motion is that of Andy Roddick. He was not only the first server to use an extreme Abbreviated Serve, he perfected it. Years after, Roddick came on the ATP Tour, Rafael Nadal changed his serve under the guidance of Uncle Toni to an Abbreviated Motion. Another pro superstar with an Abbreviated motion is Gael Monfils whose serve is quite similar to that of Roddick.
As Roddick tosses the ball, his racket is already above the shoulder, almost in a set position. As soon as the ball is released, Andy will immediately start to bend his knees and ready himself for his explosive thrust upward to the ball. The Abbreviated Rhythm requires the lowest toss, because the racket is already moving up with the tossing arm, and is set much quicker than in any other motion. If the toss is too high with this motion, many bad habits can develop. It is important to sync your toss with the rhythm that is most comfortable to you, and for Andy, Rafa and Gael, they were able to develop the most power from the Abbreviated Motion.
The motion that requires the highest toss is that of the Staggered Rhythm. It happens to be my favorite motion because I have used it throughout my playing career and also because I admire the serves of Staggered Rhythm servers, Serena Williams and Jo-Wilfried Tsonga. In this particular motion, the toss is completed while the arm holding the racket is still down by your side with your racket in the vicinity of your back foot. While this rhythm requires the highest toss which could be dangerous in windy conditions, it also gives the server the opportunity to build momentum slowly into an explosive finish where thrust, torque and linear movement can all come together.
As you can see, Serena has already tossed the ball as her left arm is up and right arm is down. Her next step would be to push her left hip outward, thus forcing her knees to bend. She would then ready her racket above her shoulder before exploding up to the ball. If Serena had a low toss, she would never be able to complete all the steps necessary to create power, and she would get caught in a messy position. In fact, it’s the motion that requires the toss to be a specific height, and not vice-versa.
As with pitchers in baseball, the delivery must be comfortable and one must decide what is best for them. The next time someone tells you where the height of your toss should be, make sure it is aligned with your serving rhythm!
