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张燮林点评:丁松发转不转球的关键,在于利用拍形和触球部位进行调节。图A6中拍形相当平,利于摩擦球的底部加转;图B5和b2所显示的引拍过程中,拍形看上去也是平的,但到了图B6和b3中,我们可以清晰地看到,丁松瞬间突然将拍形适当立起,并且是用球拍的上边缘将球“碰”了出去,这样发出的球自然是不转球。而在其后的还原过程中,发加转球和不转球时几乎是完全致的。任何技术动作都需要合上身体之力,但发球最根本的还是靠手腕的爆发力加转,丁松在这方面就十分突出。至于到底在哪个点上触球,则需根据各人的不同情况,不能一概而论,有的人挥拍至正对胸前
Zhang Xie Lin Comments: Ding Song transfer does not transfer the key is to use the beat and touch the ball to adjust the site. In Figure A6, the shape of the beat is rather flat, which is conducive to the bottom of the friction ball. In Figure B5 and b2, the beat shape also appears to be flat, but in Figure B6 and b3, we can clearly see , Ding Song moment will suddenly make a proper shape, and is the upper edge of the racket the ball “touch” out, so naturally issued a ball is not transfer the ball. In the subsequent restoration process, the transfer plus transfer and non-transfer of the ball is almost entirely induced. Any technical action needs to close the body’s power, but the most fundamental service or rely on the explosive wrist force, Ding Song in this area is very prominent. As for what point in the end touch the ball, you need to be based on the different circumstances of each person can not be generalized, and some people swing to the chest