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 Post subject: Dynamic Harmony
PostPosted: 13 Mar 2009, 21:33 
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Dynamic Harmony is a concept I created in 1989, and the first time it has been spoken publically is in my first training video, “Textbook Table Tennis”. It was such a fantastic concept that I shout my mouth for 20 years because I didn’t want any of my peers to steal it and make it their own.

I have to be honest in saying it was created out of frustration. It was partly formed during my participation in Tae kwon do as a kid before I started playing table tennis. Everything that was explained had a system with regards to the body, the punch or kick, and your opponent. That system made Tae Kwon Do simple and fun.

Once I started playing table tennis I found it difficult to understand exactly what the coaches was trying to say when he was pinpointing an area of improvement. So I used the concepts from Tae kwon Do and the first one was how the body takes action. For the second one I compared the kick or punch, to my stroke. Then I substituted the opponent for the ball.

Bang!! Dynamic Harmony was created, and it helped me create nearly perfect strokes, but more than that I created a perfect concept. I created a stroke system and I could identify the major and minor components. This article is about the major components that make up “Dynamic Harmony”. The first 2 components you can control, and the last one you can’t .

The 1st Component – The Stroke
Making the proper stroke is first and foremost. So let’s disconnect your stroke from your body for the time being. Whether you are making a hit stroke, loop stroke, push stroke, etc, you have to analyze the way your arm should move. That is one entity in itself, and it is important to create the correct pathway to playing the stroke correctly. If you are going to be looping, then the stroke should be speeding up through the contact. The arm should be at a 45 degree angle, because that is the proper loop stroke. That is just an example of 1 type of stroke.

The 2nd Component – The Body Movement
Now, let’s take a look at the body movement. So take your playing arm and put it in an insane asylum straight jacket. Is that playing arm tucked in nicely, ……………….. great? There is a way your body should move to play every shot. A great way to look at this is your shoulders and knees should be parallel to each other. No matter what happens with your movement, your shoulders should finish square to the table.

The 3rd Component – Contacting the ball (Top of the bounce)
The last component, which I call the alpha component, is contacting the ball at the top of the bounce. The reason that I call this the alpha component is because it does not change or compromise. The ball hits the table, then reaches the apex, then it descends. The reason table tennis so complicated is because the stroke and the body movement has to be in perfect unity with the top of the bounce. If you do this correctly the ball with get the most out of you. I know there are advanced shots that break down this concept, but I’m talking about for all the basic shots.

This sound very trivial to an intermediate player, but I have found it to be the quagmire that has plagued 100% of my clients in my 20-year career as a player and coach.

If you implement this concept you have more than a shot, you have a stroke system.

I will expand this article in my next post, and Article 2 will be on modifying components.

The link below is a video of snippets of Dynamic Harmony segments from the “Textbook Table Tennis” Video. Sorry I couldn’t show more, I put this together pretty quickly.

The “Textbook Table Tennis” Video is currently out, and can be automatically downloaded from www.dynamictabletennis.com for the quicktime or windows format, as well as a DVD hard copy to be shipped ANYWHERE in the world.

PS. 80% of my articles won’t have anything to do with selling anything, but this concept is the flagship concept for everything that I drawn from my entire career, and it crosses all levels. So please don’t mind the website/video promo.

I look forward to everyone’s feedback.

http://www.youtube.com/watch?v=sd206ezZ ... annel_page

Brian

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 Post subject:
PostPosted: 13 Mar 2009, 21:39 
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Thanks for the intro Brian! It's always good to remember the basics, I think it's easy to forget them as we think that we become more "advanced". I look forward to reading more from you. Thanks for joining!

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PostPosted: 13 Mar 2009, 21:52 
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No problem man. If you have strong basics, it will develop into strong advanced shots with no inherit weakness.

I appreciate the feedback

Brian

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 Post subject:
PostPosted: 13 Mar 2009, 21:55 
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Count Darkula
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I liked the vid Pacer, your movement looks like your just bouncing into position all the time. If your legs are no longer able to bounce like into position quickly like that that due to injuries (right knee arthritis, left achilles repair), do you have any ideas on moving into position in a compromised manner? Or do you think you can only do what you can do?

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PostPosted: 13 Mar 2009, 22:47 
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Reb

Hey, this may sound radical, but I would say to work on improving your handspeed by staying closer. If you have any type of physical limitation, then you have to create something to compensate for it.

If you can't move into position based on your knees, then staying closer will take less pressure off your body, especially your knees.

If you commit to this approach for 6 weeks, then you will finesse your handspeed and touch that you wish for them to operate in a different manner.

Give it a try, and let me know how it goes.

Pacer

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 Post subject:
PostPosted: 14 Mar 2009, 00:25 
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Hi Brian,
I just got back from China. There was a place just for ping pong in a city park and a little girl about 10 or 12 would show up with TWO coaches. They would do multiball for hours, some very complex sequences but that is exactly how she moved.
It does look like a little bounce on the feet after every stroke.
Thanks for joining the forum. I am sure you will be a great asset here. :D :D :D

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PostPosted: 14 Mar 2009, 06:12 
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Hi Brian

I am glad that you ahve come to the froefront with this information!

It makes sense, I usually try to explain the information of power transfer based on boxing. A boxer hits with his body not his arm. I assume that the martial arts is the same :)

Your video makes light of that CLEARLY :)


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 Post subject:
PostPosted: 14 Mar 2009, 08:18 
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Brian Pace wrote:
Reb

Hey, this may sound radical, but I would say to work on improving your handspeed by staying closer. If you have any type of physical limitation, then you have to create something to compensate for it.

If you can't move into position based on your knees, then staying closer will take less pressure off your body, especially your knees.

If you commit to this approach for 6 weeks, then you will finesse your handspeed and touch that you wish for them to operate in a different manner.

Give it a try, and let me know how it goes.


Interesting insight, something I look forward to proving on the table. :)

Now to figure out how to increase handspeed and forehand-backhand transition speed. :wink:

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Last edited by Yuzuki on 14 Mar 2009, 22:02, edited 2 times in total.

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PostPosted: 14 Mar 2009, 18:35 
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Impressive post Brian!!! Now I know I would like your game as I like another player's who was trained in martial arts before going into TT: Christophe Legout.

Thanks a lot

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PostPosted: 15 Mar 2009, 00:32 
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Brian Pace wrote:
Reb

Hey, this may sound radical, but I would say to work on improving your handspeed by staying closer. If you have any type of physical limitation, then you have to create something to compensate for it.

If you can't move into position based on your knees, then staying closer will take less pressure off your body, especially your knees.

If you commit to this approach for 6 weeks, then you will finesse your handspeed and touch that you wish for them to operate in a different manner.

Give it a try, and let me know how it goes.

Pacer


He he, have to like your post as I already do this most the time. In fact my problem is I get caught too close to the table too often given my limited mobility. I actually have to mentally force myself to back off or I am a target for a long ball to entrap me. And I have gone for lighter bats with decent power so I can increase handspeed. So thanks for your post Pacer, it seems I am doing exactly what I should be doing. Its great to have someone like yourself confirm that.

I also note that in your FH hitting in the clip you turn only slightly to your right and hit through ending up square to the table. No real leg movement or body twisting required. I've been told I should be moving my right leg back and twisting my trunk and coming into the ball with a saluting action. Do you think this is necessary for any FH shot, or should I be able to get away with the minor movement you display for most FH shots perhaps with just a bit more trunk twisting for harder loop drives?

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PostPosted: 16 Mar 2009, 22:07 
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Reborn

A great way to distant yourself from the table is to do a basic stroke, then leave your arm at the end of the stroke. After that, you should bend your knees, and if your racket can touch the table, then you are too close.

You should be about 2 inches from touching the table, and that distance will allow you move in to attack a short ball, as well as making an adjustment to play a deep ball.

How you use your body, stroke and footwork will vary from person to person. Every player loads their body a different way, and that is left up to the person to interpret.

It is a science, but it is not an exact science. If you make an attempt to implement those 3 basic components, then you stroke will find you. Once you have it, you can adjust it as you see fit.

Good Luck out there ponging.

Brian

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PostPosted: 16 Mar 2009, 22:20 
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Thanks Pacer!

If you'd like to follow my enthralling career you'll find it here:
http://oneofakindtrading.com.au/forum/v ... php?t=5691

I'm sure you have nothing better to do, and of course you would learn so much from reading it! :roll: :lol: :lol: :lol: :lol: :lol:

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S/U 3: Blade: Bty Gergely . No rubbers...thinking of adding Red Dtecs and Black Rasant
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PostPosted: 17 Mar 2009, 22:44 
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Nice read Pacer, IMO you have extensively broken down and explained the elements of good timing, something that lower and intermiediate players find difficult to grasp in their quest for power and consistency, forgive me for future use of the term 'Dynamic harmony' I've never been guilty of plagiarism though, credit will always be attributed to you. I'm not over keen on changing a players natural stroke, as long as it is consistent, footwork is well linked and stroke recovery is 'in tune' as I feel that its the individuality of a player that can set him above his compatriots, so I'm afraid my philosophy differs from yours when it comes to rigid 45 deg arm for F/hand drive, IMO it can make a player easier to 'read' when/if they get to an advanced level, I can see yr point though, Its like comparing Samsonov with Kreanga, they are both effective!

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PostPosted: 18 Mar 2009, 15:30 
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What's up D-horse

Thanks for you post. It is always a little different when you start to get into the details of the components.

Being able to read where the ball will be played is hard to telegraph if a player can implement this concept. But at the basic level it is hard to think about waiting until the last minute to commit to a position.

I have a set of video clips that proves this point, but it won't be out until I complete the next DVD on April 18th.

Stay tuned D-horse

Pacer

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PostPosted: 19 Mar 2009, 20:02 
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Brian Pace wrote:
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A great way to distant yourself from the table is to do a basic stroke, then leave your arm at the end of the stroke. After that, you should bend your knees, and if your racket can touch the table, then you are too close.

You should be about 2 inches from touching the table, and that distance will allow you move in to attack a short ball, as well as making an adjustment to play a deep ball.


Does this apply to players who use short pimples to attack or should they stand closer? If they should, how much closer should they stand please?

Thanks

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