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TSG TGS07 169p Per Prac Routines 150dpi PDF
TSG TGS07 169p Per Prac Routines 150dpi PDF
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Devised and introduced by Nic Barrow
No part of this book, entitled The Snooker Gym Training Guide Series., may be
reproduced or transmitted in any form or by any means or in any language, electronic
or mechanical, including photocopying, recording or by information storage and
retrieval system, or in any way used other than in strict accordance with the usage
permitted under the Copyright Act without the prior written permission of the
copyright owner.
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10 9 8 7 6 5 4 3 2 1
The intention of this series is to educate players, coaches, journalists and others
who are interested in any or all of the departments of this fascinating sport.
For the Training Guide Series, snooker has been taken down into its main
constituent parts, each one of which has its own edition in the series.
Each guide will give you a stated objective on the front cover, letting you know
what you will gain from knowing and applying the information inside.
Within each guide, you will first find a list of headings for an overview of the
subject. Underneath each heading will be a rough description of what you will get from
each section.
Each section goes into the nuts and bolts of the game, so that anybody wanting to,
can derive a fully comprehensive understanding of the game from the ground up. This is
particularly useful for individuals studying to become a Snooker Gym Instructor, and
forms part of the coursework for that programme.
Youth, others learning the game and those still improving their amateur status will
also benefit highly from understanding each part of the sport.
This level of detail is NOT, however, suitable for professionals and high level
amateurs about to play matches. While useful for pre tournament checks or pre season
study and performance development, the professional should always ask for what purpose
they need the detail. Their job is to concentrate on the business of winning, and taking
their game down to its finest components just before competition can take their edge off
the focus on results.
Other psychological and physical preparation methods found in other tools
available from The Snooker Gym are more suitable for players of this standard before
matches.
It only leaves me to welcome you to this bountiful garden of knowledge I have
been fortunate enough to discover, and wish you well in your quest for the kingdom of
snooker performance.
Nic Barrow.
Dubai.
July 14th, 2005.
Introduction.
Learning better than listening, and a brief history of this
guide.
Ways to practice.
Styles of practice, mistakes on purpose and OPP.
Other points.
NB, throw and New vs Old.
The practices.
Broken down into every area of the game, here is your ultimate
set of tests on the table!
This guide will take you through the major practice routines in the
main areas of the snooker, in addition to a few that have been designed
through necessity to illustrate certain points to players. It is always better
for a player to feel they have learned something themselves, so it is better
to have the player gain the lesson by going through one of these routines,
rather than by listening to a long explanation.
Each practice is self explanatory in its own right, and does not need to
be used in conjunction with any other practice in the book, although some
of the practices do have a logical sequence that work well together.
The Sweetshop Method would see you open the book in whatever
section or practice you feel like on the day, practicing for as long as you get
benefit.
The Bootcamp Method would see you make a rigorous plan whereby
you set aside a certain amount of time each day to practice certain sections,
ticking off the practices until you have completed every single one.
Finally, The Single File Method would see you start at the beginning of
the book and gradually work your way through every practice until you get
to the end of the book.
I have given a brief outline later on of the various ways that you can
mix up your practice for best integration of the lessons to be learned in each
one. As in body building, it is always best to change the types of exercise you
do to prevent the law of familiarity and stagnation.
Some practices have a lot of information and a lot of lines on the same
diagram. This is to save you searching through pages and pages of practices
and also reduces the bulk of the book you have to carry around.
Throughout the guide you will see numbered codes on how to strike
the cue ball.
H
H applies to the Height you will strike the cue ball and is the first value
you work out when planning how to strike the cue ball for your desired
position. There is a scale of 1-10 with maximum lowness on the cue ball
being H1, perfect centre ball striking H5 and the highest part of the cue
ball being H10.
P
P applies to the Power you will play the shot and is always the second
value you work out for your desired strike. The 1-10 scale starts with the P1
trickle shot that would push the cue ball only six feet or so without striking
any object ball. P5 represents half of the maximum power you feel you can
play while maintaining a degree of control over the cue. In reality, though,
even the top professionals reduce their accuracy when increasing power,
which is why you very rarely see them doing so. P10 is the most power you
can play whilst keeping your body more or less still!
L&R
L & R applies to the amount of Left or Right hand side required for a
shot. The ten point scale goes from L5 being the most amount of left hand
side you can play without miscueing, to L1 being the tiniest amount of left
hand side. R1 equates to the tiniest amount of right hand side and finally
R5 is the maximum right hand side you can play without miscueing.
So for example, when you need to pot a straight black and screw back
off the side cushion with a lot of side spin, you can apply more side spin by
playing H2 than by playing H1. You will still get enough screw back to get
where you want with the cue ball, but this option of cheating extra side
spin is very useful if you know when to use it.
H10 will often be written into a routine, but in actual fact should be
H6 if a professional was playing the shot. This is done for a safety margin
of accuracy when striking the cue ball. Most people reading this will be at a
less than professional standard and when aiming at H6 may indeed hit H5
by accident or through a subconscious need to play a stun shot if they are
not certain about the reaction of the cue ball when striking H6. This is a
deliberate error from my side even though H6 gives you less chance of an
early unintentional swerve of the cue ball, and even though H6 gives more
chance of a solid hit due to the fact you are striking a fatter part of the cue
ball.
A stop shot means a straight pot where the cue ball remains in the
place it was when it contacted the object ball. It does not mean that the cue
ball should finish where the object ball was, as that would mean the cue ball
after contact would be rolling forward the diameter of one ball. Whenever
a stop shot is mentioned, your target is to leave the cue ball motionless after
it strikes the object ball even if the cue ball follows through or screws
back one centimetre, you may be satisfied with the shot and continue your
practice, but you will not be allowed to call it a stop shot.
R5 applies to side of table shown, not the mirror image shot on the
other side of the table! In this case, you would need to use the mirror image
side spin which in this case is L5.
Plan your practice. This is the single biggest benefit you will ever give
to yourself in your practice time. Remember, Proper Planning Prevents
Pretty Poor Performance!
Feel free to write notes and tips for yourself in the margins next to each
practice, or simply record your highest break on the page of the practice you
are playing.
Below are some of the key patterns you can employ in how you practice.
Mix these up so that you maintain interest and at the same time expand the
range of your concentration and experience with each type of shot.
Mistakes on purpose.
This is a great way to break a pattern or habit, and by going more
deeply into a mistake you can often burn it out.
For example, if you are consistently missing on the left hand side of
the pocket your goal would be to miss even further to the left and then
differing degrees of striking to the left. If you know how to deliberately
repeat the mistake, you will find it easier to play it correctly.
Observe
Play a shot and Observe the path the cue ball takes. Keep playing with
different height and power, and Observe where the cue ball goes. If you
have any targets for the cue ball at this stage, you are NOT in the Observe
phase and therefore NOT following instructions. Targets are not allowed
here!
Predict
Play the same shot again, and now that you have had a bit of experience
Plan
In the final phase, you will use the experience you gained in the first
two steps to Plan where you want the cue ball to finish and work out the
way you think you need to play it to get this result. Keep refining the way
you play the shot until you get the result you want.
In order for you to get even more benefit out of these routines, you
can read Improve Your Practice, Improve Your Game, as well as Positional
Play Prowess from The Snooker Gym Training Guide Series which both go
into these concepts in more depth.
NB
NB stands for Nota Ben (which in Latin means Extra note) or Nic
Barrow. I have sometimes included this extra information after the practice
explanation where there is a subtle point worth mentioning, or interesting
note to make on the shot.
Throw
The cue ball throw, or curved path it often takes after contact with
an object ball if played with top spin or screw back, is often not shown in
the diagrams for simplicitys sake. If the throw was shown, it could also be
misleading because every table, and different set of balls, will react slightly
differently. This produces a different throw effect. It will be up to you to
Observe and then Predict this phenomenon at different speeds on different
angles on different tables.
New vs Old
New cloths are different to play on and easier to pot on than old
cloths. If you are not used to it, you will find on a new cloth that the balls
will seem to slide around as if on an ice rink. The pros who are used to this
would also find your table will play as if it were covered in glue. It is all a
question of practice and familiarity.
In addition, most people think the pockets on the TV are bigger than
at the club because the pocket is usually the object closest to the TV camera!
What they would find is that the cut of the rubber is much smaller and
this optical TV illusion is misleading. What the club player would notice
on their own table, though, is that the balls are accepted more easily into
a pocket when the cloth is new, and even more so if the balls are also new.
This is because the cloth and balls are more slippery when new and clean.
It only leaves me to wish you well on your journey into this path of practice
you are now on, and bid you ever lasting snooker improvement...
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A Hairs Breadth:
From the three cue ball positions, pot the black
into the right hand corner pocket.
Pot all three using no side spin at all and H6.
Yes - the pot from the green spot is possible!
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Cushions Repeats:
Start with the cue ball above the black, keep
potting the black into the same pocket,
every time leaving the cue ball above the black
to repeat the same shot.
Play to leave the cue ball on the line each time.
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To And Fro:
Pot the black from one of the cue ball positions
shown, and continue to pot the black into
alternate pockets every time.
Follow through the cue ball to the other
side of the black each time, ideaaly landing on the
corresponding line on that side of the table.
If you do not land on the line, you will need a
combination of stun or side spin with follow
to get back to the line.
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Stun Repeats:
Play the red into either top pocket,
middle pockets not allowed.
Finish below the black into either corner pocket,
play a stun shot to the far side of the red so that
you always pot the red into the opposite pocket
that you just played the black.
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The Fence:
Make a chalk mark for the cue ball, and from the
same place pot the black and cannon each red
in sequence from left to right.
Play with little power so that the cue ball
delicately touches the red when making contact.
No points gained for power here!
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Bunch Of Fives:
Pot five reds and five blacks.
Reds can only be potted in the middle pockets.
For extra interest, put the colours on the spots
and clear the table with 67 to win your
imaginary frame by one point.
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Cushionless Cricket:
How many consecutive blacks can you pot
without striking a cushion?...
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High Noon:
Pot eight reds and eight blacks.
Each red must be potted into the corner
pocket it is nearest to.
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Offset Red:
Pot a sequence of reds and blacks,
replacing the reds into their
position as you pot them.
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Sleeping Reds:
Place five reds slightly away from the top cushion.
Making no cannons, pot five reds and five blacks.
To make it a bit easier, use only three or four reds.
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The Ball:
Pot ten reds and ten blacks with no cannons at
any time. If ten is not achievable in the beginning,
start with three, and when you have
completed that play with four reds, and then five.
Continue this pattern until you complete The Ball!
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The Ladder:
Pot reds and blacks, always potting the red
nearest the black. Reds can pot in any pocket,
but to make it harder allow yourself to pot
the reds in the corner pockets only!
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Twin Towers:
Pot eight reds and eight blacks.
Each red must pot into the corner pocket it is
nearest to.
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Zig Zag:
Pot ten reds and ten blacks.
Always pot the red nearest the black, and into
corner pockets only. If you want, finish the
exercise by potting the tenth black, going up
for the yellow, putting the colours on their spots
and clearing the table for a107 break.
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A Slice Of Luck:
To make your own luck when
splitting the pack, you have to
be able to control the cue ball.
A great way to do this is to
extend the line the cue ball
takes when hitting each red
of the pack. Play to cannon
the reds on the cushions
without the pack of reds in
place. Then play the shots
in the same way, only this
time with the relevant edge
red of the pack in place to
prevent the cue ball
reaching your target red
on the cushion.
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Double Top:
Place the cue ball just off straight with the black.
When below the black, keep testing until you can
place the cue ball in the correct location to play
H10 P8 and strike the pack.
When above the black, play H10 P8 R4. The right
hand side will help speed up the cue ball
around the two cushions to give a better pack split.
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The Double V:
From the same cue ball position each time,
play every shot of this routine H9 P8.
Start with R5 and gradually progress through
to L5. You will then see that even though
the cue ball strikes the cushion in the same place
each time, by controlling the amount of side on the
cue ball, you control its direction.
NB - this routine will show different reactions
of the cue ball when using tables with cloths of
different ages or thicknesses.
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The Double W:
From the same cue ball position each time,
play H10 at pocket weight to cannon the far red.
Gradually increase the speed of the pot with H10
until the increased speed distorts the angle.
Eventually with P8 the cau ball direction will
distort enough to hit the near red.
All from the same cue ball angle!
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Cushionless Cricket:
Keep repeating the pink,
without the cue ball touching any cushion.
Keep going for as long as your concentration
and cue ball control hold out.
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Ten To Top:
Pot ten reds and ten pinks.
All pots into the top pockets.
No cushions!
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Close Quarters:
With the cue ball one ball travel to the pink,
pot the pink in the middle from the five different
positions shown.
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Double Jaws:
Play pinks into the middle until you have
struck both jaws of the middle pocket -
without going in off.
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Down to a T:
Pot the ten straight reds, H10, to make position
for the pink into opposite corner.
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Lo Zig Zag:
Pot six reds in the corner
with six pinks in the middle.
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Pink Slams:
Time for power!
From any five cue ball positions of your choice,
play the cue ball P9 to develop your confidence
with playing at pace into the middle pockets.
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10 RPs:
Pot ten reds and ten pinks.
All pinks must be potted into the middle pockets.
Use of cushions is allowed!
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The Clock:
Start with the cue ball in any of the four positions.
Pot the pink and leave the cue ball in the next
clockwise position.
Using no cushions at any stage, keep rotating the
cue ball around the clock and see how many pots
you can make.
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Cushion Cricket:
Keep playing blues in the middle pockets only.
You cannot go for more than three shots
without the cue ball touching a cushion.
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Mirror Image:
H10, pot the blue into the middle pocket,
and keep repeating the process. No cushions
are allowed, and you can only pot the blue into the
middle pockets.
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Ten Dollys:
Pot ten blues from the positions shown.
Play each one so that the blue only just reaches
the pocket.
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Three By Three:
Play the blue into the middle pocket, H10.
Keep adjusting the position of the cue ball until you
can place the cue ball in the correct position such
that when you play H10, the cue ball strikes baulk
cushion, then side cushion, then top cushion,
then your desired colour.
Your target is to make three successfull shots:
make a cannon with the blue,
then make a cannon with the pink,
then make a cannon with the black.
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H4/5L2
H10
(L1if
need
be)
H10R2
H10R2
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H10
H4R2 or if
you have
a lower
angle on the
black, play
the H6
stun shot.
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H1L4
H1/2
H2/3
H2L5
H1
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H3R2
H10, or an H6
stun depending
on exact cue
H10R4/5
ball angle.
H10
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H1
H1/2
H1R4/5
H1
H10
from very
low on the
black,
or an H4-6 stun
shot from a
slightly higher
angle.
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H10 - follow
or depending on angle
H6 - stun
H3/4
H5 H10
H10
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H10
H10
H5R1
H6R5
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H10
H10
H4/5
H2L3
H10
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H2/3
H4 H5L4
H5L4/5
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NB -
Bringing the cue ball just a few inches closer to the
cushion than is perfectly comfortable will get you
used to potting the black with your forearm
resting on the cushion, rather than resting on
the table bed.
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NB -
Playing with screw back will help you to control
the direction of the cue ball toward a safe
locationnear a cushion, as well as keeping
a reign on the speed of the cue ball.
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The Pink Follow Keys:
The six major shots for getting on
the black from the pink, using H10.
Find the angles you need to have on
the pink to get the positions shown.
NB -
the cue ball position
shown directly below is
preferable to trying to
play with check side to
bring the cue ball closer
and lower to the black:
K eep I t S imple S illy,
and you should be good
enough to pot the black
from here anyway.
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H3 H1
H1
H10
H1 H10
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H5R5
H1/2
H8R4 H3/4
H4L3
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Colours Crucifix:
Pot fifteen reds and fifteen colours.
You may pot pink and black only once - at the end
of the clearance.
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Cushionless Colours:
Clear the colours without touching a cushion.
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Repeating Colours:
Clear the colours.
After potting the pink,
replace colours, pot the
black and make position
for yellow to repeat
the cycle.
Lines show ideal angles
to finish on each colour.
The higher angle on the
black is the position
for the cue ball to strike
top cushion only in
making position for the
yellow.
The lower angle is for the
cue ball to strike top and
side cushions.
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Reverse Colours:
Clear the colours in reverse order.
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A Dime A Dozen:
Make a twelve red break of 84.
Pot the four reds nearest blue with blues,
pot the four reds nearest pink with pinks,
pot the four reds nearest black with blacks.
If you wish, add the colours for a nice111.
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Colour Tennis:
Pot alternater reds and baulk colours.
You can pot any ball in any pocket.
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Line Up Options:
Clear the table, keeping a note of your highest
break in each configuration.
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Pink Tennis:
Pot five reds and five pinks.
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The Christian:
Pot pinks and blacks with all reds.
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The Fan:
Pot twelve reds and twelve colours.
No cannons!
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Rabbit Chase:
Pot the four colours, straight pots, H10.
Follow the rabbit, or cue ball, into the same pocket.
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Space Invaders:
With the yellow on the side cushion as a distance
guide, see how many reds you can pot out of ten.
Play perfect stop shots on all, sending the space
invading reds into the corner pockets.
Once you can make 7/10 at this
distance, bring the line of cue balls back a few
inches until you can get 7/10 and so on,
gradually increasing the distance.
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Step By Step:
Pot ten straight reds, with a
perfect stop shot on each to
leave position for the black.
Move each red so that it is a
perfectly straight pot.
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Hendrys' Wall:
Snooker legend has gone on record as saying he
has potted all twenty one of these straight stun
shots with the cue ball played from the baulk line.
How many can you pot?
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Progressive Blues:
Pot ten blues on each side of the table from the
positions shown.
In addition to the benefit of progressive practice,
this exercise will also get you comfortable with
your body and bridging arm being in different
positions relative to the cushions. The
cushions can sometimes push you slightly off
balance without us realising it.
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Progressive Reds:
Pot ten reds on each side of the table from the
positions shown.
In addition to the benefit of progressive practice,
this exercise will also get you comfortable with
your bridging elbow being in different
positions relative to the baulk cushion. This
cushion can sometimes push you slightly off
balance without realising it.
You will notice on this practice that the
elbow rests either in front of or on top of the
baulk cushion depending on the side of the table
you are playing from. If not, bring the cue ball back
or forth one or two inches until you find this effect.
You will then feel a shift in balance as your bridging
arm finds itself higher on some shots and lower on
others. It is your ability to be comfortable in any of
these positions that will lead to greater control
and enjoyment in the game.
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Progressive Whites:
Pot seven reds on each side of the table from the
cue ball positions shown.
In addition to the benefit of progressive practice,
this exercise will also get you comfortable with
your bridging elbow being in different
positions relative to the baulk cushion.
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Blue Sweep:
Pot five long blues.
Make position for pinks from each position,
or for blacks from each position,
or simply play the same height and power on every
shot and Observe where the cue ball goes.
Repeat on the other side of the table.
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H1
H2/3
H2 - drag shot.
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Pink Sweep:
Pot five long pinks.
H6 to leave the cue ball on the baulk cushion.
Repeat on the other side of the table.
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Six Recovery:
Play six reds and six blues.
Reds can be potted in any pocket, blues can only
be potted in the baulk pockets.
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Thinning Sweep:
Playing H6, pot each red once, leaving the cue ball
as close as you can to the baulk cushion.
Repeat on the other side of the table.
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Cushion Hugger:
Play the cue ball H8, varying the exact
position of red and cue ball to see what
speed you need on different angles, and
just as importantly whether the red will
end up safe or in a potable position.
Play to cannon the yellow
with the cue ball.
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Emergency Services:
When there is no other option,
usually at the beginning of the frame
with lots of reds open... you will
occasionally have the chance to play
this wonderful shot.
H10, no side, and make you play
with enough power...
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Figure Of Eight:
Playing H6R4, OPP the shot
until you feel confident enough
to play the snooker behind the green.
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Heavy Reds:
Make a very small chalk
mark for white yellow
and red nearest
the cue ball.
The yellow is an aiming
guide only, such that if you
were to aim to hit the yellow
full ball, you would strike the
red nearest the cue ball a
quarter ball contact.
Repeat this four times with
H6P5, but each occasion
you play the shot, remove
one red from the line of
four that are all touching
each other.
You will then see the
difference in cue ball angle
from the red when it has the
wieght of extra reds behind
it. This is why it is important
to inspect a tight pack
of reds before you
play a safety shot
off them - you may
have to adjust your
aiming according to
how many balls are
touching your target ball.
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The Trampoline:
Strike H6/7, perfectly full ball on the red.
If you do so, and judge the speed properly,
the cue ball will come back between the yellow
and green goal posts.
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NB -
Depending on the table
and balls you are using,
the cue ball may need to
be in a slightly different
position to convert your
half ball contact into
an in off.
After you have got
the angle, play it
100 times!
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NB -
Do not put the cue
ball on the gren spot.
Firstly, the spot may
be very slightly
outside the D, in which
case you will play a
and lose the frame.
Secondly, there may
be a slight lump or
ditch in the spot,
in which case the cue
ball may be diverted
from its intended
path.
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NB -
This is a great way to test if the table is level.
It will also test your ability to easily find the centre
of the cue ball from different lighting positions.
The lamp shade is (usually!) central along the
length of the table which means that the shadows
on the cue ball are slightly different when the cue
ball is in different positions on the table.
It is finding the centre of the cue ball despite these
various shadows that makes a good player.
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Cushion Pickings:
Whenever you pot any of the open reds, replace
them. Your target is to make position on a colour
to then pick the reds off the cushion with the cue
ball. Do not open a red when potting a red.
You are permitted to pot any red along a cushion.
To make it even harder, take two of the open reds
and put them on the baulk cushion.
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Cushion Test:
Roll the reds slowly into the four pockets.
As the red travels toward its pocket,
observe if the table is level or not.
If it is not, you will have to adjust your aiming
until the balls drifts off line but still goes in.
If the table is still drifting off too much, you will
have to resort to playing with a bit more speed
so that the red does not have the chance to roll off.
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