DEVELOPING A PITCHING IDENTITY AS TO STYLE, STRATEGY, SEQUENCE AND TEMPO  -  How often have pitchers been two pitch types (fastball and curveball) with a close and strong mastery of each of these pitches, and then ultimately evolved into four-plus type pitchers to gain superiority over hitters (not recommending this until two pitches are mastered)?  It is imperative, in my opinion, that a curve always precedes a slider in development, and that the fastball is always the premier pitch in the schematic and remains so.  To have in the pitching kit a - fastball (FB), curveball (CB), slider (SL), and change-up (CU) will round out a full menu, with the splitter (SP) on the back burner and sinker (SN) looming on the horizon, as the next members.   This gives the pitcher the identity of a full-house hurler, who can give you any one of these pitch types, and vary the response and sequence against certain hitting types (ex. wide and deep stance, closed and crouched,. tall and straight up).  Evolving with these aforementioned pitch types and employing a system of location, speed variation, and sequencing makes the developing pitcher a potent entity for any hitter.  The essential rule should be mastery of  each of these pitches, before they are put on the market.  Fewer may be better, as non-mastery of several is surely wasteful and futile in function.  Having two high quality pitches is undoubtedly more valuable than having five mediocre pitches.  Pitchers need to identify the direction they are heading in terms of pitching style, and fit this with their ability and preference, and select a style that complements their stuff.  JB  (10/26/09)

THE IMPACT OF UNDERSTANDING AND MASTERING STRIDE LINE MECHANICS  -  Having used the previously devised "DOUBLE BAR T" drill for many years, I'm always satisfied with pitching subjects' comprehension of alignment and direction in the throwing of a baseball.  It has, however, been noticeable in those not aware of this drill, that there are many violations of stride length, foot position, and alignment ,which occur during the production of a pitch.  Stride length and velocity are intimately linked, as are accuracy and stride length.  Not retaining optimal closure is another likely error for those not familiar with stride line graphics. Many problems in mechanics can be cured, often quite simply, by subject awareness of the configuration of the "Double Bar T"  drill.  In describing this drill without a chalk board, it is imperative that the reader or listener see in his "mind's eye", the position of the two  "T's".  One T makes the back of the T construction, and the other makes the imaginary  "wall", that is so crucial to drive line mechanics.  The stride line itself is a horizontal designation directly to the target.  This is the absolute guide to where the ball should be going, and in this respect is really the true measuring stick in pitching control.  One should be absolutely sure of his "sweet spot" here, i.e., where it is comfortable, convenient and accurate for pitch delivery.  Highly successful pitchers always recognize their touchdown spots and rarely veer from these critical locations.  Putting down tape on the gym floor or lime on outdoor spaces can bring about a visible guide line for the "Double Bar T".    JB  (10/25/09)

SYNCHRONY IN PITCHING -  To be able to throw well and with power, muscles of the legs, hips, lower back, shoulders and arms must work together in a cooperative and harmonious sequence, which is regarded as SYNCHRONIZATION in pitching.  This is truly a beautiful sight when done well, and an appearance of effortlessness and fluidity rings through.  Muscles cannot be working and going in diverse directions, but rather functioning together in a continuum.  It's the function of all the muscles cooperating during the whole pitching event that surely gives the pitcher the distinct edge in efficiency.  Good pitchers have a repetitive motion, which constantly builds up muscle memory. Of course this is really in the mind, but muscles respond in a productive way, when they are trained continuously in a similar style. Speed can be generated in an easy ,almost effortless manner, when correct repetition succeeds motion that originates from effective instruction and efficient training.  Getting the bottom of the body interacting with the upper quadrants in a collaborative manner is where the science is.  Synchrony in pitching should always be a goal for the seriously motivated pitcher.   JB  (10/24/09)

PITCHING WITHOUT THE ARM  -  When it becomes difficult to understand that it isn't all arm when it comes to pitching power, one should try this next unique drill, which I developed for one of my recent pitching camp seminars.  It was particularly provoking, because my group, which was made up exclusively of high school age juniors and seniors and college freshmen were startled to recognize the complete impact of the torso in pitching.  Long stressing the effect of the legs and the hips along with the core system in producing velocity in pitching, it was revealing how little the arm meant in total power production.  On the other hand. the arm is the supreme benefactor of these other forces, and that's why it ultimately functions strongly.  Sitting in a chair and throwing a ball rather dramatically makes one realize that the lower body, which is being left behind in this event is such a "powerhouse".  Sitting on the ground or floor and trying to throw produces the same conclusion.  To make this event more functional, I designed the stride drill with the pitching hand in the back pocket to progress as a "dry" drill as usual, but with this magnificent quadrant (arm) on sabbatical.  I also intensified this drill by bringing up the lift leg into the "load" position.  There are now three quadrants and the core in operation, and the energy produced here is suddenly recognizable as a power source for the arm.  This is now the "set stride" drill and with a vigorous step to the stride line staying closed until foot plant, now rotating forcibly, it will be very noticeable that the arm tries to fly off (sling shot effect).  This should be done repetitively until some comfort comes about.  Now put the arm into play by removing it from the back pocket and one perceives and appreciates the union of force and the actual collaboration of the quadrants and core to generate this magnificent happening known as a "pitch".  JB  (9/28/09)

THE ART OF PITCHING WITH THE LOWER BODY  -   I suspect what we are talking about when we mention "upper torso." that we are really referring to the shoulders and arms.  Anything below could be considered core and lower torso.  The gist of this treatise is to seriously hone in on the lower body as the power source in pitching.  We need to aptly describe the tremendous involvement of the legs and the subsequent loading sequence in employing these quadrants.  Many people are in tune with their upper body; however, the pending artistry may be coordinating the legs and the lower body to perform the vital task of power production in a pitch.   This is a business unto itself, and as pitching refinement continues with a gesture toward higher level output, we also need an understanding of the intimate details in accomplishing such.  Some ideas involved are: 1) The seriousness of pitching with the legs; 2) Working and developing the CORE; 3) The "Loading" phenomenon; 4) Balance and alignment; 5) Synchronization; and 6) Pitching without the arm (drill).  JB  (9/27/09)

WORKING AND DEVELOPING THE CORE FOR PITCHING POWER - MANY PITCHERS THROW FASTER  THAN PEOPLE DRIVE THEIR CARS!  - Only by using every muscle from the back foot to the very finger tips can a pitcher generate enough directional and rotational force (sling shot) to release the ball at some truly amazing speeds.  It has been estimated that 60% of the power in pitching - that is in the production of a strong fastball, is produced by the core apparatus of the body.  To understand the precision of the core, we have to get a precise definition of the "CORE".  We want to get away from the "ABS" only concept, for that is only a fraction of this vital part which makes up our inner musculature.  While there are NO aspirations to make an anatomical lesson here or in the following, there still needs to be a specific identification of the components of the core system.  Residing within the core proper is the: 1) Rectus abdominus muscle group (ABS); 2) external obliques (abs) 3) intercostals (rib muscles); 4) pectoralis major and minor (chest muscles); 5) lower deltoids (shoulder muscles); 6) erector spinae (lower back muscles); 7) gluteal (buttocks muscles); 8) upper hamstrings; and 9) ileopsoas.  Therefore working on these precise muscle groups (the core musculature) through precise exercises will bring about a strong core structure, which in turn will power the main quadrants.  This is the prime directive.  Selecting exercises using resistance, which will affect the aforementioned muscles, will surely accentuate the strength of the core, and assist in its power transfer to the pitching process.   JB  (9/27/09)

REMOVING THE BATTER'S DECISION TIME  -  Today's batters are surely sophisticated in hitting a serious fastball (95+mph).  They have .25 seconds to delivered the bat to the ball (but they can do it).  In addition, these august hitters are adept at recognizing the type of pitch.  This all takes place in the lapse of micro seconds.  Then, what to do if you are a pitcher and are interested in combating this incredible talent that today's modern batter has?  This is hardly to demean yesteryear's hitters, who without specific training (video apparatus, software designed to help recognize types of pitches), were able to achieve some very remarkable feats and accomplished some lasting records.  Today's batters are taught to recognize types of pitches (no small feat if they are in the high-velocity range), and then to determine where the ball is located, and then whether they should swing  at the pitch or not.  This is a big order, recognizing that there is a time factor on this situation called DECISION TIME.  The breaking  or off-speed pitches perhaps offer a longer look and appear to be easier to cope with, but because there is a trajectory and angular dimension to these pitches, the chore becomes more difficult than it might seem.  Reading the ball and consequently the pitch-type surely is an art, but this is being preached by the more enterprising hitting coaches and instructors. Surely this should cause the related enterprising pitching instructors  to recognize the need to serve up a menu of complex sequences that will offset and re-challenge these reinvigorated good hitters, where the advantages can be turned in the thrower's direction. This battle has been and will be ongoing as long as technicians are performing the extra duty in refining the great game, and the wonderful confrontation of the pitcher-batter phenomenon is intensified.  JB  (9/26/09)

ELEMENTS OF A BALANCED LANDING AND ALIGNMENT IN PITCHING  -  All of the wonders of utilizing the 4 quadrants and the core system in the throwing of a ball have no meaning if balance isn't maintained, not only throughout the kinetic sequence, but particularly in the landing event (and foot plant).  Also if precise alignment isn't followed to a "T", it is unlikely that a highly effective pitch can result, even when core and quadrant systems are in order.  Striding to the stride line, with a slightly closed front toe on the ball of the landing foot, is not only critical to alignment, but also for the impending necessity of balance.  Only when the body proper reaches a stability in weight distribution, and an optimal rotational positioning occurs, can a resultant pitch be made that encompasses all the inertial and kinetic energies that have been initiated from the outset.  The balls of the feet are always the advisors to proper balance, and this needs to be addressed with breakdown drills involving touchdown, foot plant and torso rotation.  When the back foot is employed in the rotational effect, it is probable that the action of the hips produces a vitally strong kinesis, because of the pivoting action brought on by the ball of the back foot in conjunction with the pivoting of the front foot upon foot plant.  This is where the artistry resides.  This is where balance, power, and alignment fuse.  This is so absolutely necessary in excellent pitching.  JB  (9/25/09)

THE "LOADING" PHENOMENON IN PITCHING  -  The following parts of the body, when delivering a forceful pitch need to be primed (or set or loaded) prior to their ultimate contractions and release.  The parts that are truly involved are: 1) the back leg; 2) the hips (pelvic girdle); 3) the shoulders )pectoral girdle); 4) the scapulae (shoulder blades); and 5) the arm (on the back circuit).  Lets take these individually -  1) the back leg - the lower leg from the knee down needs to flex (bend slightly - not a drop and drive type) and the back foot needs to be set against the pitching plate, and get the ball of the foot driving against the "rubber".  This is truly where the serious kinesis begins.  2) the HIPS - the pelvic girdle which is such a powerhouse ,and together with the core structure is responsible for most of the power, particularly the rotational energy which in turn causes the velocity expression.  Bringing the front or lift leg up to a level above the belt and leading with the front hip is a way to get the hips set.  Bringing the point of the knee towards the back shoulder effectively loads this powerful quadrant system, replete with all the intricate muscles involved.  This can be felt and needs to be practiced "dry" to get a comfortability in its loading effect.   At this time the 3) front shoulder needs to be pointed to target with the chin residing over this "bead".  This is a form of pectoral girdle load.  The scapulae (shoulder blades) pinched together creates a measure of scapular adduction and finishes the shoulder loading phenomenon.  4) The arm as the hand breaks goes into the juncture of 1st wrist, and this initially loads the arm and prepares the back casting of the arm to reach into high-cock, which is a second loading point (note fingers need to be on top here - actually a form of loading).  The arm circuit will be embellished by the forearm layback position as the hand passes the ear.  If these loading areas are approached accurately through repetitive "dry" mechanics, it is likely that a refreshed fastball will emanate.  JB  (9/24/09)

THE AMAZING 3-FINGERED CHANGE-UP  -  The pitching gods and the general pitching world have embraced and promoted the "OK" or circle grip as its favored change of pace and as an effective pitch over the years.  This is rightly so and has proved to be a very sound change-up approach; however, I have found that experimenting with a 3-fingered variation often produces a better "feel", better control, and a consistent sinking almost  "screwgy" effect, particularly when pronating.  This has been true for many searching for a usable off-speed pitch.  This grip has a comfortabilty for me, and allows me during instruction to demonstrate easily the arm speed and pronating release, which tends to guarantee a "sink"  in the majority of instances when experimenting with this pitch.  Begin with a 2-seam approach either with horseshoe down and middle finger along and between the seams, or with horseshoe up and middle finger across the seams. These seem to be the preferred types for best activity and deception.  The index and third finger are to the extreme sides of the ball, making the middle finger the prime activator, and the thumb resides in the center of the ball at its bottom (this can and should be adjusted experimentally).  The middle finger remaining on the ball longer tends to guarantee the lowness of the pitch.  The index finger quite naturally turns in and causes a pronation of the ball which gives it its sink.  Frequently the pitch takes on a screwball effect, and the pitch is exclusively low ,enhancing the movement and the effectiveness, certainly all worthy of developing.  JB  (8/25/09)

THE TWO EDGED SWORD - VELOCITY AND MOVEMENT  -  In our pursuit of this highly-prized combination, which is both  literally and figuratively the "HOLY GRAIL" of pitching, we come to recognize that the compatibility of the two most prolific and sought after characters, i.e. velocity and movement, is not always present.  When it is, there is a remarkable coalescence of potencies, that causes one to watch and admire the integration of these two critical and distinguishing attributes.  The resultant quality in the pitch is a treasure to behold, as few are able to accomplish this phenomenon.  The Magnus Force, always at work, can negate one from joining the other, so that the harder or more velocity one puts on the ball, frequently the less it moves.   However, when certain levels are considered, and the factors of rotation (amount and direction), trajectory, elevation of the pitch, and many times humidity and leverage - the two can conjoin and become the all powerful "Two Edged Sword".  Searching for proper rotation and amount, and correct release angles and recognizing the necessary "slot" for optimum conjunction, should be an on going project, as the result far out weighs the effort put into it.   JB  (8/9/09)

MELDING TRAJECTORY, ELEVATION, ARM ANGLE, HAND AND FINGER ANGLE, AND ROTATION TO CREATE A PRODUCTIVE PITCHING SLOT -  I've always recognized that some pitchers have a "slot" or groove, where their stuff, particularly fastballs, act and are at their best.  Some have drastically less action when they wander very much out of this slot.  Obviously there are forces at work which have a strict effect on this phenomenon.  They may be natural events such as: a) gravity; b) the Magnus force; c) humidity; and d) air pressure, which the pitcher has little or no control over.  Other areas, which factor in, likely are: a) trajectory (vertical and horizontal); b) elevation; c) velocity; d) quality and amount of rotation on the ball; and e) arm and hand angle.  These factors can be controlled - certainly to some extent at least by the knowledgeable pitcher.  These areas surely are addressed regularly by most pitchers striving for excellence.  All of these aforementioned elements, taken in some kind of unison, tend to compound themselves and bring about a consistent and effective pitch which is at its best in the "late" zone.  Such quality on all pitches is highly desirable and needs to be worked upon and pursued by motivated aspirants.  Working with these individuals, who have accomplished the foregoing, is indeed a pleasure, and it is a task worthy of looking forward to and placing serious attention upon.  The outcome is a highly-prized fastball, etc. with movement consistently, truly a measure of progressive pitching.   JB  (8/8/09)

THE MEETING OF MAGIC MOMENTS IN PITCHING (All part of the immaculate kinetic chain)  -  When we speak of delivering a pitch, we are observing and analyzing a series of mechanical events, quite appropriately termed the kinetic chain.  In the flow of motion energy, there are some junctures, where a particular phenomenon exists, which is emphatic in bringing about a dramatically positive occurrence.  I refer to these points as "magic moments," for the sole reason that a very productive happening results.  I suspect that there are a minimum of four or five of these remarkable moments, which could easily be defined as "magical," because they are loaded with potential for great doings.  There may be more or less than this number, but my awareness of the pitching process suggests there are five distinct happenings in which a so-called effective or efficient point in time occurs that is likely to produce an extremely positive event.  These highly magical times are : 1) hi- cock to release point; 2) hip load and lead; 3) directional thrust and stride; 4) complete torso rotation upon foot plant; and 5) back leg release.  They are not necessarily in any kind of rank order, but sequentially they would come about thusly: a) hip load and stride-out; b) hi-cock launch stage; c) torso rotation; and d) back leg release.    JB   (8/2/09)

TRAJECTORY IS EVERYTHING - Enhancing the Vectors !  -  When establishing a pitching slot that favors the type of stuff a pitcher throws, one should consider the tremendous advantage of the downward plane.  This extremely advantageous vertical vector brings the ball contrary to the comfort zone of the batter, who would like the ball coming in on his bat/swing plane, which would be less downward.  When everyone is emphasizing movement, and I surely belong to this genre, it can embrace changing arm angle, which is usually lowering it to get movement and consequently removing the vantage of a vertical vector, which may have been more detrimental to the batters line of vision than movement would produce by itself.  Coming from high to low and commanding the lower part of the strike zone is surely a dilemma even for the outstanding hitter.  The line of vision, which is so all important to the disciplined batter, changes now as the ball comes in on a tilted or slanted plane, and the visual totality of the ball vanishes to only the top half of the ball.  This is particularly bothersome to the astute hitter who thrives on exactness.  When the horizontal vector is also intersected, particularly in the strike or hitting zone, pitches such as sliders and great curves, as well as live fastballs, can all appear to have late break.  These are enhanced when a smooth and efficient downward plane is incorporated into a pitcher's basic style.  Arm angles do not have to progress into strict overhand to accomplish this, but can involve 3/4+ and 3/4 angles.  Hand and finger angle can generally accommodate the movement concept.  Change-ups, sinkers, and splitters can be enhanced out of this downward approach.   JB  (8/1/09)

HIPS GALORE IN PITCHING VELOCITY  -  The pelvic girdle (hips) is the great connector of the upper torso  and together with the core and lower system as well, is the activator for the powerful rotational energy that is created and manifested in the correct delivery of a pitched baseball.  The pelvis supports the weight of the body from the vertebral column.  The girdle's function is to attach the lower limbs to the axial skeleton.  The hips then become the "powerhouse."  They need to be set and loaded correctly and unleashed at the proper moment to furnish the great rotational power necessary to transmit energy ultimately to the fingers and the ball.  However, this rotational effect is something that continues on and finally the shoulders and the pectoral girdle rotate.  The arm becomes the great benefactor of the body's centrifugal force in the delivery of a pitch.  This is where the arm gathers up this turning energy and marries it to the directional force.  The arm, which is essentially a whip  and has its own leverage system, is truly the receiver of the larger body's kinetic energy flow initiated by the cocking and unloading of the powerful core and hip mechanism.  At the moment that the complete torso rotates, there is a synergy that takes place, where a multiplication of force and power join in the wonder of a beautifully executed mechanical event known as a PITCH.   JB  (7/25/09)

THE CATCHER HAS TO MAKE THE PITCHER FEEL COMFORTABLE !  -  A catcher has to make a pitcher feel comfortable, and must want to catch even when it's just practice and not a game.  If he really doesn't like to catch, he should vie for another position.  A catcher should never fight a pitcher, and above all never make the pitcher fret or worry about him.  I've seen pitchers who obviously had poor or even terrible relations with catchers, and the manager came out and removed  the catcher.  I'd be inclined to do the same.  A catcher should realize completely that he is there to help, and get the most he can from the pitcher.  This requires a concern for the pitcher's frame of mind when delivering a pitch.  A pitcher brimming with confidence as he unleashes a potent pitch, because he knows his catcher believes in him and wants him to throw well, is a wonderful sight.  When two are working as one, remarkable things happen.  While one must be observant of a catcher's constant potential contact and colliding possibilities, and sometimes physically demanding positions, it certainly comes with the position, and outstanding catchers are borne out of their capacity to endure and lead at the same time.  A catcher who makes his pitcher feel as though he can beat anyone is worth his weight in gold, and surely must be remembered on his birthday.  Keeping the umpire on your side and framing (shaping) the ball is an art, and one should never upstage the umpire by holding the ball too long.   JB  (7/12/09)

THROWING A SINKING FASTBALL  -  I'm asked about this frequently, so I need to address this concern.  Most of us who are RHP'S have been dissatisfied with our FB'S from time to time.  Either the velocity is short or the action on the ball is dull.  LHP'S don't seem to have this bland quality to their FB'S, hence the option of learning a a sinker is in order particularly for RHP'S.  First of all, a "sinker" is a sinking fastball, and it is thrown with two seams.  As with most two-seamed fastballs, it will veer and often go down, when low or "sink".  It is an extremely effective pitch and doesn't require great amounts of velocity, although a "power" sinker, which is a version of the conventional sinker, does have a lot of velocity to it.  Few can throw  a potent "power" sinker, but many can throw an effective typical sinker with a lot of success.  The ball would generally have a 2/8 rotation (RHP), and pronation upon release is an absolute.  Arm angles can vary some, from 3/4- to 3/4 to 3/4+.  Sometimes, a pure sidearm angle can result in a sinking FB, but this isn't really recommended.  One must command the low strike zone with a sinking fastball.  The batter must be deprived of seeing the entire baseball in its flight, where he thrives on looking right at the center of the ball.  This should be counteracted by having only the top part of the ball readily visible, and the consequence of this ball fading in or out and down.  Pitches effectively thrown in the lower part of the strike zone with corresponding 2/8 (RHP), 10/4 (LHP) rotations invariably wind up as ground balls when contacted.  Ground balls do not usually become extra-base hits.   JB  (07/11/09)

COMMANDING THE LOW STRIKE ZONE  -  An art form that is overlooked, which is very characteristic of winning and successful pitchers, is the ability to consistently place the ball in the lower part of the strike zone. This is not to imply that one wouldn't throw the ball high to establish an up and down concept, in order to change eye level.  As one progresses to levels where hitters become better and are more difficult to get out, it remains constantly true that low pitches do less damage offensively when hit, and are more likely to be "out" pitches than their higher cousins.  This is the probable venue, because the batter is looking at the top half of the baseball, while any pitch above the belt gives the batter the full view of the ball.  This type of pitch, when hit, is probably going to be hit up and go long.  Lower pitches are invariably faster, move more, seem to "sneak-up" more and often are hit as ground balls, which generally are limited to one base if they get through.  Lower pitches seem to vanish when on the corners, and when speed is removed, as in a change-up.  Commanding the low strike by a pitcher that has a downward plane, and consistently pitches from a vertical trajectory ,has a definitive, detrimental effect on hitters desiring to see the ball on their own plane of vision.  Removing this plane by having the ball intersect the horizontal plane gives the pitcher the advantage in this battle of illusions.   JB  (6/15/09)

WORKING ON FLAWS AND WEAKNESSES (Making them into strengths by working with the Laws of Nature)  -  Identifying flaws and weaknesses in the pitching system is an art in itself.  However, working on these flaws, and making them into strengths is a greater art and should be high on the developmental menu.  Those who can work on weaknesses and make them into strengths are usually great performers.  It requires a discipline characteristic of high achievers.  It sounds like a great idea, but in actuality, few accomplish this.   Those that do have a consistent regimen of work and are highly motivated with an advanced sense of progression.  These individuals possess strict organizational skills with the accompanying plans for dealing with flaws and ultimately eradicating them.  Being able to work with the Laws of Nature and understanding these laws provides a basis for achievement.  This needs to commence relatively early in one's career, and there needs to be persistence in resolving the phenomenon of constructive correction.  An example of this would be a fastball that is straight, which is definitely a weakness, being identified and worked on until the ball takes on movement, veer, sink, or "late life" - all characteristic of a potent and valuable fastball.  This certainly can be accomplished by recognizing that the original fastball is bland and needs improvement.  Then the correcting process would involve introducing grip changes, finger pressures, hand angle changes all necessary to make the pitch a valuable and effective member of the pitching kit and no longer a deficit.  The same can be done with a weak curve, by determining and improving spin direction, and perhaps utilizing a different grip, accelerated spin implementation and consistent location.  There are certainly many other flaws that can be seriously, first identified, then eliminated and then made into strengths.   JB  (6/11/09)

THE ESSENCE OF MUSCLE MEMORY IN PITCHING  - Motor skills such as those involved in pitching a baseball can be extremely fine tuned by the concept of "muscle memory", which is developed over long periods of time through repetition.  It (the skill) then becomes automatic.  Actions which involve large body parts and big movements, such as pitching, require the neural (nervous) system to learn these muscle skills to the point where one doesn't need to think about them.  Brain activity, when practicing or learning a skill, sorts out comfortable pathways and motions and "embeds" these in the muscles so to speak.  Then the muscles will respond to this action, when invoked again, not only with a consciousness toward their style, but rather as an automatic response.  This grows more familiar with repetition.  This is why it is so important to ingrain correct and potent skill learning at an early age, so that motor memory (muscle memory) is strong and can be dependably called upon without the commotion of relearning.  The neuromuscular chain becomes facilitated, and an increase in certain chemicals (acetylcholine -ex) are involved, and this all becomes a beneficial automatic response.   Therefore, "dry mechanics" which involve repeating correct and useful skill manifestations is so important in the production of efficient pitching mechanics.  Repeating comfortable, effective, rhythmic and consistent kinetic movement in the pitching process produces a muscularity program that can be invoked at will.  It consequently becomes a great dependable skill that can be relied on over and over again.  Muscle or motor memory is as important as mental memory, and should be practiced when one is searching for excellence.   JB  (6/9/09)

GOING FROM 6/12 TO 1/7 (RHP) ON CURVE ROTATION  [The equation or fractional representation for a LHP (left-hand pitcher) would be 6/12 to 11/5]  -  This question is asked frequently, and it's surprising to me the difficulty some have in interpreting the rotational direction of a TRUE curve.  Another concern is that some don't gather the importance of going initially to a 6/12 arrangement.  This is an absolute.  Short-cutting this requirement winds up with the expected plethora of poor and incomplete weak curveballs.  One of the seemingly prime concerns is the lack of lateral break when 6/12 is directly invoked.  This is the pure straight drop.  What we truly want is the out-curve, which has both the lateral and down break of the ideal strong curve.  There are some (e.g., Barry Zito) who employ the 6/12 down spin, and by the action of their arm, as well as the angle of release along  with force application are able to get lateral movement also (I was one who could do this).  Often this is a bigger curve, but doesn't necessarily have to be.  It's certainly not a weaker curve.  Tipping the fingers up renders the finger and hand into a 1/7 (RHP) angle, which will pronouncedly produce a curve breaking in two dimensions (planes), and this is surely what we want.  This is the pure curve.  This doesn't come throught wishful thinking, but rather through diligent experimentation - well worth the time and effort.  One needs to be ideally in a 3/4+ arm angle and finger angle up  slightly.  The elbow must be high (at least the level of shoulder), and the elbow must lead as prime requirements.  Increasing hand speed and forearm action can cause the ball to break sharply, which surely is what we are searching for - not the looping, lollipop phase that many pass through in their pursuit of a good breaking pitch.  This is only a stage before the direct hard curve takes place, but one that's very useful in arriving at the great curve.   JB  (6/4/09)

OF COURSE IT'S THE STRIDE LENGTH !  -  The beauty of stride length is the velocity it can produce.  The pitch is lower when stride length is increased, stress is off the arm and getting over the front knee, which is a concern of many is a matter of getting the head and shoulders over the "wall" (an imaginary spot midway in stride length) and driving forward.  One must reach out, go over, down and deep.  One should not play games with the stride.  It is the imminent character in the delivery of a pitch - everything else is relative - maybe useful, but relative and interdependent on stride length.  Lowering the body plane lowers the release point, and the ball consequently will go lower and faster.  In my work with pitchers, this is the sole common flaw, but quite correctable with almost immediate results.  One needs to constantly make this (stride length) an integral part of his pitching style.  In arriving at a consistent, suitable, and comfortable stride length, the front foot should be slightly closed.  This allows for rotation to take place as a vital "magic moment" in the pitching delivery.   Seasoned pitchers always have their stride length in hand, and are able to make correct adjustments according to variations in pitching mounds.   JB  (6/01/09)

THE OCCURRENCE OF THE BACK SIDE AS A "MAGIC MOMENT" -  There is a very powerful quadrant expression in the pure pitching event and it requires some very special attention.  It is the release of the back leg, and therefore the back side, which is a huge component of the quadrant system.  There are several magic moments that occur in the delivery of a baseball.  Some are: 1) The precise moment of rotation; 2) Going from hi-cock to release point; and 3) From finish to back leg release.  The last one verifies a powerful delivery and release, and it signifies a continuation of the energy chain while pitching.  And yet it also rather emphasizes a punctuation to a forceful pitch.  It is the earmark of a beautifully completed mechanical event.  It requires a consciousness and refinement to justify and emphasize its existence and importance in an artfully executed pitch.  There is also an expose or revelation of the functionality of the back leg quadrant.  It is the confirmation of pitching with the lower torso - so the release indicates and justifies the actual happening of the back leg involvement and the consequential backside in the successful throwing of a highly effective pitch.  Back leg mechanics need to be refined and emphasized through optimal pitching instruction.   JB  (5/21/09)

THE  WONDER AND BEAUTY OF GREAT ARM ACTION (united with the downward plane and its connection to pitching velocity)  -  The absolutism of the downward plane and the necessity to throw downhill with a long arm should be a top priority in pitching requirements.  When one sees a person throwing with a long arm and undergoing correct geometric angles and achieving leverage positions, it is a treat to witness this beautiful and correct circuitry in pitching arm conduct.  None of this throwing like a catcher, chicken arming or pie throwing that altogether too many aspiring pitchers (and some that are already at higher levels) exhibit.  The ability to throw on a downward plane and achieve and utilize those beneficial leverage points that come from this create optimal pitching mechanics.  The downward plane and long stride enhance great arm action and velocity.  Driving off, manifesting a high-elbow and a lead elbow, keep the levers in order and allow for arm acceleration.  When one unites the downward concept and the junctures of long arm action, the likelihood of velocity and arm health come together.   JB  (5/1/09)

GEOMETRY OF THE FRONT AND BACK LEGS  (During a pitch)  -  When one initiates the beginning of the pitching process, the kinesis necessary begins with the feet, primarily the back foot.  Then there is a series of geometric events, involving angles and leverage points which occur as forward momentum, is commenced.   Loading takes place with a slight but significant bend in the back leg.  The back leg is a huge part of the four quadrant system in pitching, and it needs the precise emphasis on the geometric positioning of it during its active stage.  When the bend occurs as drive-off happens, it forms an obtuse angle (more than 90° but less than 180°) between thigh and calf.  The lead or lift leg forms a 90° angle with the foot turning down somewhat obtusely.  If the lower leg (calf) forms an obtuse angle to the thigh rather than 90° (L-shape), it will be useful if the leg loads properly.  A flair here is often distracting to the hitter, so variation in this area is welcome.  As the lead leg strides out, and the front foot touches down, the shock-absorber event should show a slightly obtuse angle between upper and lower leg, and the chest should be over the knee, with the knee being over the ball of the landing front foot.  As the pitch is released, the back leg should release high if possible, with again a preferred obtuse angle between upper and lower leg.  The height of this angle should be 90° or more to the ground.  While there is a good bit of variability in angles, it seems that ideally, one should search for compatibility in the size of the angles.   JB  (4/18/09)

THE VANISHING PITCHES  -  These type of pitches can be fast balls high, which explode at the plate, or off-speed pitches on the opposite side of the plate thrown by opposite side pitchers (example - LHP TO RHB).  Both have the effect of fading or disappearing at the critical time when contact should be made.  I've marveled at Kenny Rogers' left-handed slants to RHB's on the low outside part of the plate, and how this delicate porthole is maintained to get the vanishing effect.  The ball in effect dies out and for a RHB looking to make solid contact, this often gets conflicted by this pitch disappearing out of this contact zone.  This is as an alternative to the hi-riding Josh Beckett fastball (95+ m.p.h.), set up by a disappearing curveball on the outside.  This becomes a frustration in the "late-life" zone which literally makes the brief look so fleeting that the pitch escapes and passes by.  Both of these pitches are serious opposites, but very complementary and compatible to themselves in the reverse rotation approach to pitching, and certainly in the very effective speed changing style characteristic of many outstanding pitchers.  To effectively pitch beyond the hitter's bat speed (very difficult to do with today's hitters), and in another breath, pitch beneath the batters bat speed, surely gives a great dimension to the power approach, set up by the off-speed approach.  This is how truly these techniques create great opportunities for those with a developed sense of pitching and who are capable of employing a cerebral quality to their work.   Tampering with the batter's bat speeds and eye levels can often be a devastating event.    JB  (4/11/09)

FOR THOSE WHO DON'T THROW HARD, FIND & EXPLOIT THE MAGNUS  -  Few pitchers throw in the 95 m.p.h.+ stage and may god bless those who do.  While the vast majority of pitchers throw considerably less than this level, it would bode well for this category of pitchers to understand the Magnus Effect [when a ball spins, it creates an envelope of air around it called the boundary layer. This boundary layer moves with the ball whether it spins forward or backward or sideways. The interaction of this boundary layer with the surrounding air creates an external force (Magnus Force) that influences the path of the baseball].  The Magnus Effect varies with ball rotation, pitch speed, and other factors but studies show its effect is greatest at lower speeds/higher rotation rates.  If the speed exceeds a certain ball velocity, the ball will tend to lose movement.  These speeds are high and a ball traveling at 100 m.p.h. will likely be pretty straight.  Each person throwing less than 90 m.p.h. should investigate at what speed their fastballs tend to veer, sink or cut.  This speed is probably identifiable according to grip, trajectory, finger angle and pressure and is unique to each.  Where the optimum activity takes place should be noted, and the pitcher should work within this range.  The optimal slot is a variable that is different for different style pitchers.  The harder one throws up to a point, the less the Magnus effect is exploited.   The Magnus phenomenon is always there, but some will lose the benefit of it, while others will gain from it.  Working with the laws of nature is best for most.   JB  (3/30/09)

ENHANCING THE WHIP MOTION IN PITCHING  -  One of the treasured aspects of good arm activity in pitching a baseball is being able to get a "bull-whipping" effect for the arm when going through the back arm circuit, and then as the arm goes through its forward path and ultimately proceeds to the release point.  An oppositely pathetic way of throwing the baseball, which exists altogether too much, and that many younger hurlers exhibit today is that of a "pie" throwing motion.  There is no whip-like motion here and short arming occurs.  These throwers go through a very short arm path and are often guilty of "shoving" the ball or literally throwing a "pie".  Many of these aspirants never realize their arm power and never fulfill their potential.  Fly fishermen who are fly casters will always confirm that their back cast in throwing a fly is as important as their forward cast, and I submit that this is also true in pitching a baseball.  While fly casting and bull whipping have certain similarities in the back cast, the front cast remains more delicate in fly casting compared to the snapping effect of the bull whip in its forward movement.  However, the power path in throwing or whipping a baseball requires a more dynamic front cast that results in an acceleration of the hand and fingers which truly resembles a whipping type motion.  To summarize, the prospectful pitcher tries to throw with a long arm and this means reaching back rather than breaking his hands and coming straight to "hi-cock".  In doing this, he will encounter three junctures which are: (1) first wrist;  (2) medium cock;  (3) and hi-cock and will have a productive back cast to his arm.  Furthermore, coming to "forearm layback" (4) with the elbow leading and proceeding to release point (5) finishes off the junctures of the front cast and forward whip action, which is so admired in optimal arm action.   It is my serious opinion that this type of arm conduct will eliminate many of the arm miseries that we see altogether too often today.   JB  (3/23/08)

REVISITING AND RE-EXAMINING "RUSHING" AS A DEFECT IN PITCHING !   -   In response to a forum question, I have elected to elaborate on the phenomenon of "rushing", a tremendously dreaded occurrence in pitching, which in my opinion is easily correctable.  The prime problem of rushing is timing, and there are sure ways of controlling this timing flaw.  What exactly is "rushing"?  Rushing is certainly a defect in pitching and occurs and results from the arm getting behind the body, and therefore a lag in arm action or circuitry occurs mostly because the front side opens early.  In effect the arm "drags".  When the arm gets behind, it becomes stressed, and the arm path becomes faulty and sometimes hyper- flawed and erratic.  A pitcher opening early causes the arm to be low and lagging behind the mechanical effects of delivering a purposeful pitch.  Rushing is always premature movement of the upper body, which results in a lower arm position and obviously a loss of power.  The intrinsic causes are: 1) opening front shoulder;  2) not getting over the front knee;  3) stepping to an oblique or open front toe (sometimes just stepping to a straight toe can result in premature opening);  4) not getting over the  "wall";  5) not using a high elbow in the  power path of the arm.  What are the solutions?  1) lead with the hip when driving forward;  2) step to a partly closed front foot on touch down;  3) have a high-elbow through the power path;  4) keep front shoulder closed when the arm is in high-cocked position;  5) entire torso should be closed when launch position is achieved;  6) when foot plant is reached, body should be closed.  Correcting these issues then facilitates the synergy of directional and rotational energy meeting.  This important happening is severely compromised when one "rushes".  To remember to always lead with the hip should be a password here.  RUSHING must be cured and CAN be cured.   JB  (2/2/09)

PITCH WITH A HIGH ELBOW !  -  One of the confirmed absolutes that I have emphasized and promoted when teaching the delivery of a pitched baseball is the presence of a HIGH ELBOW.  This should be when the arm passes through its power stage.  This would involve the phases of: hi-cock, forearm layback, hand passing the ear and finally the release point.  A high elbow prevents the dreaded "rushing" problem, and it will enhance the "bull whipping" arm action, which is so treasured as a desirable technique in arm circuitry.  A high elbow will conjoin with foot plant, forward drive and finally torso rotation to implement the critical combination which produces power in the throwing of a baseball.  To reiterate, a high elbow is needed for: 1) fluidity in throwing;  2)  advantageous trajectory;  3) arm health;  4) arm power;  5) leverage continuity;  6) enhancement of whipping action; and  7) prevention of rushing.  Pitching with a high elbow increases the radius of the arm (circle), and this in turn increases hand speed.  A high elbow also reduces stress on the elbow - realistically a low elbow is responsible for much arm stress and is a main source of elbow injuries.  A low elbow also reduces speed.  The almighty downward plane, one of the big advantages a pitcher can have over a hitter is surely enhanced by a high elbow.  A sharper downward curve is produced by having the elbow at least even with the shoulder.  It makes it easier to pitch LOW (from high to low).  A low elbow can cause the hand to get under the ball and lose rotation.  Many low elbow guys are short armers (ugh!).  Practice the high-elbow (elbow even with or higher than shoulder) with dry mechanics until it becomes second nature.  This will surely benefit healthy and correct throwing.  JB  (1/22/09)

THE FAMOUS ROTATOR CUFF  -  Anyone around baseball for any length of time, hears of the so-called ROTATOR CUFF injury and many players, mostly pitchers, often have rotator cuff surgery to maintain and continue their careers.  The rotator cuff is comprised of four muscles and their tendon attachments that form the dense protective shield around the shoulder joint.  Due to the cuff, the shoulder can turn through a wider range of motion than any other joint of the body. This allows for some amazing feats performed by swimmers, javelin throwers, hammer throwers, and of course pitchers.  This thick cuff stabilizes the shoulder joint and allows rotation and elevation.  The tendons are at risk of getting frayed because of their location in the bony joint.  The four muscles that make-up the rotator cuff are the: 1) supraspinatus; 2) infraspinatus;  3) teres minor; and  4) subscapularis.  When the muscles and tendons become frayed due to repetitive motions (pitchers being the most prone) then arthroscopic surgery is necessary.  Muscles after this repair can atrophy and weaken, so that physical therapy becomes an absolute must.  Keeping the shoulder and its muscles in good order is necessary for all baseball players, and therefore correct and enduring mechanical procedure is mandatory.   JB  (1/20/09)

THE MAGNUS EFFECT REVISITED  -   In the exploration of the physics of baseball pitching, one particular force or effect continually presents itself when the flight of a ball is discussed.  For those students looking to intensify their understanding of why a a ball curves or why a ball goes straight, they might do well to ponder and investigate the mysteries of the Magnus Force/effect.  The Magnus force is generated by rotating bodies moving through the air including a baseball, and it may be the most difficult maxim of those involved in the flight of a ball to explain.  Facts such as drag, air density, humidity and velocity all factor into the movement of a baseball, but the Magnus phenomenon is probably the overpowering force responsible for the ball curving.  It is a force the builds up perpendicular to the axis of the spinning ball, and  creates an air pressure imbalance which causes the sphere to veer.  When the velocity is increased, the Magnus force has less chance to manifest itself, and that is why the harder a ball is thrown, the straighter it becomes.  Aspiring pitchers should recognize which speed their pitches cause the best deflection and operate out of that mode.   JB  (1/17/09)

A RERUN AND REVIEW OF THE "YIPS"  -  I recently read a great article by Bob Bennett, retired coach of Fresno State, on one of the great "demons" in the baseball world - throwing the ball away - even at close distances.  This is often referred to as the "YIPS" or psychic virus and is an area I have written on in the past.  A few (many?) of us have experienced this negative character.  Bennett, a great coach and favorite of mine, author of the book "Pitching From The Ground Up," has described and given a monster quality to this insidious malady, which has infected major league pitchers such as Steve Blass, Marc Wohlers, Rick Ankiel and infielders Steve Sax and Chuck Knoblach, resulting in balls thrown anywhere but where they were supposed to go.  I had this problem at one time, had no idea how it happened and was concerned about stopping it.  According to Dr. Richard Crowley, it has to be stopped by the hemisphere of the brain that started it - THE RIGHT!  It starts with the imagination.  Most of the solutions proposed involve the left hemisphere, which will not solve the problem.  I recommend anyone wanting to know something of this peculiar disorder read the Jan. 2, 2009 issue of Collegiate Baseball entitled "The Monster" by Bob Bennett with comments by Dr. Richard Crowley.  It has been an unsolved mystery all the way from Little League to the Major Leagues.  It's well worth the time.    JB  (1/10/09)

ARM ACTION  -  Teachable or Genetic ?  My value concept on arm action in pitching is that this is an immense factor in becoming an outstanding pitcher.  Not tampering with arm activity early on, in my opinion, is a serious mistake, particularly when flaws are observed.  I've seen altogether too many aspiring pitchers fall by the wayside because they became short-armers, or pie throwers and never realized their arm strength.  While the  point here is not to "clone", it is clear that there are some absolutes in developing an arm path or circuit.   Sometimes you see a potential pitcher with so-called "natural" arm action and this is good, but rare.  There needs to be a "comfort" zone and slot where throwing becomes easy, fluid, and powerful. Sometimes that never happens without some suggestions  and corrections, and it's always quite obvious if these suggestions and corrections are working well.  Using the clock as a visual reference, such as the 1, 2, or 3 o'clock position, are useful in giving a young pitcher a guide to getting a workable and comfortable arm angle and slot and also creates efficiency.  Not everyone will throw from the same slot; however, the position of 3/4 + or between 1 and 2 o'clock seems to be most efficient and comfortable to many, and establishes an advantageous downward plane.  I always visualize three junctures in ideal arm circuitry (back part and release) and tend to teach this approach in instructional sessions with continued success.  These junctures are: 1) first wrist;  2) medium cock;  3) hi-cock;  4) forearm layback; and 5) release with pronation.  Power is built up here and arm health is promoted.  The natural leverage system of the arm, wrist and hand is invoked and enhanced.   JB   (1/3/09)

THE POWER OF THE HIPS IN THROWING A BALL  -  The tremendous activity of the pelvis, pelvic girdle, hips (all the same) in the throwing of a baseball should never be minimized.  The pelvic girdle is a key indicator of trunk stability.  It functions to unite the lower extremity with the upper trunk, and it transmits the load of the trunk to the lower extremity.  It absorbs shock from the ground.  It is responsible for tilt , rotation and torsion.  The powerful ligaments and muscles articulating within the pelvic girdle cause the function of the pelvis, with its flexion and extension to be a big key in throwing velocity.  The muscles of the hip,17 of them, more or less break into 4 groups which are: 1) gluteal group - gluteus maximus and minimus;  2) lateral rotation group;  3) adductor group; and  4) iliopsoas group - hip flexors.  When the hips are loaded (post position) during pitching, a great deal of energy is presented, and when released with its resultant power surge of rotation - a union of upper and lower torsos performs the all-driving and coiling necessary within the pitching system to hurl a baseball at startling speeds.  The core system which is an integral part of the union apparatus - along with the hips are united in the tying together of the upper and lower pitching quadrants.  It is important that strengthening the muscles of the core, as well as the hip musculature, be done and maintained to insure power in a consistent pitching delivery.   JB  (1/9/09)

CONSISTENT REPETITION A MAJOR KEY IN EFFECTIVE PITCHING  -  In the physics of pitching, doing the right movement exactly requires the body to build  up a muscle memory system and a nerve memory bank.   This correct movement info needs to be imbedded in the legs, arm, and back muscles in order to pitch a ball well.  There needs to be an imprint on the tissues, and this is done by practicing over and over again - and hopefully this is always the correct technique, and not some mindless repetition of a useless action, which has no value or future to it.  Unfortunately, many people learn and reinforce wrong things, and sometimes this cannot be overcome with revised and remodeled instruction.  Using the body like a coiled spring and the arm as a whip is where velocity occurs.  Most of this velocity originates from the lower part of the body - the legs - the powerful quadriceps and associated thigh muscles along with the hips. This group generates up to 50% or so of the velocity on any pitch.  The big back muscles suggest  up to 20% - the arm 20%, the off arm 5% and the fingers on release flick about 5 - 10% ( this surely can be more-perhaps 10+%).  Unless all the parts of the pitching body are in harmony, how can anyone hope to throw a ball 95m.p.h.+.  All of the body is actually not enough, because  the phenomenon of coordination and balance play into this act, and when that is right - which everyone striving to be a serious pitcher should strive to attain - we can possibly hope to hit the magic strings and obtain the power lurking within.  It's a project worthy of one's best effort.   JB  (1/6/09)

THE FIFTH QUADRANT - The Core System  -   It is somewhat disingenuous and contradictory to refer to a fifth part of something as a quadrant, when the prefix quad implies four, but I'm going to take the liberty to invoke a concept of a fifth part, which acts in coordination with four quadrants to perform a total physiological act in pitching a baseball.  The core system is often obscured by attention given to other obvious parts.  The core is actually the power root to implementing a continuous flow of energy when delivering a pitch.  The core is often misidentified as the "abs" only - while the "abs" form a significant part of the core - the actual core constituency is quite encompassing.  There is no intention to make an anatomical lesson here, however, with attention being placed upon core involvement lately, these following terms are being used rather commonly  - the core is made  up of: 1) rectus abdominus (the "abs");  2) internal and external oblique;  3) transverse abdominis;  4) multifidus and erector spinae; 5)  hip flexors and abductors; 6) butt muscles which include the gluteus maximus and minimus, upper hamstrings and piniformis.  Strengthening the core enhances athletic performance.  The core is the base of the body, and it's important to work and develop these muscles.    JB  (1/2/09)

THE FREQUENCY OF PITCHING FROM THE SET (Do it more often)  -  Runners are on base 75% of the time - averaged out.  Sure there are games when no one is on or very few, but there are games when runners are on the sacks all the time.  Therefore, to be adept at handling the stretch or set position, required or highly suggested when runners are on: 1st, 1st + 2nd, 2nd, 2nd +3rd (opt.), 3rd (optional), bases loaded (optional), one needs to practice at least 65% of his rehearsal time (bull-pen), as the reality is that runners will be on base often.  Many pitchers forfeit 3 - 4 m.p.h. or more on their fastball when runners are on base because they don't use their bodies fully, and this is when pitchers get hit, lose control and get into trouble.  The ability to load and activate the hips depends on leg lift height, and when runners on 1st suggest a steal of 2B - a pitcher will use a lesser leg lift for quickness to the plate (even a leg slide which is almost passé today) and lose an appreciable amount of velocity.  Relievers who practice the set all the time, even when runners are NOT on base, are able to throw with full power, because of their familiarity with the stretch position.  Starting pitchers would do well to increase the time they spend on pitching from the stretch.  For sure it will be necessary to pitch from this position quite frequently.   JB  (1/1/09)

GETTING GOOD FAST ?  -  There are many ways to get good at pitching - some are quicker than others.  The following items done well may accelerate the process. Here they are:  1) master stride length - know this like the back of your hand;  2) maximize rotation on the ball - "rip" thru the center of the ball on release;  3) stabilize release point - learn how stride length affects this;  4) consistent good alignment - chin, shoulder, elbow, hip, and knee always pointing toward the target;  5) pitch from the stretch consistently - put in 65% of time;  6) keep the ball down - keep middle of the ball away from hitters eyes;  7) pitch within chosen style (north - south, east - west, etc.), and master this - add in change of speed;  8) command the fastball primarily - but off-speed pitches also and command the strike zone (umpire's strike zone !);  9) throw first pitch strikes;  10) adjust to umpire's strike zone - learn to get curve in zone and get umpire to recognize mastery of this pitch; and 11) function in the clutch.  Many of these things appear simpler than they are, but as with anything, mastering them early with purpose and fast, gives the pitcher a chance to get his career going quite quickly.   JB  (12/15/08)

WINTER PITCHING WORK - GOOD MECHANICS, TIGHT ROTATION, FAST FINGERS, LONG TOSS, WEIGHTED BASEBALLS = VELOCITY INCREASE  -    My intention on my winter pitching sessions is to improve velocity by  5 m.p.h. (3 m.p.h. will be base acceptance).  This is going to be accomplished I feel by combining the following factors: 1) excellent mechanics - utilizing the 4 quadrants and the core system in a well coordinated effect; 2) fast fingers and good hand action with superior rotation;  3) substantial throwing buffeted with long toss;  4) the use of weighted baseballs; and 5) a large dose of serious motivational intent to be a strong pitcher.  Realistic goals are being set and will be set progressively.  I've already had a session with issues arising from time management and concerns over distances; however, things progressed smoothly and innings were accomplished.  Winter baseball pitching practice is a great time to address pitching flaw issues, and to truly smooth out mechanics and have this translate to mastery of the fastball, off-speed pitches and command of the strike zone.   JB  (12/09/08)

WEIGHTED BASEBALL ROUTINE TO SUPPLEMENT LONG TOSS FOR PITCHING POWER AND VELOCITY IMPROVEMENT  -  To invigorate a winter throwing program - the options of throwing long toss and the use of weighted baseballs should be entertained as a viably strong adjunct to a comprehensive throwing program.  While controversy exists over the use of weighted baseballs, I find this (controversy) usually emanates from some flawed approach to the system and a misunderstanding of the distances and sequences that the weighted ball routine prescribes (p.269 and p.290 in book "The Act of Pitching" also on this site under articles-weighted balls - also on p.270 in book - info on long toss).  Having done a comprehensive long range study on the use of weighted balls, I obviously am a proponent of this overload concept, but I don't force it on anyone.  I've had strong results from it, without any of the supposed maladies that some suggest, some of which are purely imagined.  I will be using this program in my winter pitching work this winter.  As with any scientific endeavor that attempts to indicate a positive outcome, when one overloads his pitching apparatus and does so with a solid scientific control system, a usually verifiable result justifies the testing elements with consequentially strong conclusions.  Long toss stands by itself as a beneficial arm strengthener and has been used for years successfully.  This is a must in a winter throwing programs even with restricted distances.  Long toss melded with weighted ball activity should accomplish an improvement in arm development and velocity increase.  [p.269 +290 - +p.270]   JB  (12/3/08)

THE MANY ALIASES AND VARIATIONS OF THE SLIDER  -  When the axis of rotation on a breaking pitch wanders, either by intent or accident, a variety of hybrid pitches evolve out of the original context.  I see this happening with the so-called slider matrix.  What is a slider to one coach becomes a slurve to another.  What one calls a hard or "power" curve, another calls a slider.  Cutters that break big are likely in the slider category.   The prime origination of the slider is quite likely a spiral type of concoction.  Allowing the axis point to wander to the side brings on the hybridization of this original into a more down breaking type of pitch, which surely enhances its effectiveness.  A migrating axis that works its way down to the 6'oclock mark brings about a flatness that I would call a frisbee or flat curve.  An axis point that wanders upward would shorten the break, but perhaps increase the velocity of the pitch.  All of these wandering axes points will not only affect the velocity of the pitch, but the amount of break, the sharpness of the break, the tilt, and finally the down breaking quality of the pitch.  Arm angle differentiation will affect pitch variation, but likely will give away its identity.  Hand and finger angle and pressure are necessary for refinement of rotation, amount of rotation, and speed of rotation and this will obviously increase the quality of the break.  For the pitcher searching for a highly effective breaking pitch that matches fastball velocity, the hard or "power" slider that has good potential for entering the strike zone without distorting the umpire's judgment (as does the curveball) is the prime menu item here.  To attempt to compound its effectiveness by giving it hybrid alterations may be of some use, but the quality of the aliases will still be the underlying determinant.  There will always be a pure type that excels, and one needs to refine and polish this one.  Those of us who have pitched for extended periods of time have encountered the variations in pitches through experimentation, and have generally retained the ones that are effective.   JB  (11/30/08)

THE PRECISION OF ALIGNMENT AND BALANCE IN PITCHING  -  We need to understand that in aligning the pitching body correctly when delivering a pitch, we enhance accuracy, velocity and mechanical efficiency.   We also bring about the desired principle of balance.  This happens when the shoulder, the elbow, the hip, the outside of the knee and lastly the chin are all directed towards our assumed target (catcher's mitt).  This should be approached as though each point were like an imaginary eye that focuses directly on the intended target.   Then, if one can actively visualize an imaginary string going from the chest (sternum) directly to the catcher's mitt, this release point line becomes one more sighting device.  Working with these reference points on a consistent basis will firm a mechanical approach which is the same all the time.  It will also create a delivery method which is dependable and repeatable and efficient.  Working frequently to smooth out one's mechanical approach creates a confidence which will improve only when the right items are practiced in a compatible system.  Balance naturally follows these alignment concepts, and the pitcher gains continuity and rhythm in his pitching style.  JB  (11/25/08)

THE HIDDEN FASTBALL ! -  When one recognizes that there are four anatomical quadrants that are interacted in the pitching process, along with the integration of the core system, then it becomes clear that in the loading of these systems, a potentially lingering propulsion phenomenon may exist.  This event can activate the "sling shot" effect, the complementation of the forward (directional) force and the energy of rotation. This in effect creates the so-called centrifugal effect (sling shot) that we treasure as pitching technicians.  This is when total body forces are correlated and synergized.  Then "viola," an undiscovered fastball appears.  This hidden and perhaps new happening now gets liberated.  This occurs when shoulder loading (scapular adduction?), arm loading, pelvic loading, and back leg loading all get into a harmonious concurrence (synergy).  Working constantly to employ and refine quadrant interaction and smoothness of kinetic flow should be a strong objective for the serious pitcher.  It is my experience that almost all have a "hiding" fastball that can be evoked with proper priming.  The "sling shot" concept is where it's at.  Pitching velocity is a multi-functional phenomenon, which requires stride effectiveness, melded with total body involvement.  The arm alone is only one of the quadrants.     JB  (11/22/08)

PRESCRIPTION FOR PITCHING POWER - THROW A LOT (Particularly in the winter) !  -  Throwing a baseball should be something other than for getting loose.  It is a very precise skill and should be refined and improved every chance one gets.  It's difficult to play the game of baseball, let alone be a pitcher without having a good arm and being able to throw well.  Not tending to this vital aspect of the game and surely the supreme critical part - i.e., pitching, there will be severe limitations on performance.  These limitations will be placed on the developmental range of the player (pitcher) and the level  to which he accedes.  There has been an increase in throwing programs recently, particularly winter programs, as coaches are aware that one's arm in this game is everything.  Throwing long toss where possible in winter programs is desirable - even if space limitations prohibit going beyond 100'. The 100' distance done well and with duration can be as effective as going beyond the 100 foot marker.  As winter approaches and gyms get crowded, it is mandatory that efficient use of gymnasia is accomplished.  I recommend Sundays as the convenient day (main pitching day) and one weekday (light throwing) -  Sunday for the long toss and the pitching (throwing) programs.  I advocate where possible to pitch recorded innings with a catcher and with a recorder using a chart depicting location of pitches as indicated through pitching frame sheets.  The catchers can umpire as well.  One should shoot for a minimum seven inning accomplishment at the end of the winter program, which ideally would go seven weeks with two sessions a week.  Grow an inning a week.  Weighted baseballs are an option.  Constructive, supervised throwing will result in velocity increases as well as command of the strike zone.  Goals must be clear and attention to consistent correct procedure must be maintained.   JB  (11/16/08)

DEVELOP YOUR CRAFT !  -  HAND AND FINGER ANGLE IS EVERYTHING ON FASTBALL MOVEMENT -  There is a contingency of pitching enthusiasts who believe that movement on a FB can only be created by changing arm angle.  While this is somewhat true - it isn't the only way.  The flaw is that the arm angle and its changes give away the pitch and its recognition, and consequently the deception which is so critical to the process, is lost.  A 3/4+ arm angle favored by most hard throwers, and it's surely my recommendation, is ideally suited for velocity, trajectory, and arm health.  It is also readily adaptable to not only different fastball types, but also different breaking pitches as well.  The positioning of the hand can take on angular variations out of this arm angle for a tailing fastball, a sinking fastball, and the ever questionable rising fastball.  The identifying clock numerals that would guide the arm angles are 1, 2 and 3 'o clock.  Twelve (12) would be near impossible to achieve, but gradations between 12 and 1 would be possible.  Descriptions such as OH (overhand), OH-(overhand minus), 3/4+ (three-quarter plus - this is essentially the same as OH-), 3/4 (three quarter), 3/4- (three quarter minus), and finally SA (sidearm).  OH is at 1 o'clock; OH- is between 1  and 2'oclock as is 3/4 +;  3/4 is at 2 o'clock and 3/4- is between 2 and 3 o'clock; SA is at 3 o'clock.  NOW TO HAND ANGLES -  taking the ideal arm slot of 3/4 + (OH-) the hand and finger slot or angle of 1 o'clock will likely cause a tailing fastball (1/7spin).  Putting the hand slot to 2 o'clock likely creates a sinking FB (2/8spin).  A straight or hopping FB can be arrived at by putting fingers up into the 12 o'clock position (6/12 spin).  Note: An OH arm angle here would be more conducive to the "hop" (but nonetheless can be accomplished thru the 3/4+ angle).  Pronation should be accomplished on all of these fastball pitches at release (perhaps earlier with sinking FB).  Experimentation with slight alterations and finger tip pressure should be done to intensify or embellish movement.  Movement should not be so obsessive as to forget velocity as a prime character here.  Finishing the pitch also is an issue not to be overlooked.  It is not only the arm that throws the ball, but it's the hand and its angles that need to be consistent to gain desired efficiency.   JB  (11/3/08)

LOOKING FOR THE SUPERIOR FASTBALL (The supreme importance of movement and action on the fastball - separating movement from "after burn")  -  Much has been written on this site about the value of a high-quality fastball, but I want to re-emphasize here the vital part of working toward this end.  The fact that some are endowed with natural tendencies to throw hard should not prevent those less endowed from striving to do all they can to to give the fastball some serious character.  A few are gifted, but many exist who can invoke the dimension of learning how to improve the fastball by understanding and implementing the following: 1) quality and amount of rotation;  2) wrist and hand power and direction;  3) forearm action; and  4) fingertip activity.   Movement and action on no.1 is such a treasured and precious event that the pursuit of this quality should always be at the forefront.  Movement can be described as: 1) veer or tail;  2) rise or lift;  3) sink; and  4) cut  - This best takes place in the hitting zone.  This activity is contrasted by, but can be complimented by: 1) late-life;  2)  after life;  3) after burn;  4)  thrust; and  5) giddy-up - overdrive-pop - all essentially the same phenomenon, which is that of the pitch coming on at the end - a sort of passing gear.  This can exist with a perfectly straight  FB or it can be accompanied by vertical or horizontal movement.  This is more likely connected to the illusory "riser".  This can be independent of angular movement and still have an "after burn " to it.  In essence, the ball is still coming on, it's a rush, it's as though it is into overdrive.  Now much of this is illusory, and yet many batters recognize this as the prime ingredient in the best FB'S that exist.  It's as if the baseball is "burning" through a barrier.  Few pitchers have this, and those that do, don't have it all the time.  The MAGNUS EFFECT is obviously involved here.  Great rotation and finger and hand speed are required.  A hand equipped with long fingers helps with this desirable effect on a fastball.  The ball "crackles" due to intense rotation.  The thrower is thinking "throw through the mitt".  Sometimes, an apparent but deceptive "slow" arm delivers an exploding fastball due to extra good arm action involving junctures and leverage.  This is such a cherished event - the batter gets lulled into the smooth, rhythmic delivery of the arm and doesn't recognize the extreme fast forwarding of the forearm, wrist, hand and fingers at the end imparting explosive energy to the ball.  This severely challenges the batter' decision time.  The statement that the ball is faster than it looks applies here and is certainly a compliment to a well-timed and liberated fastball - something we all prize.  Those great "dead red"  hitters who can consistently foul off 100+m.p.h. fastballs find "afterburn" the ultimate challenge.   JB  (10/21/08)

WHERE AND WHEN ARE THE MAGIC MOMENTS (In the delivery of a pitch) ?  -  The magic moments for me in the pitching process are: 1)  Hi-cock;  2)  rotational moment;  3)  back leg release -  Getting to hi-cock and being loaded is one of those magnificent moments in the delivery of a pitch where excellence needs to occur.   This is a prime spot where power meets mechanics along with the action of the arm to the release of the ball.   This event includes the 2nd magic moment which is that of torso rotation.  This is initiated by the back leg drive creating forward momentum, and this is fortified by the lift leg with its setting and loading of the hips.  The serious true magic time is the joining of the directional force (forward momentum) and the rotational force, which includes the accelerating arm and its incorporated leverage force to the release point.  After this is completed, the validation and accentuation of the pitch is brought about by a distinct and finished back leg release.  This I feel is another magic moment, as there is a signification of back side efficiency into the pitch - a reminder of this quadrant and its importance in pitching a baseball with dexterity and power.   JB  (10/16/08)

THE CASE FOR SCAPULAR LOADING  -  Scapula Loading, Scapula Adduction, and/or Scapular Loading is/are more or less one and the same and is/are the brain child of Paul Nyman, who I'm quite familiar with.  Paul and I have bantered over pitching concepts numerous times, and I surely know that Paul verifies his beliefs with scientific import.  My feeling is scapular loading takes place with numerous pitchers.  It happens whether one is conscious of it or not.  The fact that I recognize that it takes place tends to document my awareness of this phenomenon.  Pitchers such as Randy Johnson, Greg Maddux, and Nolan Ryan of the past have exhibited strong tendencies to scapula adduction and loading.  Not all pitchers do this to this extent.  In activating the upper torso, the utilization of the pectoral (shoulder) girdle in loading that part of the quadrant system (arm and off arm), causes the scapular apparatus to get adducted.  At this point the elbows are lower than the shoulders.   While I'm well aware of this event, I do not emphasize it in my teachings or pitching camps, opting to see if aspirants do this naturally anyway.  The impact of scapula loading is likely not a critical teaching mechanism as utilization and activation of the four pitching quadrants and the core system practically guarantee its happening.   JB  (10/13/08) 

THE EFFECT OF PRONATING ON ARM HEALTH  -  The event of throwing supinating pitches, such as the slider, curve, slurve, and perhaps the cutter, slams things around in the elbow and sometimes the shoulder.  Over a prolonged period of time, this results in some damage, which often times is only reparable through surgery.  Accidental supination on a fastball probably causes some stress, so that pronation relieves this stress and gives a healthy action to the arm, particularly on fastballs.  Pronation involves the palm of the hand turning outward and the thumb movement away from the glove side.  This tends to insure a stress-free release when high-velocity fastballs are thrown.  The idea that extreme pronation, such as that involved in throwing a scewball,  is a panacea is probably not a viable option, although there are some that throw varieties of screwballs without deteriorating their arm efficiency.  Using good sense in the frequency of hard supination, particularly in the power slider can likely save some of the arm damage that all too often results in surgical reparation.   JB  (10/10/08)

BEING A ROBUST THINKER IN PITCHING - Letting yourself get good !  -  We all have our serious agendas about many things, but some are persistent, enthused and in effect, robust about perfecting their lot in their chosen areas.  They have agreed to let themselves get good!  They have found how to let all the information come to them and not resist or fight it.  The art is in synthesizing it (info) !, analyzing it !,  filtering it !, dissecting it !, evaluating it and eventually digesting it and not backing away from it.  This makes for the great opportune time - perhaps doing this, heretofore, was the missing part.  Allowing oneself to be knowledgeable in a functional way, and with this functionality realize stagnation can be wiped out.  It's a mental condition.  Letting oneself get good surely can be developed.  We all owe it to ourselves and our protégés to refine this functionality.  We need to understand decisive moments present themselves when the "thinking cap" is on, and to capitalize on these glorious moments which are often altogether too rare.  In the finality, it is also the doing of something rather than just the knowing of how to do it !  The mind must be exercised to grow and develop the wherewithal it has accumulated, and it has to be used.  This is all part of the "can do" formula.   JB  (10/9/08)

THE SERIOUSNESS OF PITCHING WITH THE LEGS  -  I have indicated many times in my writings that there are other forces besides the ARM which cooperate and many times overcede the value of arm power.   One should try to throw a baseball sitting in a chair, and recognize the dirth of power generated by the arm alone.  It is readily noticeable that the shoulder muscles, the off arm and the back muscles must go into play, even to get a modicum of power on a pitch.  Better yet, sit on the ground and see if you can get any zest on the pitch.  The legs, possessing some of the largest muscles of the body activated in a cooperative lower torso (both legs) performance, create a great power surge when the upper torso (shoulder girdle, shoulder muscles and upper back musculature), unite by way of the core system (abs & lower back muscles).  This results in the powerful integration of anatomical quadrants for a potent delivery.  Probably half of the velocity generated here (in terms of mph) comes from the lower torso.   JB  (9/22/08)

THE FOUR-PRONGED FASTBALL FOR THE TOOL KIT  -  It's amazing what finger tip pressure, thumb location and wrist and arm angle can do to the quality and character of the fastball.  When one can throw a reasonable (velocity wise) fastball and has achieved some stature with it, there comes a time where it is necessary to give it some further distinction and definition.  A variation in dimension and activity can be in order.  The standard 4-seamer for pure velocity can be the foundation pitch.  It tends to be straight, but some insist it can rise (put it this way, upward pressure from spin may counter gravitational effects, resulting a rising effect).  Call it a "riser".  Then a 2-seamer which will veer, run, or tail (1/7 type of rotation - RHP) is a great back-up to the "riser".  Call it a "runner".  And then there is the sinking fastball, a 2/8 (RHP) type of rotation and a turning over of the ball.  Call it a "sinker".  Lastly, a cut fastball which requires a lot of back spin like the riser, but employs middle finger pressure to make the ball break away from the pitching arm side - Call it a "cutter".  The pitcher now has 4 types of fastballs - the tool kit bulges some, as these variations give old no.1 (FB) a lot precision, sharpness, and unmistakable flair.  This enables the pitcher to explore the nuances of pitching, mainly with a fastball, but surely with different looks.  So we have:  1) a riser; 2) a runner;  3) a sinker; and 4) a cutter - all thrown out of the same delivery, the same mechanical motion, the same arm angle and yet we have 4 (four) different pitches.  This should not be the uppermost item on one's pitching requirement menu, but rather as some sophistication in pitching style which takes place.  Then a re-characterization in fastball employment can be attempted.   JB  (9/16/08)

TURNING OVER THE CHANGE-UP -   Whenever you can get a second dimension on any pitch, it creates another angle or trajectory that the batter has to deal with.  Put this element as an adjunct to an off-speed pitch and you have an interaction of events that can cause the batter difficulty.  A sinking change-up fading out of the strike zone is quite often devastating to the "DEAD RED" fastball hitters.  A change-up off speed in itself is a conundrum for many a good hitter, but adding a sink to gain an angular (for the hitter) problem is to magnify the all-mighty impact of differential speeds.  To accentuate the sinking quality of the change-up as in the accomplishment of the regular sinker - a 2/8 (RHP) type of rotation should be strived for.  Using the popular OK grip (circle change), the index finger which assists the thumb in the construction of the "O" in OK should turn outward (pronate) in order to turn over the ball.  The fact that it is spinning slowly, with loose rotation, tends to guarantee its sinking and/or "screwgy-type" of action.  Combine the tendency of the OK change to go low, because of its grip, and add the sink effect to it and you have a likely "out" pitch.  Obviously, it is needless to say these pitches must be low in the strike zone or even out of the strike zone.  One gaining confidence in this pitch insures the advancement in pitching success.  Getting today's hitters out requires diligent work on a change-up -preferably one that sinks.   JB   (9/11/08)

OUT, OVER, DOWN & DEEP - WITH NO WASTE  -  There should be no waste, and all kinetic energy should be directed toward the plate (target) on delivering a pitch.  Therefore, the concept of driving forward, going out, going over the front knee, burying the front shoulder, and finishing deep with the pitching arm should be a consistent ritual for ALL mechanically sound pitchers.  Not only does this insure reduction of stress, but guarantees release point recurrence, and promotes steady arm circuitry, and surely enhances a firmness in alignment, as well as a complementation and integration of body parts (quadrants) in this coordinated event.   Looking at the sequence we find: 1)  Back leg initiation of forward drive - this is the OUT!;  2)  Head and shoulders pitching forward over an imaginary "wall" (a spot intermediate to the stride length), this the OVER!; 3)  Burying the shoulder - with throwing shoulder point aligning to target - this is the DOWN!;  4)  Going deep - pitching hand passes opposite knee 7 - 8 inches and enters imaginary "bucket" - this is the DEEP!;  5)  Head and eyes remain fixed on target;  6)  Number on back can be easily read by anyone within reasonable proximity.  As an adjunct and a punctuation mark, the back leg release is underway at this moment and creates a finality to a well-delivered pitch.  This whole system can be practiced through "DRY" mechanics (stride drill) on a daily basis to smooth out and refine the fluidity of the sequence.  Well worth it !   JB  (9/9/08)

ESCAPING MARGINALISM - THE FAMOUS MARGINAL ATHLETE (PERSON) -  Whether we like it or not, most people wind up being considered average and or with some being called marginal in their line of work.   Some break through this limit and go into the upper percentiles (the tail end of the curve), but the vast majority remain within the curve -  it's the famous marginal identity - it's the "grey" zone.  I've dealt with some outstanding athletes in my time and still do - but the vast majority fit the bell-shaped curve or the so-called normal distribution. The best ones were on the strong side of the bell and would be termed upper marginal.  An appreciable number of them removed themselves from the marginal category by being very robust and dedicated in their efforts to excel beyond the obvious limits.  Whether we like it or not, most people lie in the parameters of marginalism.   Some are just waiting for some incidental glorious opportunity to break through this line.  Some won't wait ,and some don't wait!  Rarely is there a physical limitation, and there are not many overwhelming mental limits.  Here are some offerings - call them the "Magnificent Seven:"  1) Purism as an MO - passion as a password;  2)   Round-up time - round up all loose ends and bring them to the OK corral - expertise required here;  3)  Exacting one's potential - develop this into an art form - generally getting out of the "grey zone" is a notch away;  4)   Shedding the cloak of averageness requires catching and plugging all leaks - the phenomenon of whining is OUT!;  5)  Get outside the box - be a robust and enduring thinker - this results in confidence;  6)  Become a "gamer" - this is mostly mental;  7)  Marginalism is a great opportunity!  Great careers and happenings are acquired by design.  The persistent always survive.  Your life will have attractions by whatever you give attention to!  Emotional management can be learned and success always breeds success.  JB  (9/1/08)

PROGRAM THE MENTAL TAPES !  -  Batters, whether they like to admit it or not, guess on pitches - some are good at guessing right, and these are usually the high average hitters.  They play the tape of the pitch that they are looking for in their "minds eye," and when they get that pitch, there is an increased likelihood that they will hit it well.  It behooves the pitcher to create other  "tapes," that have to be played with the possibility of the batter playing the wrong tape.  Therefore, an exquisitely mastered breaking pitch, that the pitcher has developed to an equality with the fastball, allows the potential of that tape being played, whether sporadically or even often, to the detriment of the batter.  This provides for wrong guesses and ultimately putting pitches by the hitter, even if he guesses right.  The doubt of the pitch occurrences is enough to induce a split second slowing of the bat and therefore perform an out-swing.  The mental game between pitcher and hitter, an age-old phenomenon, has advanced to the point where batters ability to hit high-velocity pitches (100 mph) has been refined to an extreme degree.  However, I don't notice the great curve or great change-up being equally mastered by today's outstanding hitters - some do, but a large number do not !  If one can get in the hitters' minds that there are other pitches that are on a par with the fastball, and can be invoked at any time, regardless of the count - one can skew the guessing game.  The minute one guesses off-speed - the bat will sub-consciously slow, and it may not possibly catch up with the fastball if it's a wrong guess.   JB  (8/31//08)

THE ILLUSORY (ELUSORY/ELUSIVE) CURVEBALL !  -   It seems that I need to re-explain salient points on throwing the great curve.  Receiving penetrating, but thoughtful questions on the mechanics of throwing the outstanding curve, suggests to me that I need to make a crystal-clear analysis of how to throw a great curve correctly.  Is it possible that everyone will get one of these?  Probably not!  But the enterprising, self-motivated students of detail and skill analyses, more than likely will get a strong handle on this, and if one masters this magnificent concoction, it will be part of one's toolkit for a long time, probably throughout one's pitching lifetime.   It may need tuning occasionally, as all strong effective pitches do.  These are some absolutes: 1) Four seam grip - horseshoe right (RHP);  2) Pressure middle finger tip and thumb;  3) Middle finger tip and thumb line up;  4) Supination with a narrow or "skinny" wrist;  5) 12/6 rotation at outset to get down spin with the down activity emphasized - later one can go to1/7 (RHP),11/5 (LHP) and then 2/8 (RHP) and 10/4 (LHP);  6) Elbow must be up;  7) Elbow must lead;  8) Think fastball, fastball until the hand passes the ear, and then supinate with a narrow wrist;  9) Cut through the release point - "hit the gun"! - the hand is in position as though a pistol would be shot towards the 1st base line - the fingers are pointing towards first base area; 10) Bring the arm across the body - finish the follow through - with fingers pointing up across to the left hip (RHP); 11) Adjust the stride length as release point is higher than on the fastball - use the "Oxbow Bender" (see below) and or a Sain Spinner to help with rotation - ;  12) Try to have crisp arm speed - there is NO reason this pitch should be slow - there is no magic!  Work at it and it will be a proud pitch if you succeed and harness it.    JB  (8/17/08)

THE " OXBOW BENDER," A REAL GOOD RIG!  -  Through the generosity of John Kelly, an old New Hampshireite, I have come across the beautifully crafted "Oxbow Bender."  It's a great version of the Sain spinner that I have used extensively in my pitching camps, and have periodically had to replenish mine by treks to the workshop where my tools (drill press, etc.) gave me amateurish replicas.  I've been asked many, many times by inquiring students and coaches where to get these.  My answer has generally been to "go to the workshop."  Now thanks to John, I have discovered the beautiful "OXBOW BENDER," a truly professional version of the spinner.  They are wonderfully arranged, and I would strongly recommend addition of these great assistant devices to anyone's pitching tool kit.  The bender can be found at oxbowbender.com, or contact at curve@oxbowbender.com or OXBOW BENDER, 2717 Clermont Place, Oklahoma City, OK 73116, tel. (405) 227-7455.  I really like this device!   JB  (8/12/08)

TRYING VS. DOING !!  -  A lot of people feel if you try hard, that this is an answer - many have been made to feel this way right up through their development.  I won't take that proposition away, as it is surely a better way than not trying, and it is a viable approach in athletics.  However, there is a time (probably in high school), when one has to go beyond this concept.  This is because it's the execution, the doing, and the accomplishment that is the goal and the reward.  Trying can come up short.  There has to be another dimension and another level.  Don't just try to do something, do it well, and better yet do it RIGHT!  This is a maxim that applies not only in athletics, but in life as well.  There are no awards for trying that are seriously visible (mostly intrinsic), so that success which is so much a public phenomenon made clear by awareness and acceptance, that winning is the undeniable extrinsic goal of athletic competition, as the complexity and development of the game goes up a notch.  JB  (8/11/08)

"FAT" WRIST VS. "SKINNY" WRIST !  -  An observation that hitters make in studying the delivery of a pitcher is something that should be relayed descriptively to the pitcher.  That is the recognition of a fastball having a "fat" wrist, and then that the curve or slider has a "skinny" wrist.  The pitcher needs to emulate what the batter's version of what he sees, and what the pitcher's hands show, including wrist  and hand positions, and then duplicate this with his own hands, so that when throwing a fastball he'll see what a "fat" wrist means.  Then he needs to simulate the curve, and see what "skinny" wrist means.  "Fat" wrist will include: 1) fastball; 2) splitter; 3) change-up; 4) cutter - "skinny" wrist will include: 1) curve; 2) slider; 3) slurve; and 4) screwball.  "Fat" in this instance means the palm of the hand more or less is facing the hitter, and therefore the wrist appears wide or "fat".   "Skinny" means the palm is turned in (supinated) on the curve, slider, or slurve and the wrist appears vertical or slim ("skinny").  Even on a screwball where  the palm is outward, the wrist will appear thin.  This allows the batter to read a fastball from a breaking pitch.  WHAT TO DO?  The case for the pitcher would be late supination or pronation to help disguise the wrist, but the quality and the setting up of the pitch will still be the overriding issue here.   JB  (8/8/08)

ACTIVATE, INTEGRATE, AND COORDINATE THE FOUR QUADRANTS AS WELL AS THE CORE SYSTEM IN PITCHING  -  The essence of great and beautiful mechanics in pitching is when activation, integration, and coordination of the four quadrants along with the complementation of the core system muscles (1. abs. i.e., rectus abdominus, transverse abdominis, internal and external obliques, and intercostals - ribs and 2. back muscles - erector spinae and iliopsoas) is brought about.  The core is the bridge between the upper torso and the legs.  All powerful movements originate from the center of the body out.  The more stable the core, the more powerful the extremities work.  When this is done in a vigorous smooth kinetic flow, science becomes art, and the beauty of it is revealed.  This has been witnessed by some outstanding pitchers over a period of time, such as yesteryear's Warren Spahn, Steve Carleton, Bob Feller, Nolan Ryan, Roger Clemens, Curt Schilling and today's Greg Maddox, whose impeccable mechanics were always repeatable and classic.  Surely one could emulate them not only for longevity, but also for efficiency and success.  It is a testimony to the purity of their art.  The four quadrants obviously are :1) The pitching arm; 2) The off or directional arm; 3) The back leg; and 4) The lift leg.  One could actually invoke a "5th" quadrant, which would be appropriately the core system:1) front (abs); and 2) back (spinae and psoas group).  The fifth quadrant has a tremendous impact on this analysis, because this is the home of the power source.  The extremities get their cue and movement from the core.   When dealing with activation, integration, and coordination of the pitching system, one should be sensitive and aware of the initial aspect of the core apparatus.   JB  (8/5/08)

"GOOD" PITCHER IN THE MAKING VS. "GREAT" PITCHER IN THE MAKING!  - The time spent on attempting to be a "good" pitcher is probably the same in amount, as the time spent trying to be a "great" pitcher.  However, the quality of the time, the precision of events, and the exactness of execution are critical determinants.  The commitment from the student and the instruction from a perceptive coach are very much controllable variables.  The amount of latitude in these above areas all have different parameters in their scope.  Suffice to say, that high motivation at the outset must be a prime requisite.  It's been my experience that becoming outstanding in one's chosen area requires the same time expenditure that it takes to be average or good.  The character of the time is the discriminator, as well as the correctness of detail, and the rapt attention to technical factors.  If one is practicing and rehearsing correct skill development on a consistent basis, and has the sincerity and commitment to be excellent, then the likelihood of achieving greatness increases.  There is a hidden barrier here that marginal players fail often times to recognize, and that is the dedication to precision.   Here are some factors; WHERE DOES THE LINE BEGIN?  WHERE ARE THE MARKING POINTS? Can good pitchers become great pitchers?  How?  Here's how:  1) No time wasting - work of art every pitch - put a brain on each pitch; 2) Operate outside the box - be in command and see yourself bigger than you are (realistically); 3) The secret of success is  FOCUS - it is an act of will - this faculty rules everything!; 4) Make the eyes work - see the game vicariously; 5) Use mental mechanics; 6) Solve pressure by being more than good; 7) Work on weaknesses until they become strengths - develop mental discipline; 8) Be always prepared!; 9) Train your brain for excellence; and 10) Make things happen!     JB   (8/4/08) (7/28/08)

COULD HAVE, SHOULD HAVE, WOULD HAVE ! (Logo of the Runner-up)  -  We have an interesting phenomenon when one doesn't quite make the grade.  It's the worn-out, hackneyed, clichéd adage of " if we only would have", "we could have done this" and maybe "we should have done so" - used together might get a stale cup of coffee or yesterday's newspaper.  It's comforting to know that you could have, even though you didn't.  In reality, the winner did do that, and somehow realized that he (she) had one time to to prove that.  For those who entertain the "could have", "would have", "should have" philosophy, always will remain perennial prospects.  As long as they stay wild and remain dependent on this defeat oriented thinking, they will comfort themselves with a fantasy that never fulfills.  This needs to be eradicated early on, before it is ingrained in the master schematic.   The ability to take from what should have been and correct this deficiency, and bring about a permanent response to adapting and adjusting to situations, that require on the spot determinations, is the prime goal here. This clearly has to be adopted early in one's competitive outlook, if one desires to come out on top.    JB

FOR THE MOST PART, PURE CRITICISM HAS NO VALUE!  -  Having had the experience of teaching and coaching for many years and having been (still) instructor and director of the Championship Pitching Camp venture - I have found criticism too often to be a concept in the evaluation of a participating person's performance.  As I reflect upon these mechanisms, as perhaps viable approaches to learning, I find for the most part that the criticism (by itself) method has no value.  I find NO value in criticizing someone or someone's ideas for the distinction of it.  Young viewpoints which are concluded, particularly those that have not been tempered by variety and disaster, among the many approaches that occur, are certainly fraught with failure.  Those who have not seen, at least over some prolonged period of time, the passing or even failure of trends, and yet feel compelled to expound, excites me none.  Rather I have a disappointment and a general disdain and disregard for these observations, made with little or no real substantive background - certainly with insufficient information. One should not be an interpreter here!  A continual perusal and pursual of the grandiose complexities of the pitching process, and the satisfaction of finding salient solutions to problems encountered along the way  is a study in the beauty of persistent pure knowledge.  Self appointed "wannabes" do a disservice to their followers by disreputing the conclusions of others.  Frequently it's a lack of background and wherewithal that contaminates conclusions.  What can be more pathetic than an amateurish declaration about something that requires professional scrutiny?  I see this too often.  Malcontentedness follows this path.  Constructive criticism on the other hand is a beautiful fine art, that has an intrinsic value and needs to be utilized and worked upon daily.   JB  (7/27/08)

"GAME FACE" VS "PRACTICE FACE" -  There is a big difference between game day and practice sessions.  There's a big difference between playing on the "B" team, as contrasted to playing on the "A" team.   There is a big difference between a minor leaguer and a major leaguer.  It's the degree of PRESSURE and amount of EXPECTATION.  There is a tremendous relativity among players according to physicality and innate ability - but some are "GAMERS", and some are not.  Some don't handle the pressure.  It  may not be that they CAN'T, it's that they DON'T!  What and who is a GAMER?  This is a very special athlete, who brings his impeccable mind with him in a game or contest.  We should separate cockiness from confidence here.  A lot of players are marginal - they need instruction and guidance - they need confidence in what they do!  Mound personality is different than bull-pen personality.  Believing is far bigger than most allow for.  Constructive criticism from a good coach can be a powerful adjunct to one's coping skills.  This done in a thoughtful way during a game can have a lasting effect on one's confidence.  For those that can turn on their "GAME" face and rev-up a notch, without upsetting the balance needed for performing well, we admire the possession of this wonderful trait, and  suggest that this should be respected and emulated wherever possible.  JB  (7/23/08)

ADJUSTING TO A "TIGHT" STRIKE ZONE ! -  Breaking pitches entering the strike zone (or the "hitting zone" if you prefer) at an angle encounter a "portal of entry" which is smaller and tighter and more vague often times.  This can be illusory and wandering, particularly on breaking pitches, compared to  fastballs whose vectors are somewhat discernible  from the "get go".  A breaking pitch has a tremendous variation in its scope, and its point of entry is often violated by the catcher's backhand, which in turn affects the umpires call.  This frequently causes an imbalance between fastball ratios and breaking pitch ratios as far as strikes are called.   When the batter realizes that the pitcher has command of his curve (it is strongly recommended here that pitchers and catchers work together on "shaping" the pitch), the equality between fastball-called strikes and curve ball-called strikes makes for a severe adjustment to the batter who is frequently dependent on the umpire to call a breaking pitch a "ball", so he can sit on the FB.  Major league hitters or any good hitters in general are geared to hit fastballs in the 95 m.p.h.+ range, and this is truly an amazing skill.  To hit an off-speed pitch, when one is guessing FB (which is many times the case), often has a pathetic response by the batter who collapses with his form and discipline, and chases a pitch down in the dirt or out of the strike zone.  This boils down to the pitcher recognizing where strikes exist in the umpires "call" zone.  This is part of the adjustment process that all athletes must go through.  Rather than complaining and dwelling on an unfavorable tight call, the hard core pitcher needs to make his claim to mastery of his pitches and show that he can handle any strike zone.  This is much harder than it sounds, but it is an absolute necessity, if one is to be successful as a pitcher.  Presenting a mastery and command of the strike zone (any) should always be a top order for a strongly motivated, ambitious pitcher who is bent on making a career in this sport.  JB  (7/23/08)

NEED TO MASTER STRIDE LENGTH (For those pursuing excellence)  -  Getting in complete command of one's stride in pitching should be priority one.  One should also refine the position of the landing foot, so that consistency rules the event.  Successful pitchers have a consistent stride length, that is as much a part of their system as wearing a glove.  It's been stated before, that a long stride produces a faster pitch and also a lower pitch.  Commanding the low fastball is a way to becoming a winning pitcher in most every level.  To throw high and not make corrections is to contradict the physics and efficacy of pitching.  The double-bar tee drill, which uses a drive or stride line with a pitcher's plate line and includes a "wall" line, can help one solidify stride length and foot alignment (pg. 286-290 in the book The Act of Pitching).  Stepping to a slightly closed front toe should be in the dry-run rehearsal of establishing one's optimal stride length.  There is a tremendous advantage in throwing the ball LOW, and while pitching up and in, and up and out is necessary in pitch location, success follows the low ball thrower, as he goes up the ladder in his development.  This is always accomplished by lengthening the stride.  One should get adept at fine tuning this arrangement.   JB  (7/22/08)

PROPER USE OF THE PITCHER'S PLATE (Pitching rubber)  -  The pitcher's rubber can be a concoction of 6"x6"x24" (imbedded) or 6"x24" (3 spikes) for high school, college, and pro and the 4"x18" (3-spikes) - youth size.  These are all representations of the rubber rectangle that all pitchers must have one foot on when delivering a pitch.  There can be multiple ways the pitching foot is aligned in regard to the configuration of the rubber.  It can be a tremendous advantage when this object is used for pure directional force, and or when it is used to establish an advantageous vector.  In this discussion, RHP = right-handed pitcher, LHP = left-handed pitcher, RHB = right-handed batter and finally LHB = left-handed batter.  I prefer strongly for a RHP to zone in from the right side (strong side) when attacking a RHB, and often times even a LHB.  This creates a horizontal vector, which when intersecting with a vertical vector or trajectory (that comes from throwing 3/4, 3/4+, oh) creates a multidimensional event at the home plate hitting zone.  This effect is stronger coming from RHP to RHB, but the vectors still present an adjustment for the LHB from a RHP.  For LHPs, the opposite is obviously in effect.  A LHP should be on the left-hand side of the rubber.  The intensification of the breaking pitches, i.e. curves, sliders, slurves, and even cutters all get a boost and are fortified when the horizontal vector is established because the batter is often getting an obscured view, and in my opinion the aerodynamics of the breaking  or curving phenomena are increased.  In the matter of a sinking  or tailing FB - the middle or even opposite (left or weak side) of the pitcher's rubber for a RHP seems to be advantageous and enhances the movement on these pitches.  Of course the opposite is true for a LHP.  A note of caution here - in establishing a convenient vector for a sinking  and running FB, there is a concomitant difficulty in getting an advantageous angle for the breaking pitch, as it becomes more visible for a RHB.  The hard sharpness is not accentuated by a horizontal angle which is negated by pitching from the weak side.  The visibility of breaking pitches (those resulting from supination) is greater when  using the weakside (opposite) of the rubber.  One should experiment to see if pitch intensity is increased by taking different positions on the pitching plate.  JB  (7/20/08)

THE ESSENCE OF "TENNIS ELBOW" -  Pitchers elbow or "tennis elbow" is always a frightening event for a baseball pitcher or any athlete involved with the propulsion of a racket, a javelin, a football, or a baseball particularly during the critical  time of their careers.  It seems as though certain events increase the occurrence of tennis elbow.  In baseball throwing sliders, hard curves, and now some are insisting the splitter, can bring this malady about (this is as far as pitching is concerned).  My strong feeling is incorrect mechanics in the throwing of a baseball, perhaps propelling a tennis racket, hurling a javelin, or throwing a football are the main culprits, as well as overdoing the activity, in bringing this disorder about.  The term, epicondylitis, often conjoined with tendonitis, implies an inflammation from micro-tears or fraying of the tendon connecting to the humerus (upper arm).  Often one can exist with this problem as the aggravation is not such as to inhibit some effective throwing or propulsion.  I know this, as I existed with this condition an appreciable amount of my pitching days, particularly in college in the cold New England springs in spite of the fact these were some of my most productive games.  Relieving this problem always involves ceasing the throwing routine for days, perhaps weeks.  It's amazing how the body repairs, and one who is in good physical health can overcome and revive the "back to normal" condition in a reasonably short period of time.  Eliminating the hard slider in my opinion can do wonders.  I've prescribed this method to some of my aspirants who visit me with this condition, and what to do.  Pronating correctly takes stress off this problem area and often relieves pain occurring from rapid supination from throwing sliders.  You have one throwing arm!   JB (7/18/08)

NEW WEB LINK - ThePichingAcedemy.net  -  We at PitchingProfessor.com are happy to announce our connection to DAN GAZAWAY and ThePitching Academy.net web site.  Dan Gazaway has the passion that we all require to instruct young pitching aspirants and help them accomplish their Pitching ambitions.  Dan's site is full of great stuff on many aspects of the pitching process and we highly recommend that those searching for pitching excellence explore the site.  Soon the site will also provide access to "The Act of Pitching " and The Best of Championship Pitching Camps DVD Modules.   Coach John Bagonzi (7/2/08)

PUT A "BRAIN" ON EACH PITCH !  -  You know when you tell someone to actively visualize and see oneself throwing a pitch, we find that some are not readily prone to do this or do not know how.  They are missing out on a serious productive practice.  I feel that if one makes a commitment to serious pitching, that he should have this (pitching a ball) on his mind a certain amount of functional time.  He should see himself pitching a baseball well and frequently, in his minds eye, even when he is not on a baseball field.  This should develop a realistic version of his technique.  To ingrain this craft within the psyche is to produce it when on the "firing line".  It's astounding how often well laid plans come true.  It is for the serious of spirit to incorporate and refine this talent of the imagination.  If one can pitch a game vicariously, as a rehearsal type of activity, the advantage is obviously in the preparation.  If one has ever prepared to pitch a game the day before and projected himself into the details of the game - by being realistic, the actual happenings often come about.  The game needs to be played with the eyes.  "See the mitt" - "hit the mitt" - "throw thru the mitt!".  See the batters' swing style.  There should always be a reason.  Creating 110 pitches with a brain on every pitch is the mission.  For some this too much - for others it's a definite challenge.  JB  (6/26/08)

DIRECTIONAL FORCE IS HARD TO COME BY WITHOUT PUSHING OFF !  -  One of the areas that gains importance in the hurling of a baseball is the energy momentum of the forward drive (directional force).  The length of the stride is an all important issue on the velocity of a pitch, and it is of a concomitant relationship to directional force.  This force, in my opinion, can only  be implemented and enhanced by the serious activity of the back leg, and the push or drive that comes from this quadrant.  Is it possible to get directional energy or power without the push-off phenomenon?  PERHAPS, but unlikely, and less likely without a usable kinesis that is initiated here.  When directional force then meets rotational force, a remarkably beautiful synergistic event in the flow of power takes place.  This has been stated many times.  There is an artistic quality to the power of the back leg, as it joins the early kinesis and fulfills the power potential of this quadrant.  Refining this effect is the measure.  JB  (6/22//08)

THE CASE FOR THE ALMIGHTY FASTBALL !  -  There has been something like 40 new pitches devised since the beginning of the game of baseball.  The inventors and creators of specialty pitches have had their "day".  Some of these concoctions are more than interesting and have revamped the process of pitching over the years.  But the one consistent equalizer, which always becomes the GOLD STANDARD for pitching is THE ALMIGHTY FASTBALL! - one might seriously ask WHY?  It has persisted as the mark for excellence - an almost religious overtone - I even call it "The Holy Grail " in my book and my dvds and certainly refer to it that way in my pitching camps.  Let's look at the reasoning for the no.1 pitch of the pack, and the one that always hovers as the "equalizer".  1) It's a constructive pitch - an arm builder.  One's arm will get stronger, even bigger and developed by throwing fastballs.  Sliders etc. can be destructive pitches on the other hand.  2)  It's the "Equalizer" and "Intimidator".  Decision time gets challenged and the "high cheese" close by can cause one to think.  3)  The "Precursor" -  It's the originator of everything.  All pitches must have some kind of fastball arm action.  There is a requirement for arm power of some sort on all pitches - curve, slider, cutter, splitter, and even change-up.  4) Arm Health Maintainer - There is less stress with the FB -  together with great mechanics enhances longevity.  5) The "Relator" - All pitches must ultimately compare and relate to the FB in terms of trajectory, speed, positioning and therein lies its mystique.  6)  The "Commander" - The FB is always best for control, and it's the umpires'  and catchers' favorites.  7)  The best for "After Life" - The fastball with late potency is a powerful entity in itself.  We could go on with these advantages, but suffice to say no. 1 may always be the most important.   JB  (6/20/08)

COMMANDING ONE'S SELF, THE FASTBALL, AND THE STRIKE ZONE  - The title implies a trilogy of events, and may sound a little ominous, and yet many accomplished pitchers do just exactly that.  Having control of the fastball with bite and yet invoking the "overlord" to validate this process with precision, is the prime directive here.  Having the audacity to take charge - be bold and capture the supreme purpose of the mound, when initiating a pitch, has such a strong overlordship quality to it, that in effect, batters recognize immediately, who plans on being in command.  The domineering, potent, take-charge guy will connote respect, and if his demeanor sustains, it's likely he will remain in command.  Command is what it's all about, and all pitchers should work on this aspect unrelentingly.  Early control bodes well!  Because good control in pitching is largely a mental outgrowth, (although there are physical and mechanical issues that necessitate a correctness in delivering a pitch), it bodes well when an aspiring pitcher demonstrates the ability to consistently throw pitches in the strike zone, particularly early in the game.  If this tendency continues in one's early career (that is exhibiting a control of the mental part), it becomes a harbinger of pitching proficiency, which can only grow better as one matures.  Being consistent and confident translates into dominance.  Composure transcends the boundary between good and VERY good.  When one is robust in his thinking about perfecting his lot, then we have a serious agenda. Don't back from this!  It may be the missing part.   JB  (6/19/08)

SCIENCE AS A MODUS OPERANDI IN PITCHING ? HOW MUCH ? (The Scientific Method?)  -  Those of us that are scientists or oriented toward science, or have taught science and are sensitive to the laws that govern the universe are always ready to integrate these principles in the pitching of a baseball.  The Scientific Method (hypothesis, theory, law) hasn't been embraced in baseball yet, even though semi-dedicated aficionados have proclaimed that if it isn't proved by science, then it's not worthy.  It seems as though this idea draws short, as few things in baseball are positively proved by science.  I wish they were; however, there are always laws at work.  I'm a scientist of sorts, so that I would wish this, but I don't have the evidence to justify and validate this maxim.  I wish it was there, because I would relish versions that I've harbored over the years to be not only proven, but justified in the realm of pitching where variance is the main disciple.  We are constantly gathering up  loose ends and trying to make them fit into the total picture.  This is good because occasionally we "hit the nail," but to squirm around trying to believe that all that is important in this arena has to be proven or is proven by science is likely a study in futility of philosophy.  But let's never quit the venture.  JB  (6/10/08)

THE IMMACULATE KINETIC CHAIN -  In the creation of the perfect pitch, that has the perfect beginning, an ideal middle, and the resultant perfect ending, replete with no leaks or decay along the way, we have quite a demanding order.  Having a continuous flow and a continuity of correct junctures emanating with precision and power is certainly a bold assignment (bolder yet the accomplishment!).  CAN THIS BE ACQUIRED ?  - ABSOLUTELY !  -  but only with the assistance of the productive mindset, which is attentive to the "power" focusing necessary to enhance a realistic "active visualization" system!  SEE IT !  DO IT !  This is the prescribed state of the new "mental mechanics" -  the powerful potential that is lingering here requires an attention to detail, but also the precise understanding of the kinesis involved in pitching a ball.  Once it is clear in one's mind, then those with purposeful motivation, seek out the steps.  When the energy of motion is scrutinized and established, the sincere student of pitching can take his craft to another level.  This should always be the goal.   JB  (6/9/08)

RELEASE POINT -   Imagine a string or a cord attached to the middle of your chest (sternum or breast plate) going right to the catchers mitt  -  this is your "thought line" and your release point reference point.  It should be out on this line in front of you.  While your actual release point will likely be higher and back further  -  the idea of "snipping" through the line with your fingers will give you a consistency in the all important release area.  This string or cord should be part of the active visualization process, which should be preliminary to any serious pitch.  In my pitching camps, I get this point across immediately and demonstrate repeatedly and continuously throughout the camp, and find that the resultant consistency in delivery is accomplished early.  "Seeing" the line is a big accessory in establishing a "pitch slot" and groove for throwing the ball.  Once this is established, the stride length can be adjusted, so that location can be fine-tuned and a pitcher can self-monitor his adaptive responses to variations in pitches.   JB  (6/5/08)

THE USEFULNESS OF THE CONTRARIANS (3 Spots where knowledge exists) -  There are always three types of persons regarding knowledge.  There are those who: 1) don't know what they don't know; 2) those that know what they don't know; and 3) those that know.  There are those who linger within these categories that might be aptly termed CONTRARIANS.  They irritate me no end.  For criticism for its sake is their specialty.  However, they seem to serve a useful purpose.  They unknowingly (many times) invigorate the process.  The jury of experts grants them a hearing.  However, the jury is largely saturated with non-contrarians, so that it's a hard sell.  The jury has roots in the idea that "that which works needs to be retained," and that reinventions need to be scrutinized and validated and not accepted simply because they are "new,"  The gap between the "new" and the "old" sometimes contains the "truth" and those "old schoolers" who have availed themselves of new age technologies and have alerted themselves to the "cutting edge" have obtained the ideal stature and balance to sit on the jury.  These omniscient students have retained the successful knowledge of the past and ideally complemented it with the energy and refreshment of the new.  However, there is a great pitfall here when category 1) proclaims a viewpoint without the support of the no. 3) clan.  The jury needs to review change for itself as a phenomenon, which quite necessarily might be "good" (maybe) or "bad" (often).  Still we need a new ideal, and perhaps the contrarians contain this thought if their assumptions are carefully tested.   JB  (5/27/08)

THE FOREVER MECHANICS -  Forever mechanics is something you can live with during your entire pitching career.  I feel blessed that in my early days I emulated Warren Spahn and Bob Feller - both outstanding pitchers with optimal mechanical deliveries - both devoid of arm problems, with Spahn pitching into his middle forties, while Feller, interrupted by armed service time, accomplished staggering totals, but would have amassed more records with a continuous career.  I still have my unchanged mechanics, which are somewhat like Fellers' and am quite capable of throwing a baseball well with gusto, agility, and flexibility long after that would be likely.  We as pitching instructors and coaches want the beginning entry mechanics to last the length of one's career, and perhaps with fine tuning periodically, along with alterations when flaws occur, but nothing drastic which might involve blueprint changing.  "Mechanics you can live by" is the logo.  Dependable deliveries, time after time after time, stress-free with command and self sustaining power, accuracy and effectiveness is the logo theme.  This is a tall order, but a deliverable one, that has the thoroughness of design built into its beginning.  This is the good pitcher vs. the great pitcher design.  The line begins early.    JB  (5/26/08)

THE FINAL 5-7 FEET OF THE PITCH (The "After Burn") -  When one has zest on his fastball, it often is a result of activity in the final 5-7 feet of the pitch, and this is where the ball is "alive".  This can be the "biting" zone, the "giddy-up" stage, the" late-life" or the "pop" on the ball.  This is where the effect of "pulling the trigger" on the fastball is manifested.  The actual pulling of the trigger is in the release of the ball, where the fingers are fast-forwarding.  The "flick" that is imparted thru the ball here with its concomitant high spin impartment is where the "after -burn" is initiated.  Coming thru the ball with the finger tips acting strongly, and the wrist powerfully flexing is the incredibly important part of this mechanical phase where acceleration thru the release point accurately creates the optimal energy for a fastball with "overdrive" quality to it.   JB  (5/23/08)

THE IMPECCABLE MIND   - Dwelling on this guy is worth every second. He (she) is a magnificent, wonderful entity that can transform a life. He is a treasure that we all have to some degree. He can be depended on,  he can handle disasters, and he protects the error-prone from falling too far off-course.  He can be a partner in the great quest for high level achievement.  He basically wants no part of mediocrity.  He has a consciousness that can think only positively.  He resides in great accomplished personages.  His is a valor under fire in any venue. He refutes under accomplishment.  His residence is the inner mind.  Being aware of him often invokes his presence.  There are no enigmas.  There are no negative time warps.  His demands are only that his true ethic be recognized and be employed.  His strong point is solving problems, and he can be good at this!  He requires some assistance, but doesn't always depend on this.  He can operate on the strength of his will ,which is powerful.  He walks on hallowed ground and should be supremely respected for he works for the individual, and has his total interest at heart.  Get this guy on your side and get to know him well.  JB  (5/22/08)

BEST THING ONE CAN HAVE IN PITCHING IS A STRONG MENTALITY -  A mind devoid of negative images and defeat-laden thoughts is that of such a beautiful mentality, that it can only flourish and survive, when hard times or disastrous scenarios present themselves in the pitching arena.  Some call it an "impeccable" mind, and surely it is.  It is incapable of doing wrong.  This is the great partner in the search for success.  Isn't it refreshing to know that one can rely on this "guy", because he will not screw-up?  This mindset will not allow for things to get out of hand.  One needs a high confidence level to consistently benefit from dealing with an unerring mind.  When mind and body are on the same wave-length, it can only be an asset, and be an impact on outstanding pitching performances.  Emotions have to be extracted, and  a conviction on every pitch has to be maintained.  Before the ball is thrown, there has to be a belief that it will be successful.  This active visualization needs to be refined and utilized consistently.  JB  (5/6/08)

EXTENDING AND REFINING THE "DRIVE LINES" -  It is important that we as pitchers and coaches recognize that in the pitching of a baseball, there are two distinct "drive lines":  (1) one that is established by the front striding leg or "stride line" and its relationship to power, location, deceleration and balance; and then there is the (2) drive line of the pitching arm, which is essentially the arm circuit, and this needs to conform to patterns of consistency relating to arm junctures, loading spots, arm slot, wrist slot, release point and ultimately full extension with follow through.  The action of consistency and continual correct repetition is imperative with these drive lines.  It is needless to emphasize this when it comes to implementing and understanding the absolutism of consistency in making good pitches.  This is an underlying element of pitching excellence.  These drive lines are intimately related and necessary to one another and should be understood precisely, as one should recognize the synergistic effect relative to the uniting of the directional force to the rotational force, and this ultimate resultant effect on the kinesis of the torso and the pitching arm.  We then have the beauty and power of a well delivered pitch.   JB  (5/5/08)

BE ALWAYS PREPARED !  -  Being always prepared in no way interferes with having fun or a good time playing the game of baseball, and in particular, the act of pitching part of the game.  Before taking the mound, one should have a game plan.  This should be one that is visualized during dress rehearsal (bullpen warm-up).  One should have an idea what he is up against, and see this in his mind's eye.  There should be no chance occurrences here, but rather (self-speak) " I've got an act and a plan and I'm going to do it! " - " It wont be just physical ability ".  It will be mental and emotional as well.  " I'm not going to default on my potential, and I will not let that fail".  " There really is no excuse for a breakdown, surely because I didn't prepare myself".  " I realize my mental power, and I can reach my potential by understanding this power".  " My brain is the OVERLORD for excellence".  " I realize there is no crying in baseball, and baseball will not feel sorry for failure".  If one becomes superior in his vision, then great things happen.  On game day, mechanically there has to be a consistent release point.  It's the ability of the pitcher to read the hitter and understand the strike zone and evaluate what the umpire "sees".  In joining the level of excellent pitchers, one cannot let the game play him, but rather he has to play the game.  The better players decide how they are going to play.  One cannot let curable things (i.e., yips) ruin him.  One can always turn things around.  There is a purism here for those searching excellence, and its worth every bit of the devotion to it.  Believing is far bigger than most allow for - some discredit this as you either have it or you don't.  BALONEY!  You can conjure up this strength if you have a mind for it.   JB  (4/2/08)

THE KEY TO ALL GREAT FASTBALLS !  - The key to a great fastball is the gear to which it is launched in, and the gear that it is in, when it reaches the plate.  The extra stage action is the true mystique of a high quality FB.  Few have it!  It is often a condition of the mind, but always a condition of ROTATION and speed of fingers.  The effect of the fingers pulling thru the ball with a "clawing" effect and the hand and forearm with a "whipping" quality gives the ball an overdrive.  This "after-burn" is hard to come by, but great fastballs possess this stage.  The late-life or booster that we all treasure is the real discriminator when it comes to destroying or affecting the batter's decision time.  To throw beyond the batter's hitting speed is very difficult to do today, as the modern hitter is truly timed into hitting baseballs traveling at 95 m.p.h.  But, if the ball has "giddy-up" when it reaches the plate, often decision time is severely challenged.  The tremendous importance of releasing the ball correctly with smooth but powerful hand and arm action, which is supported by the drive and rotation of the other three quadrants of the body, gives the fastball its best chance of having a booster stage.  In my recent DVD - The Holy Grail - The Fastball, much of the details of rotation are covered.  JB  (4/1/08)

UTILIZING THE FOUR QUADRANTS  - In pitching a baseball correctly, one should involve four main parts of the human anatomy.  They are: 1)  the throwing arm;  2)  the glove or directional arm;  3)  the back leg; and  4)  the lift or lead leg (stride leg).  These quadrants should be united in a particular way.  The throwing and directional arms form the pectoral girdle (shoulder girdle) and act together as the upper torso.  The back leg and lift leg together with the pelvic or hip girdle basically act in unison as the lower torso.  All of these parts act as a synergism in the hurling of a baseball.  When these quadrants and girdles are loaded and activated kinetically, there is a combined and correlated effect which compounds the force of the pitch.  Done well, there is a capture of directional thrust or force with rotational (sling-shot) energy, and this combination can create a surge, and an acceleration of arm, forearm, hand and fingers and consequently the speed of the thrown ball.  When this is done consistently and well, it can add to the velocity of the baseball and create a complete anatomical delivery of a pitch in which most of the body contributes to the artistry of pitching.  One should be constantly striving for this.   JB  (1/23/08)

THE BEAUTY AND NECESSITY OF THE BACK LEG RELEASE (getting the back side through) -  In pitching, getting the back side through and into the pitch, is an area that seems to get overlooked quite often, and it demeans the whole pitching effect, because it should be a serious "punctuation" mark on the delivery of an effective pitch.  The activation of that quadrant, and its incorporation into the sequence of completing a strong throw to the mitt, signifies a coordination of drive-off, rotation, and release in a powerful kinetic thrust, which in turn gives a signature to a purposeful delivery.  Those with a strong back side involvement, generally have a high back leg release, and this is often characteristic of power pitchers who have quality fastballs.  Is it the swirling of the hips from rotation, or is it the drive-off, which gives the character to the back leg release?  This is often  a highly visible, dramatic and impactful event, as the leg comes high.  I would be quite sure the potent back leg releases are a combination of powerful forward thrusts and similarly powerful rotational effects, which strongly get the back side through and powerfully punctuate the signatures of the various pitches.  There are numerous ways to get an impact high back leg, but the most useful  and effective is to have a partner or a coach hold the leg up, as one goes through "dry" mechanics and buries the shoulder and comes to the end of the pitch.  This is indicated by the follow-through with the hand passing by the opposite knee (approx. 7-8 inches).  Posing there for a moment while the operator adjusts the back leg to height comfortability, often times can get a lazy back leg into a functional position.  This should be worked on until it feels and becomes natural.   JB  (1/7/08)

INVEST IN YOUR OWN IMAGINATION! -  When the smoke has cleared, and we stand there bereft of our worldly goods, we have but our inner spirit and our remarkable imagination left, as our guide to adequate functioning.  Disasters highlight our lives periodically, and how we deal with these events eternally etches our character.  Withdrawing to our internal strengths, we come up with the force of will and the power to reorganize, revitalize and recoup our losses, and perhaps ideally emerge stronger, more resilient, and more precise in our outlooks.  There should be no limits on us, as our imaginations are a vast reservoir of many times, untouched talents, which are lingering and waiting to be summoned and destined.  Dealing with disasters develops mental discipline, and enables one to work on weaknesses until they become strengths.  This is a measure of our wonderful imagination and its capacity for self-actualization.  Self confidence surely is an outgrowth of the self-realization phenomenon.  Many times a baseball game can develop a disaster, and particularly pitchers are vulnerable and also, often times succumb to this happening.  Resorting to the inner being, and knowing that this entity will measure up strongly, confirms that self confidence can result from excursions in the disaster world.   Refining this tendency to "measure-up" certainly enhances the strength of the imagination and its will power.  We should refine this energy to the fullest.  JB  (1/3/08)

IN APPRECIATION -  I would wish you to understand this perfectly.  I deeply and humbly appreciate all those involved in honoring me with the renaming of the Woodsville Community  Building.  My wife Dreamer and I, as well as my family, are thrilled and supremely grateful for this gesture.  While I'm progressing along my life's path, I can only appreciate that I am here to witness this event.  To the School Board, to Jim Walker, Dave Robinson, Brian Gould, and Mike Ackerman, you have my utmost gratitude for your involvement in this event.  To all the players who were present, and surely to all who played for me and WHS during my coaching career, you have my undying respect for your loyalty and performance, and will forever remain as great gems in my memory bank.  We need to support our schools, our community and our town always, as this is what makes us.  With fondest regards - John and Dreamer Bagonzi and Family.  JB  (1/1/08)

THE DROP AND DRIVE !!!??? -  I'm sometimes identified with the "drop and drive" style of pitching (this couldn't be more wrong).  While I surely advocate the "drive" off the back foot, I don't encourage the dramatic "drop" part.  Although Tom Seaver and Sandy Koufax, great artists with this style, were great favorites of mine, and I certainly admired them.  I feel somehow they could pitch without the downward plane and with their fastballs did not need the advantage of the vertical trajectory.  However, most pitchers gain from the downward plane in order to intersect vectors which are seriously advantageous to most thrown pitches and enhance not only their fastballs, but their breaking pitches flourish also (although Koufax had a great curve, even with the drop and drive technique).  Batters allowed to get comfortable on their own plane (horizontal swing plane) absolutely need to be confronted with some anomaly here.  That would be the downward or vertical plane.  I had a sort of gentle argument with a Hall of Fame pitcher a while back, when I suggested his curve was enhanced by the downward plane; although he felt he didn't really have the downward plane.  Needless to say, this discussion had a futile future to it.  The verticality of the downward vector intersected by the horizontal vector creates an advantageous angular (& multi-dimensional) condition for most pitchers, and one should take all the advantages where they exist.  JB  (12/12/07)

THE MECHANICS OF VELOCITY (BOTH PHYSICAL AND MENTAL) - Some essential factors in bringing about pitching velocity can be: 1) create a long stride - a longer stride causes the ball to go lower - lower is faster.  One holds onto the ball longer, thereby imparting more energy, and the sheer fact is a lower pitch is faster aerodynamically; 2) Integration of 4 quadrants - a) the pitching arm, b) the off or directional arm, c) the back side - mainly the back leg. and  d) the lift or front leg; 3) Strong loading of these 4 quadrants - give them their due.  Be aware of their synergistic relationship;  4) Fast fingers - accelerate thru the release point; 5) Strong backside - at the outset and on back side release;  6) Directional force - going forward - drive off back foot;  7) Rotational force - torso (shoulders and hips) rotating;  8) Integration of 6 and 7 - melding of directional and rotational forces; 9) The purity of INTENT - "see the mitt - throw thru the mitt".  In regards to no.9, intent can be an option, but it is a highly treasured mental option and should never be relegated to the so-called talent dept. and laid aside.  This is something we all can turn on and need.  Pitching is such a mental exercise, that if someone doesn't possess intent, he probably should consider another position or another sport.  The option of considering success should never be accompanied by some forlorn statement or quasi-developed mental hesitation, that conditions one's choices.  If success is a goal, then the option is narrow and positive.  This is rightly so, but I see and hear a lot of vacillating viewpoints.  This is truly a sorry situation, for time is a continuing and progressive phenomenon, and time frames shrink and dwindle rather quickly.  Consider intent at the forefront always!  Develop a strong mental force to your pitching program, that complements the physical program.  Never overlook "mental mechanics."   JB (12/8/07)

CREATING INTENT THROUGH POWER FOCUSING -  Is intent limited by genetics?  This business of intent as are many dimensions in athletics, and particularly baseball pitching, is dependent on one's " frame of mind".  It is so easy to say that everything is mental, but after the "trip around the barn", I know, as do many others, that for sure it's all MENTAL !!  Make no mistake about it!  If one throws 83+ M.P.H., and has decided that he has plateaued, then it might become so.  If one says he has another level and another gear that he must achieve and he seriously aspires to doing this, then this gear can happen.  One must allow himself the opportunity to move in this direction, by searching all possible avenues for advancing.  The physical part of pitching likely involves: 1st the FITNESS factor - In the pursuit of the completely developed equation for pitching power, fitness will always reign at the top and must be plugged in first.  In reaching one's genetic endowment in pitching velocity, one must examine his hand and finger speed.  This is an area everyone can increase in.  One should check the thoroughness of the loading technique in the four quadrants and particularly the hips.   Sometimes bringing the lift leg higher and setting the knee toward the back shoulder will result in a longer step and stride.  This can result in increased speed.  Most pitchers are under-achievers when it comes to velocity.   Many times pitchers put their own limits and this beats them.  Self-doubt is a killer.  It could be genetic, but doesn't have to be.  Self-doubt is controllable.  Pitching is such a positive event, that one can contribute to the enemy (other team), by having self-doubt.  In essence one is playing  for them, when he self-doubts.  Doing all the correct things mechanically can create the potential to throw hard, but the super- strong mental will has to come in here, if one wants to power the ball.  "See the mitt - throw thru the mitt", not just "hit the mitt".  Most pitchers with good mechanics will not hurt themselves by attempting to throw as hard as they can.  Reaching these barriers can often create an almost sub-conscious will to throw hard often - obviously on the fastball.  This not only develops the arm, but the mental power control we all need.  Hard core thinkers, who are often great pitchers, possess these highly positive thought waves, which are saturated with intent-laden motives and they have no space for self-doubt.  One should be mentally superior to his obstacles.  Most people control their will.  It can be strong or weak - one decides that.  Be dialed into the power of your own will.  If you continue to think positive and control your focus and will, imagine how far you can go!   JB  (12/5/07)

EVERY PITCH SHOULD BE A WORK OF ART !  -  The classic pitching motion should always be a model.   Very stylized pitching motions, with a meticulous easy effort, and free flowing deliveries such as Curt Schilling, Roger Clemens, Josh Beckett and yesteryear's Sandy Koufax, Warren Spahn, and Jim Palmer should exist as model templates for idealized pitching motions.  These persons repeated their pitching approaches over and over again with a distinctiveness.  No two people pitch exactly alike, nor should they, but the individuals who refined their pitching styles did the same thing over and over again, so that feet landed in the same designated spot every time.  The arm slot was the same every time.  The leg lift was the same, unless working from the stretch.  The stride length was the same, except to make corrections.  Each pitch should be considered beforehand.  Active visualization should preface every pitch.  Each pitch is an entity unto itself; a masterpiece in the offing - a work of art.  It may not be possible to create a masterpiece every time, but that should be on the menu and be the primary goal.   JB  (11/29/07)