This is a warmup routine that I use with as many players as I can to get them oriented to the essential elements of the skyhook. Some players pick up the form and proper angles in a relatively short time, while others struggle and progress slowly (which is fine). I feel somewhat obligated to provide at least an initial exposure to the elements of this great shooting technique because it can be such an offensive weapon to players who can assimilate it into their game.
The routine begins with a modified, front-facing, Mikan drill sequence (Phase 1)…followed by a back-facing, pivot & drop-step sequence (Phase 2)…then, a back-facing, high-in-the-paint, 1-shuffle-dribble sequence (Phase 3)…and, finally, a back-facing, high-in-the-paint, catch & hook sequence (Phase 4).
Typically, the drills are executed in an alternating right-side, left-side, fashion. However, during the initial learning period, there may be times when a “grooving/shaping” segment (where the same side is continuously repeated) is required to refine and “shape” the movement patterns while establishing an enhanced comfort level. But for the most part, we want to continuously “load” the routines by adding or emphasizing additional elements during each execution.
The most important points of emphasis during the entire routine are:
1) Shooting-arm full extension - having the shooting arm fully extended (with elbow locked) will keep the ball at its maximum distance from the shot blocker who should be on the shooter's inner shoulder. The hook shot is one of the few shots in basketball where the shooter's body is between the shot blocker and the ball, and this advantage should be maximized to the greatest extent possible.
2) Shot-line alignment - non-shooting-arm shoulder pointing to target (desired ball contact-point with backboard for a bank shot, or center of basket for swish shot)…shooting-arm shoulder, elbow, wrist, and palm in line with inner shoulder and target.
3) Early visual targeting - when rotating the body into shooting alignment the head and eyes should lead the way. For banking hook shots, I want players to “fine-focus” on the exact spot they desire the ball to contact the backboard (like a laser pointer). In this way, they allow the incredible targeting capabilities of the brain to subconsciously calculate (or recall) a trajectory solution.
4) Stepping-angle & Shot-line angle - Basketball success can often be attributed to angular precision…this is also true with the hook shot (especially, banking hook shots). The angle between the shot-line and the direction of the step that the shooter takes should always be 90 degrees. For banking shots, the angle the shot-line makes with the plane of the backboard is ideally 45 degrees. Therefore, when shooting banking hook shots, the shooter should step in a direction 45 degrees from the center-line to the basket to allow the shot-line to be 45 degrees to the backboard. Young shooters often let their shot-line get too flat on banking hook shot, so it is important to critically monitor these angles when executing these sequences.
Some additional global points of emphasis for further refinement are:
1) Elevation off the shooting foot – In this case the shooting foot is associated with the inner leg. It is important for the shooter to develop the tendency to elevate off this inner leg (opposite the shooting arm) by stepping with hips lowered and legs loaded. The knee of the outer leg is lifted above the outer hip as the shooter jumps up off the inner leg. This knee-lifting, jumping movement provides important lift to the ball during the shot release and tends to soften the shot.
2) Guard-arm positioning – Another element that can make the hook shot tougher to block is proper positioning of the non-shooting arm during the shot release. If, after extending the ball in the shooting arm, the shooter drops the non-shooting arm to the side (which many unconsciously do) it leaves an open space for the shot blocker to reach an arm through and get to the ball. The shooter should “claim” this space with the non-shooting arm (a simple “L” arm positioning will do) to prevent this maneuver and force the shot-blocker to elevate vertically.
3) Follow-through – Just as in other shots, a nice wrist-flip and follow-through are important for proper ball-rotation and target engagement.
Phase 1 – Mikan drill
In this sequence the player should start in front of the rim facing the basket (zero degrees). When going to the right side, the player should step with the left foot in a direction 45 degrees right of center. And, when going to the left side, the player should step with the right foot in a direction 45 degrees left of center. No dribble should be taken during these movements.
After the step is taken and as the outer knee is being lifted, the ball should be moved with both hands out to the fully-extended shooting-arm. If the extended shooting arm is thought of as the hands on a clock moving through the shot-line, the ball should start between the 9:00-10:00 position and be released between 10:30-11:30 position. The eyes should be laser-focused on the backboard target point and the shoulders squared to the stepping direction. A good follow-through should be executed and emphasis should be on proper angles, arm-extension and guard-arm position.
The shooter should rebound the shot and return to the original position in front of the rim. The next execution is initiated to the opposite side of the basket, and this process is repeated an appropriate number of times (typically 10).
Here is a short segment in the lab introducing this modified Mikan drill…
http://www.youtube.com/watch?v…..ZKBTA_DD5c
Phase 2 – Back-facing, pivot & drop-step segment
The next segment progresses to a back to the basket position to introduce the concepts of pivoting, early visual targeting, arm extension timing to avoid angular momentum, chinning the ball and getting big, 45-degree drop-step and head fakes.
The player should begin in a position a foot or two in front of the rim with back to the basket. Feet should be double-wide, ball under chin with elbows out, and legs loaded (knees bent). The player should pivot on the right foot while drop-stepping towards the basket in a 45 degree direction right of center. Again, no dribbles should be taken.
As the body begins to rotate the player's head should turn and eyes should target the desired spot on the backboard. As the shoulders start to come into shot-line alignment, the player should start sensing the proper time to extend the ball to avoid angular momentum which can negatively impact shooting accuracy. Once this point is reached, the subsequent movements and shooting mechanics are as in the previous segment (Mikan drill).
Again, angles, shot-line alignment, guard-arm positioning and shot follow-through are continually emphasized while the player alternately executes the sequence going left and going right.
When the player completes about 10 executions, the single head-fake is added for an appropriate number of repetitions, and then the double head-fake. Requiring the player to actually look over the shoulder on the head-fake tends to improve deception in my opinion.
Here is a lab segment covering some aspects of this sequence…
http://www.youtube.com/watch?v…..Zii6Vdx0ao
Phase 3 – Back-facing, high-in-the-paint, 1-shuffle dribble segment
The routine now progresses higher in the paint and adds one shuffle dribble along the 45-degree line toward the block positions. This sequence introduces the concepts of moving the defender, protecting the ball, extending the shot and changing directions.
The player should now take a starting position one step below the FT line in the center of the paint. Again, the player should have back to the basket, feet double-wide, ball under chin with elbows out, and legs loaded. The player should pivot and drop-step into a shuffle dribble (with back to the basket) along a line 45 degrees right of center toward the right-side block. The shuffle dribble should be executed with a low, pound dribble between the legs as the drop-step is initiated to allow the body to protect the ball from the back-side defender. As the ball is gathered after the shuffle, the player should momentarily hold the position with back to the basket, and then pivot on the left foot into the hook shot. The player rebounds the ball and returns the starting position before executing the movement to the left side.
This sequence may start to become more challenging (and consequently, uncomfortable) as the hook shot is now occurring at a greater distance from the basket. However, with continuing emphasis on proper form and angles…and, less attention to whether the shot is made…progress can occur, and a shooting touch can be acquired over time. For some players this may be the point where it is determined that the time investment is not worth the gain.
For those able to continue, the change of direction is introduced. Now, after the shuffle dribble the player should fake the hook over the outside shoulder and shoot it over the inside shoulder. When going to the right side, this now requires the player to give a head & shoulder fake over the left (outside) shoulder and then shoot over the right (inside) shoulder while pivoting on the right foot. This also provides an opportunity to work on a swish shot on the inside move. This segment will require additional balance and body control while maintaining proper angles and form.
The next progression is to add the double fake off the shuffle dribble. This requires the player to fake over the outside shoulder then over the inside shoulder and come back with a hook shot over the outside shoulder. At this point, rhythm and balance become increasingly important and the player should be encouraged to experiment with the rhythm and weight shifting frequency.
Here is a lab view on this segment…
http://www.youtube.com/watch?v…..SLDc8nW-2A
Phase 4 – High-in-the-paint, catch & hook segment
This last segment is the most challenging and will generally require the most time to master. It is added to the routine only to push the envelope and really examine form, touch and release timing. If players struggle with this one, try moving it in to mid-paint position. It is mainly to work on a catch and shoot touch with a quicker release.
The player should take a starting position high in the paint as in the previous segment. The player should toss the ball out with return spin to simulate receiving a pass. Upon catching the ball the player should immediately pivot and hook over the left and right shoulder while maintaining proper shot-line alignment, elevation and follow-through.
Here is the lab view for this segment…
http://www.youtube.com/watch?v…..zzbuFgOrJU
This clip shows a more advance level of skyhook training for which the previous segments are directed…
http://www.youtube.com/watch?v…..4ImdQmw3o0
Rick Allison
LoneStar Basketball Academy
http://www.lonestarbasketball.com
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