Hi, my name is Michelle Smith and I'm a member of the United States National Softball Team.
I've developed this video to teach you the proper mechanics of the major breaking pitches
involved in the game of fast pitch softball.
Welcome to volume 2 of the elite pitching series. It is my belief that
pitchers should have a good fundamental understanding of the basic pitching form
before attempting to learn breaking pitches. I have unfortunately witnessed
many talented young pitchers fail to reach their full potential because they
were determined to learn those all-important breaking pitches before
they were ready. I believe that if young pitchers are struggling with control
and fundamentals of the basic form, it is much too early for them to be learning
any of the breaking pitches. With velocity and pinpoint control, a smart
pitcher is just as likely to have the same success as pitchers that throw
breaking pitches. The main reason for not learning the pitches too early is
because of the changes in form can detract from the proper mechanics of
the basic form. When this happens, velocity and control are the first areas
to show a drop in performance. When the body and the mind fully understand the
basic form, the breaking pitches are more easily learned. Problems arise when the
mind and the body become confused between the basic form and the breaking
pitches form. Soon, instead of having two distinct and different pitches, one form
results, which is neither correct or accurate for either pitch. The breaking
pitches, when used correctly, add tremendous power to a pitcher's arsenal.
Having two or three completely mastered pitches is all it takes to become lethal.
The primary pitches I throw in a game are currently the rise, the curve, and a
change-up. Yes, I can also throw a drop, off-speed drop, knuckleball, and
screwball, but I find I don't need them as I am just as successful without them. I
am primarily a rise and curveball pitcher. Many good pitchers throw mainly
drops and change-ups. The key is finding the pitches that suit your style best
and experimenting to see which ones you learn the easiest. In other words, which
ones are most natural for your style. When I say which ones suit you best, I
am referring to your pitching style. I am very explosive off the mound with my
legs, so it has been natural for me to learn the pitches where the weight and
the power should drive from low to high or keep the body in an upright position.
Pitches where the body weight and power should be transferred forward have been
harder and unnatural for me to throw effectively. I have learned what my
strengths and my weaknesses are and used them in different ways to make my
self more successful. I know who I am and what I can do and have never tried to
become someone or something else. It is important to know your strengths and try
to make the opponent beat you at your best. If they can do that, then give them
the respect they deserve. We all know what it is like to lose and it only feels
worse when you are beaten by your weaknesses instead of your strengths.
Another important point I want to share with you has to do with ball movement. It
doesn't do any good to throw a flat pitch just for the sake of throwing
movement pitches. I believe a hard low outside fast ball is much harder to hit
than a flat rise ball that comes across the zone at the letters. One of the most
important aspects to remember about the breaking pitches is if you try to muscle
the pitch, the release will be slow resulting in a labored spin not allowing
the ball to break. By staying loose and relaxed and snapping the ball
explosively, rotations of the spin on the ball will increase and the ball will
break more, therefore giving the pitch the correct tight spin. You spin the ball
and let the ball do the work. As I mentioned in volume one, beginning pitching,
right-handed pitchers can use this video as an advantage by allowing me to be
their mirror image as they view the television screen. Mirror the proper form
of each pitch with me so your body can learn the correct feeling of each pitch.
I do hope that each and every one of you get to feel the excitement involved with
seeing your first rise ball jump over a swing or see that first curve ball slide
sharply out of the zone. These are the results of lots of hard work and
dedication. Remember it takes years to develop the pitches and mature into a
full potential pitcher. Hang in there, learn, study, and focus and great things
will happen. The grip of the drop ball is as shown. The drop ball is usually the
first pitch taught to beginning pitchers. It is probably the easiest pitch to
learn. The stride of the drop should be shorter than the stride of the fast ball.
The stride should drive out on the straight line of force and plant
approximately one to two feet shorter than the length of the stride when
throwing the fast ball. The reason for the shortening of the stride is to allow
the shoulders to be forward during the release phase. The shoulders should
actually be over the front knee at release. The shoulder should be tilted so
that the throwing shoulder is raised thereby raising the release point. We
want to raise the release point so that the ball will be released high so it can
move or drop down into the lower part of the strike zone. Releasing the ball low
and having it drop even lower would result in the ball missing the strike
zone and ending up in the dirt. It is important to note that the shoulder is
raised and tilted and there is not a bend in the elbow. Raising the release
point comes from the tilt and not from a bend in the elbow. The snap of the drop
ball can be of the peel off or turnover method. On the peel off method the ball
should be snapped off the fingertips just as in a basketball jump shot only
reversed in the underhand motion. A second method is to turn the ball over
at the snap as shown here. Either way is effective. Experiment with both to see
which ones work best for you and are most comfortable. I tend to use the peel
off method and after release I turn my wrist over in the follow through. The
follow through should be relaxed and into the body in a downward direction. I
tend not to teach pitchers to follow through up when we are throwing the drop.
We want the ball to move down so an upward follow through would only
counteract what we are trying to accomplish. The drop ball is a very
effective pitch for keeping the ball low and trying to make batters hit ground
balls. I tend to throw more rise balls than drop balls. A former teammate of mine
an All-American pitcher at Oklahoma State University, Dena Carter, is a good
example of a great drop ball pitcher. Dena has the ability to throw the drop
ball with speed and control. Her excellent movement makes her drop a pitch
that has given many a batter some frustrating moments. Notice how well Dena
drives her body's power and energy over the ball. This with the proper peel off
snap and rollover follow through allows her to make the ball spin incredibly
fast and true. The result is a drop that breaks late at the start of the zone not
allowing the batter much time to react. The drop ball should be used when the
batter is deep in the box or has a slightly down angled swing. In both
instances the batter will more than likely hit a ground ball if the ball is
hit at all. With a strong defense a good drop is often turned into a ground out.
Therefore anytime we want to keep the ball on the ground and out of the air
as in a potential sacrifice fly situation the drop ball is an excellent
pitch to be thrown. Now let's go back and recap the proper mechanics of the drop
ball. First we want to make sure that we have a short stride. Second the shoulders
should be over the front knee. Third we need to raise the release point and last
we need to drive the ball down. Two seam rotation versus four seam rotation. In
this video you will learn that there are many ways to hold or grip different
pitches. Almost every pitch can be gripped so that the spin will incorporate
two seams or four seams. Experiment to see which ones work best for you. I tend
to use two seam grips because I feel I get a sharper break or movement on the
ball. For example when I'm throwing a rise I feel as though with the two seam
rotation there is nothing for the air to act upon until suddenly there are two
seams close together. The pressure under the seams changes suddenly and the ball
breaks sharply. I get a sharper movement with a two seam rotation than a four
seam rotation. I feel that the movement for me with the four seam rotation is
gradual because there is no sudden bite by the air. Therefore the break is
gradual instead of sharp. This is something to experiment with to see what
works best for you. Many great pitchers throw breaking pitches with either two
seams or four seams. It really is personal preference. The grip on the
change-up should be the same as the fastball. If it is more comfortable for
you you can rotate the ball slightly for a different feel. The spin on my change-up
rotates backwards. One of the ways I practiced the spin of this pitch was by
first using an empty film canister. Hold the canister as shown. The object of this
spin drill is to rotate the shoulder forward at the beginning of the release
point so you can rotate the hand into the downward position to be able to
flip the canister with a backward spin. After practicing this with the canister
do the drill with the ball. This backward spin should be tight and fast. The
reverse spin helps slow the velocity of the pitch because the ball is spinning
in the opposite direction that the pitch is moving. This allows us to throw and
explode just as hard off the mound as the other pitches that we throw at top
speed. The key to any change-up or off-speed pitch is for the form to be
and to appear as explosive as the pitches with the maximum velocity. The velocity
of the change-up should be about 20 to 25 miles per hour less than the fastest
pitches that you throw. The form is therefore the same as that which we
learned in the basic form video. The release point is the only change in the
pitch. By rotating the shoulder forward the arm and the hand can now be placed
in the position opposite of the usual pitches. The release is therefore to
flip the ball with a backward spin toward home plate. After release the
follow-through should be slightly upward but not crossing above an imaginary line
at the waist level. This will keep the flight of the ball on a low path. If the
ball rises into the eye level of the batter the pitch is more easily seen and
therefore hit. Once again the most important aspect of this pitch is to be
explosive with the front leg off the mound. Now let's compare a fastball
thrown prior to a change-up to see if the motion is as explosive. As you can
see I drive hard into both pitches. This gives the batter the perception that
each pitch is being thrown hard. The change-up is a pitch that can be used in
almost any situation. However avoid throwing a change-up in a potential bunt
or steal situation. During these times it only gives the offensive team more time
to work with. If a batter is swinging late at the maximum speed pitches chances
are throwing a change-up would give them a better opportunity to hit the ball.
Also very disciplined batters who keep their hands back and steady when off
speed pitches are thrown will probably be better than average change-up hitters.
The best batters to throw change-ups to are anxious batters and batters guessing
at the pitches thrown instead of seeing the pitch and identifying it. Now let's
go back and recap the proper position to be in when throwing the change-up. First
we want to have the same explosive form as the fastball. Second we want to rotate
the shoulder forward at the release and third we want to flip the ball with a
backward spin. The knuckleball is a very effective pitch when thrown correctly.
The grip of the knuckleball is as shown. Notice the ball is deep in the palm of
the hand and the fingers are tucked into the seams. This decreases wrist snap on
the ball increasing the effectiveness of this particular pitch. The knuckleball
should not be snapped out of the hand at release. Remember snap adds spin and spin
decreases the effectiveness of this pitch. The release of this pitch is
basically locking the wrist and lifting the thumb off the ball. A rapid
deceleration of the hand pops the pitch out allowing the pitch to be thrown
without any spin or rotation. When the ball travels through the air without
rotation the air acts on the four seams at different sites moving or dancing the
ball erratically through the air. Therefore when the pitch is dancing and
with a decrease in velocity from the other pitches it is very difficult for
the batter to hit. The stance, leg direction, and drive off of the mound is
the same as for the fastball. One way of decreasing velocity is to shorten the
stride slightly. Remember to sell the pitch. Once again as with any off-speed
or change-up pitch it is imperative to look explosive. The follow-through of the
knuckleball should again be in the downward direction. The palm of the hand
should never rise above the waist area. This would have a tendency to make the
path of the pitch travel high through the strike zone. As mentioned earlier
anytime an off-speed or change-up pitch is high in the zone and at the batter's
eyes it is more easily identified and hit. Dina Carter is a good example of a
pitcher that has a great knuckleball. As you can see Dina does a great job of
locking her wrist and popping the pitch out. This decreases any spin on the ball.
Her stride is about the same as her drop ball stride and she also works to use
her energy and power to drive the ball from high to low. This makes the ball
drop down toward the lower part of the zone keeping the ball out of the
batter's eyes. Once again the follow-through of the knuckleball should
be in the downward direction. The knuckleball is also an excellent pitch to throw
to anxious and aggressive batters as well as batters that are guessing. The
pitch often moves better in humid weather as the air is thicker. Now let's
go back and recap the proper mechanics of the knuckleball. First we want the
same explosive fastball form. Second we need to lock the wrist so there is no
wrist snap at release and third we want to follow through in a downward
direction. In becoming an advanced pitcher it is just as important to learn when
to use the pitch as it is how to throw the pitch. I believe the relationship
between a pitcher and a catcher is the game within the game. Watch and listen as
Michelle Grimacchi and I interact during a single inning.
Quick!
Woo!
You got one!
Nice shot. Let's go, hit them all.
You got one!
Let's go, work hard.
Hit it!
Nice! Nice pitch.
Use them all here.
Woo!
That's what I wanted you to do.
Yes! Yes!
Two! Two shots.
You got two! Get this one.
Fill it up.
Nice pitch. It's good, one-six.
Yes!
More two.
It doesn't get much better than that. Awesome.
The rise ball is known as the bread and butter pitch of fast pitch softball.
Unfortunately, it is also known as the hardest of all the breaking pitches to
learn, and understandably so. The object of the pitch is to make the ball rise or
hop in the upward direction as it travels through the strike zone. Obviously,
for a ball to do this it must possess enough energy and power to overcome the
forces of gravity that are pulling it in the opposite direction. The key words in
this statement were power and energy. In other words, if the ball isn't traveling
with enough velocity or spinning tightly in the correct direction, the pitch
won't move. It will merely become the easiest pitch to hit in the game, a flat
rise ball. The grip of the rise should be as shown. The ball should be held in the
fingers. Keep the ball out of the palm of the hand. The ball should fit firmly
into the fingers with most of the pressure being applied by the tucked index
finger. The middle finger and the ring finger should be on the seams and the
thumb opposite of the fingers. If it is uncomfortable to grip the rise with a
tucked index finger, you can grip the ball so that the fingers look like a
horseshoe. The spin of the rise should be in the backward direction and tight.
The backward spin allows the air to act on the seams, lifting the ball and making
it rise. To get the ball to spin backwards, the snap therefore must be such
that at release the palm is under the ball. The beginning of the snap should
start with the palm over the ball, snapping or rotating to under the ball at
the release point. I like to think of it as turning a doorknob. The snap should be
explosive and short. A long snap will not allow for an explosive movement,
creating a lazy and labored spin which won't allow the ball to move. The leg
drive off the mound should be explosive and long. With a long explosive stride,
we can generate more power to block against. The stride leg should plant
firmly into the ground. This allows us to throw against a hard opposite side,
which is so important for throwing a good rise ball. By blocking hard, our weight
is shifted slightly back and downward. This allows us to have a lower release
point. Release the rise low so it can move up through the zone. Releasing the
ball high makes the pitch move from high to higher and is less likely to fool the
batter. The shoulders should be slightly tilted so that the throwing arm and
shoulder is slightly lower, again lowering the release point. Another
important observation to make is to notice that the body weight has been
shifted back while the hips are still in the open position. If the body is leaning
to the side, the hip closes early, getting in the way at release and the arm and
palm never truly get under the ball. This is a common mistake when first learning
the rise because it is an easier position for the body to be in. When the
body weight is shifted back and the back leg is slightly collapsed, it is a very
difficult and fatiguing position to be in. When the hips are open and the body
weight is back, the thigh muscles take the majority of the force created by the
body, therefore making it a very difficult position to be in. Learn the correct
feeling of this position so your body knows when it is doing it correctly. The
follow through of the rise should be upward explosively to the center of the
body. I like to think about cutting my arm tight into my chest. If the follow
through is long and out in front of the body, then the snap most likely would
have been long and slow. Once again, we want everything to happen explosively
at one moment. By doing this, the ball will spin correctly and jump late, just
before the plate, thereby fooling the batter. Another little hint for pitchers
having a hard time getting under the ball is to remember to come out of the
pre-motion deep into the main windmill circle, keeping the arm long. This will
help keep you under the ball at release. If the arm circle is shortened entering
the windmill circle, it will be very hard to get under the ball at the release
point. Therefore, stay long and deep into the beginning of the big circle. Using
snap drills really make a large difference when learning the correct rise
snap. I use this drill to learn the proper release and correct rotation on
the ball. The greatest advantage drills give you is that they isolate the snap
and allow you to perform it correctly without having to be confused with what
the rest of your body is trying to learn. In addition, you can take the drill away
from the field. I routinely practice this rise snap drill in my bedroom every
night. Notice how I get my lower body in the correct position at release. The arm
is then isolated and I concentrate on turning the doorknob or rotating my wrist
from palm down to palm up. The spin should be tight and the snap explosive
and short. Watch to make sure that you have these two very important elements in
your drill. When thrown correctly, the rise is one of the most feared pitches in
the game of fast pitch softball. Many hours of practice and years of experience
are the key ingredients to serving up a hop and rise ball. The best situations to
throw a rise in are during bunt situations to make the batter pop up and to batters
that swing from low to high with a long looping swing. Now let's go back and
recap the proper mechanics of the rise ball. First, we need to have an explosive
stride. Second, we need to have a long arm in the main windmill motion. Third,
we need to collapse the back leg to lower the release point. Fourth, we need to
tilt the shoulder down so that the release point is lowered to throw the ball
from low to high. Fifth, we want our palm under the ball. Six, we need a short
explosive snap. Remember to use the snap drill. And last, we need to follow
through up tight and explosive. The curve is probably the second hardest pitch to
learn after the rise. However, the curve when thrown correctly is a great pitch
for fooling batters. The grip of the curve is as shown. It is basically the
same grip of the rise, only I prefer to rotate the ball slightly for a different
feel. I again try to keep a lot of pressure on the ball with my tucked index
finger. If it is more comfortable, you can lay that finger down on the ball. The
snap of the curve is inward towards the body. Because the curve is a timing
pitch, it is important that the snap takes place at the precise moment. In
other words, when I say the curve is a timing pitch, I am referring to the fact
that the hips and the wrist snap must be timed perfectly to get the best
movement on the ball. If the hips are early or late in the release area, the
pitch will be flat. My snap is so powerful that my wrist spins completely
around the ball as shown here. By slightly angling the snap up or down, we
can get the ball to rise and curve or drop and curve. I tend to throw my curve
as a curve drop. The next very important aspect of the pitch is the length and
the direction of the stride. The stride should still be explosive off the mound.
Only on the curve, we want to plant on the opposite side of the straight line
of force. By planting on the left side of the line of force for left-handed
pitchers and the right side for right-handed pitchers, our hips cross over
into a position that we can then pull and snap back across the center line. So
we can bend the pitch back through the strike zone. Once again, we can stride
over the center line so we can pull our body back across to create ball
movement. I tend to plant slightly over the center line, only 3 to 4 inches from
my rise stride. However, I really try to lean back toward the center line to
build more forces for my body to pull against. The more you lean and use your
body weight, the less you will need to stride over the center line. Again, once
the lean and the forces to pull from are established, the wrists pulls and rolls
around the hips, spinning the ball tightly so that the ball will slide in
and out of the zone quickly. The follow-through of the curve is to keep
moving back across the center line with the body. It is important to establish a
good defensive position as quick as possible to protect yourself and to be
able to field the ball. If the ball is hit back to your throwing side, it will
be a very difficult grounder to field because your body is traveling in the
opposite direction. To stop and shift your weight back takes time, so be aware
that you may be unable to field those types of balls hit at you. If you are
throwing a curve drop, the arm follow-through should be down and into the
body. If you are throwing a curve rise, then upward and into the body. My
follow-through has a tendency to pull away at first from my body because it is
so forceful. However, I do come back to the center of my body to be in the
correct defensive position. The curve is a good pitch to learn after you have a
good understanding of the other breaking pitches. It is very important not to let
the crossover stride of this pitch interfere with the strides of the other
pitches. If you are starting to cross over on those strides, then take some time
away from the curve and practice striding onto the straight line of force
again. Now let's go back and recap the proper mechanics of the curve ball.
First, we want an explosive stride over the center line. Second, we want a proper
lean for more power. Third, we need to snap back across the center line. Fourth,
we want to follow through into the body. And last, we need to return to a good
defensive position. I hope that during the course of this video you have learned
some of the most important aspects of each pitch. With the knowledge of the
proper mechanics for each breaking pitch, there also needs to be an understanding
of when to use the pitches. It may be counterproductive to throw a great
breaking pitch if it is thrown into the batter's strength or during the wrong
situation. The game is constantly feeding you information. Grasp it and learn all
you can. Use every advantage you can think of. Then, with the proper moving
pitches and teamwork around you, you will see great things evolve. Pitching truly
is a challenge for the mind, soul, and body. As I mentioned earlier, I like to
think of pitching as the game within the game. You have control of that ball
before anyone else comes in contact with it, thereby allowing you to set the tone
of the game. It is important to realize that once the ball leaves your hand, you
no longer have any control over it or the pitch or the play. Even if you throw the
pitch over the middle of the plate, you can't control whether it will be called a
ball or a strike, hit or miss, fielded or misplayed. Learning to control what
little time you do control the ball is essential to becoming an advanced
pitcher. It is imperative that you become efficient and consistent with the
movement of your pitches. It won't do you any good to throw incredibly breaking
balls if they keep dropping out of the zone into the dirt. Make your pitches
move in and out of the zone as quick as possible. Then, when you can throw that
breaking ball for a strike in any situation, you will have mastered the
pitch. Control and movement are the essentials for commanding your breaking
pitches. I believe control very simply is defined as the ability to throw a pitch
outside the strike zone when you want to, but inside the strike zone when you
have to. Keeping these things in mind will help propel you to the top quicker
than anything else. Every pitcher has had those days when their breaking pitches
seem to be broken. They just don't move. At these times, it is imperative that
you are able to hit your spots and change speeds. And many a time, you will be
successful even during those off days. I have had those days and I'm sure more
will come, but learning to adjust and adapt to the situation, or any situation
for that matter, is what often separates the advanced and mature pitcher from the
young and inexperienced. Remember, just as it takes years to develop solid,
fundamental, basic form, it also takes years to develop the breaking pitches.
Again, remember one of my favorite words, perseverance. Best of luck, work hard,
and I'll see you in the circle.
Good luck.