www.elitesoccercoaching.net
SUMMER 2014
IN PARTNERSHIP WITH
JOHN ACHTERBERG
SOCCER COACHING PRACTICES FROM THE WORLD’S LEADING MANAGERS AND COACHES
LIVERPOOL
Goalkeeping technique
NICK DAWS QPR
Throw-in tactics
ElitESoccEr:
tEchnical maStErclaSS BESpokE and ExcluSivE practicES that drill down into thE tEchnical dEtail of SoccEr
Six complete soccer blueprints from the game’s top coaches
MICHAEL JOLLEY BURNLEY
Perfect ball contact
KEVIN NICHOLSON CARDIFF CITY
On the move
STUART WATKISS GRIMSBY TOWN
Defending technique
CRAIG BREWSTER PFCA MEMBER
ALL NEW SESSIONS FOR THE 2014/15 SEASON
Heads up
ELITE SOCCER TECHNICAL MASTERCLASS CONTENTS
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A technical soccer showcase from some of the professional game’s most accomplished coaches
T
hankyouverymuchforpickingupthis,ourfirstspecialissueofElite Soccerin2014. I’msureyou’veenjoyedtheassortmentofbrilliantsocceronshowatthe BrazilWorldCupthissummer.Onlywhenyoudrawtogethernations fromeverycorneroftheglobedoyourealisehowdiverseandspecialised themoderngameis–differentapproaches,differentstyles,different philosophies.Yetattheheartofeverynation,everyplayerandeveryteam talkistherealitythathavingasoundappreciationoftherequirementsof technicalproficiencyisanabsolutemustforanyplayerwhoaspiresto performtotheirpotential. Whetheryou’retalkingdefenders,striker,midfieldersorkeepers,knowing howtomanipulatetheball,opponentsandbodymovementisimperative. Andthat’swhywe’vereallydrilleddownonthemechanicsofsoccertobring youthisTechnicalMasterclassissue. Asalways,we’regratefulforsomeincrediblecontributionsfromsome ofthebestcoachesinthegame,allimpartingtheirfantasticknowledge forthebenefitofEliteSoccerreaders;asyou’llsee,atfirsttheyfocuson individualtechnicalproficiencybeforeexplaininghowtoperformwhat’s learntinapracticesituation. SofromtheBarclaysPremierLeague,LiverpoolgoalkeepingcoachJohn Achterbergtakesusthroughabrillianttechnicalmainframefortheman betweenthesticks.Andwe’vetwomoresessionsfromothercoaches whoseclubsarejoiningtheRedsinthetopdivisionthiscomingseason –BurnleyUnder-21smanagerMichaelJolleylooksattheskillsbehind perfectballcontrol,whileQPR’sAcademyHeadNickDawsexplainshowto perfectthrow-intechnique. Highly-ratedCardiffCityUnder-21smanagerKevinNicholsonpresentsa sessionthatcoachesproficiencyonthemove,whileGrimsbyTown’sStuart Watkissassesseskeydefensivepositionsinatechnicalandtacticalsetting. Andtoconclude,wehaveanengagingappraisalofheadingknow-how fromvastlyexperiencedcoachCraigBrewster,whounveilsthetechnical contradictionsbehindthissupposedlylostart. Wehopeyouenjoyutilisingwhat’shereforthebenefitofyourteam,and lookforwardtoseeingyouagainveryshortlyasthe2014/15seasongets underway. Enjoyyourfootball,
HowardWilkinson
Elite Soccer is a monthly publication for professional, semi-professional and aspiring soccer coaches and is available by subscription only. £97 for 12 issues. To subscribe email duncanh@greenstarmedia.net or call on +44 (0) 1483 892 894
2 ELITE SOCCER: THE TECHNICAL MASTERCLASS
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ELITE SOCCER TECHNICAL MASTERCLASS PROFILES
JOHN ACHTERBERG
NICK DAWS
MICHAEL JOLLEY
John Achterberg joined Liverpool as goalkeeping coach in 2009 having hung up his gloves after 16 years as a professional, during which time he made over 300 appearances for Tranmere Rovers, and spent time at NAC Breda and FC Eindhoven in his native Netherlands. Arriving at the Barclays Premier League giants, he initially looked after the reserve and academy goalkeepers before being promoted to first-team goalkeeping coach in the summer of 2011. On a day-to-day basis, the 42-year-old overseas the development of Reds stoppers Simon Mignolet, Brad Jones and Danny Ward.
Nick Daws is Head of Academy at Barclays Premier League side Queens Park Rangers, a position he took up in September 2013. A former player with vast Football League experience – for Bury, Rotherham United and Grimsby Town – the 44-year-old hung up his boots in 2004 and gained a BSc in Sport Science from Manchester Metropolitan University. He joined the coaching staff at Rotherham, and after earning his UEFA A Licence switched to Barnsley. His Pro Licence followed, and after scouting for a number of sides, he joined Harry Redknapp’s revolution at Loftus Road. He is now looking to bring through the next breed of talented youngster at QPR.
Michael Jolley is another young and ambitious coach who will begin the new season in the Barclays Premier League, having recently joined the Burnley coaching staff. The 37-year-old is a former Cambridge University Masters graduate who, having been a youth team player at Barnsley, moved into coaching in 2003 at the Crystal Palace Academy. Jolley switched to Nottingham Forest in 2007, then took on the role of High Performance Football Coach at the University of Stirling. He progressed to Head Coach of the Scotland Universities Team whilst working towards a MSc Degree in Sports Coaching. Moving back into club football in 2012, Jolley completed the FA Elite Coaches Award – one of only 16 coaches globally – before joining Burnley as Senior Professional Development Coach of the Under-21 team.
KEVIN NICHOLSON
STUART WATKISS
CRAIG BREWSTER
Popular coach Kevin Nicholson is Under18s manager at Sky Bet Championship club Cardiff City. Kevin holds a wealth of qualifications including the FA Elite/Pro Coaches award (which sits alongside the UEFA Pro Licence), the UEFA A Licence and the LMA Diploma in Football Management. He joined the South Wales club in June having spent 10 months at Exeter City, after six years at Derby County and, before that, a spell at Stoke City. At 28, Nicholson is regarded as one of the hottest properties in professional coaching and is looking to bring through a wealth of promising talent at Cardiff as the club plot an immediate route back into the Barclays Premier League.
Experienced coach Stuart Watkiss is current aiding Grimsby Town’s attempts to regain league status having previously spent time at Stockport County as Assistant Manager. Prior to that, the 48-year-old was Development Coach at Hull City for three years up to 2012, and has also worked at Mansfield Town and Kidderminster Harriers. As a player, Watkiss was a strong and confident defender, beginning his career at Wolverhampton Wanderers before appearing for the likes of Crewe Alexandra, Walsall, Hereford United and Mansfield Town.
Craig Brewster has coached and managed across numerous levels of the game in England and Wales, and spent five years as a player with Greek side Ionikos. Bursting onto the scene with Forfar Athletic as a tall and powerful striker in 1985, he went on to play for Raith Rovers, Dundee United, Dunfermline Athletic and Inverness Caledonian Thistle amongst others. Progressing into management, Craig established Inverness as a force in the Scottish Premier League, and following a spell at Dundee United returned to Thistle to save the club from relegation in 2007/08 season. He then took Ross County to the Scottish Cup final in 2010, before guiding Crawley Town to promotion from League Two in 2011. The 47-year-old is currently undertaking coaching work for a number of sides in the south of England.
LIVERPOOL
CARDIFF CITY
3 ELITE SOCCER: THE TECHNICAL MASTERCLASS
QPR
GRIMSBY TOWN
BURNLEY
PFCA MEMBER
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JOHN ACHTERBERG GOALKEEPING COACH LIVERPOOL
Goalkeeping technique Overview
A
t Liverpool we have a very simple way of analysing how our goalkeepers are performing – simply, everything is judged on their strengths and weaknesses. As goalkeeping coach, I come to decisions on keepers by assessing them live in training and matches, and also on DVD, but any coach can build a picture of the areas a keeper needs to work at, and this is important to do. What’s more, technical football is often at the heart of how a keeper performs, since the margins are very fine for someone who must be precise in what he does and how he does it. So where keeper training is concerned, I like to put together sessions on the training pitch that maximise technical proficiency and progress. Much of this is done by recreating key moments in matches where a keeper needs to have precision and purpose in what he does, and that’s what this training blueprint looks to do. After all, if the keeper trains and develops well, he will recognise when these situations come about in matches and recreate the correct action.
“Speedandreactions arethetwokey elementsthat thekeeperneeds toachieveinany situationinthe penaltyarea.” 4 ELITE SOCCER: THE TECHNICAL MASTERCLASS
THE KEY TECHNICAL ELEMENTS OF GOALKEEPING
• Catching and handling • Stance • Closing down a threat • Kicking and ball distribution • Diving
SET-UP AREA
Up to a half-pitch EQUIPMENT
Balls, cones, goals SESSION TIME
60mins www.elitesoccercoaching.net
JOHN ACHTERBERG LIVERPOOL
GOALKEEPING TECHNIQUE
BASIC HANDLING TECHNIQUE No1
The W
Handling is central to a goalkeeper’s ability to halt attacking threat and, from that, begin his side’s offensive push. The first hand shape to master is ‘the W’ – a hand position that links the thumbs and, in doing so, creates a nest into which the ball can go (and stay).
The keeper must aim to claim the ball at the top of the semicircular arc above his head - the point where it’s least likely opposing attackers will be able to reach
Arms begin around hip height and are raised as the ball comes in
The keeper needs to look through the gloves and through the ball
The ‘shock absorber distance’ means the ball is 15-18 inches away from the face
Note: The ‘w’ is used even when the keeper is diving left or right for the ball
Wrists can be moved closer together (for a wider ‘w’) or further apart (to form a diamond) Touching of thumbs means hands form the shape of ‘the w’
Elbows should be slightly bent so as to act as shock absorbers from opponents
Catching technique
Knowing when to come for a ball is of course a tactical part of the game and can only be learnt with time, but once that decision has been made, establishing a polished and efficient catching technique enables a keeper to claim possession of the ball whilst also protecting himself from opponents.
The keeper lifts off with his strong leg, bringing up the other in front of him for protection
THE ENGLISH PREMIER LEAGUE’S BEST KEEPERS… (2013/14 campaign, more than 25 games played) Top six by saves made by:
David Marshall (Cardiff City) Vito Mannone (Sunderland) Tim Howard (Everton) Brad Guzan (Aston Villa) John Ruddy (Norwich City) Hugo Lloris (Tottenham H)
Saves
Diving
129 99 95 95 91 85
85 51 55 54 64 53
Movement of the keeper forms an arc trajectory
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JOHN ACHTERBERG LIVERPOOL
GOALKEEPING TECHNIQUE Basic handling technique No2
The back arches and the bottom sticks out in order to absorb the impact of the ball
The basket Gathering the ball into your midrift is the most effective way to save a shot without the danger of it spilling out, but it must be done with technique in mind. As with most things keeperbased, it requires split-second timing, in this instance in wrapping the fingers and forearms around the ball as it comes into the chest. As this happens, the back should arch and the bottom sticks out so as to absorb the impact of the ball, which in turn lessens the likelihood of it bouncing out.
Forearms and fingers wrapped around the ball
Not having the feet planted helps with absorbing the impact because there is no friction against the ground
Practice for catching and handling
Warm-up (15mins) Although typically a warm-up practice, this drill proves very useful in rehearsing catching and handling technique given that it tests keepers predominantly in these skills. So setting up as shown, on the left-hand side the server plays in to each working keeper, who then moves forward level with the penalty spot, performs a task, then runs around the penalty spot and back to his line. On the right-hand side, we conduct a similar drill, except keepers have to step through the cones first before being played a pass by the server, which may come straight, to the left or to the right. Each task is run 10 times, with serves varying between passes and volleys. The server may decide which skills are practised based on what is featured in the rest of the session, or perhaps by the sorts of challenges that will confront the keeper in an upcoming game. For instance, lots of jumping and catching should he be coming up against a side who like to play long balls into the penalty area.
The scoop catch is a favoured technique for receiving a low shot that has either rolled along the ground or has a low trajectory. The basic motion is still that practised in The Basket, but this time one leg is bent in order to enable the body to lower and claim the ball. The bent leg also acts as a secondary blocking mechanism should the ball slip through the keeper’s grasp.
One leg is kept upright so the keeper can move forward quickly, either to a spillage, or to start a counter-attack The other leg is bent to enable the keeper to reach down, and also to provide a second blocking mechanism
Forearms and fingers gather around the ball
Drills for line 1 Arm rolls Knees Heels Side-to-side movements Forward/backward movements Criss-cross movements Little jumps Low save Take off left and right feet Drills for line 2 Kick-outs Forward over the top Forward sideways Sideways over the top Backwards run/shuffle In and out forward around the cones Sideways forwards backwards One leg jumps over the cones Two leg jumps over the cones Low save Smothering of the ball
What are the key technical elements to look out for? As well as looking for handling and smothering of the ball, there is also a strong emphasis on footwork in this session. This factors in quality and speed of movement, balance, being light-footed and reacting on the front foot. In addition, we want to see keepers maintaining square shoulders, with feet and toes pointed forward, steady arms, hands being open and level, and moving with a steady, balanced body. 6 ELITE SOCCER: THE TECHNICAL MASTERCLASS
Basic handling technique No3
The scoop catch
KEY Ball movement Player movement Dribble
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JOHN ACHTERBERG LIVERPOOL
GOALKEEPING TECHNIQUE Technique:
Stance
1
2
3
4
It is important keepers adopt the right stance for where the ball is on the pitch, although different areas require a different posture, as shown on this page.
2
This position is adopted when the ball is wide in the channels. It is similar to the ready position (see below) but the body still faces forward so that the keeper can survey inrushing players whilst organising his defence
This position is known as the standard ‘ready’ position, and is the stance a keeper will usually adopt when the ball is in front of him in the penalty area. His legs are shoulder width apart and arms are raised in a position that means they can react to a ball quickly (rather than being down by his sides and having a long way to travel should a high shot come in)
3
1
When the ball is in this area, the keeper must be alert to the potential need of coming out and become an extra sweeper for his defence. Tottenham Hotspur keeper Hugo Lloris is renowned for having this skill in his locker
4
A crouched position is used when the keeper has to turn side-on in order to close down angles or an opponent. He makes his body as wide as possible with hands facing outwards
Practice for ‘stance’ positioning reactions
1v1 (10mins) In this practice, the keeper has to react to the server’s shot volley or half-volley and make an initial save. As soon as that first shot is saved, the keeper must get to his feet quickly, as a new ball will be released into either of the two attackers, who advance through on goal for a 1v1. What are the key technical elements to look out for? In this exercise we’re looking for the keeper’s starting position in being ready to react to the first shot. He needs to be on the front foot and prepared for any type of shot, be that low or high, central or to the side. In making the save, we’re paying particular attention to the shape of his hands – they must be open and in the ready position, but then quickly operating so as to catch, parry, push to one side or smother, and either strong or soft. And if smothering, the keeper needs to keep his head low to the floor in order to protect himself from kicks. Once he deals with that, can he regroup quickly, moving forward off his line in order to react to the 1v1? In doing this, he needs to regain good balance quickly, with equal weight on both legs. Hands need to be open again, with head and shoulders over his knees, leaning forward, so he can attack the ball and not fall back. If he keeps a clear, calm mind, he has a good chance of repelling the 1v1.
7 ELITE SOCCER: THE TECHNICAL MASTERCLASS
The server releases the ball and a shot is taken from the edge of the box
KEY Ball movement Player movement Dribble
No sooner is the save made that a second ball is released for a player to go 1v1, meaning the keeper must be up quickly to react
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JOHN ACHTERBERG LIVERPOOL
GOALKEEPING TECHNIQUE TECHNIQUE:
Punt kick
Punting the ball long is a crucial task if a keeper is going to turn defence into attack to maximum effect. The punt (or drop-kick) sees the keeper release the ball with the hand that’s opposite to the kicking foot. Similarly, the initial step will be with the non-kicking foot. Eyes are on the ball at all times, not the target The left arm drops the ball out in front
The left arm is now used for balance
A large last step is taken with the non-kicking leg
The landing is on the kicking foot
The foot is locked kicking upwards Contact is made with the firmest part of the foot
TECHNIQUE:
Goal kick
Good goal-kicking requires a combination of power and accuracy, and this is usually best achieved with large strides on the run-up to striking the ball, with a long backswing and firm follow-through.
The last stride should be the longest and most powerful
Opposite arm to kicking foot offers balance
The heel of the nonkicking foot should be between 6-12 inches to the side of the ball
8 ELITE SOCCER: THE TECHNICAL MASTERCLASS
A solid posture is essential Eyes are on the ball at all times, not the target
The opposite arm drives down across the body
The ball should be struck on the laces The keeper must drive through the bottom of the ball for leverage
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JOHN ACHTERBERG LIVERPOOL
GOALKEEPING TECHNIQUE
Practice for punt and goal kick (15mins)
This is a fantastic distribution game that puts into practice the kicking elements we have rehearsed, and also looks at passing, receiving and controlling the ball. We set up on a half-pitch, as shown, with the keeper fed a ball in by the central server. He must move the back pass to the floor, then pass, clip or drive towards either players or targets, as outlined below. We work on the left and right foot to ensure we build equal quality in both – this means there should always be an outlet if one side route is blocked.
We run this at first two-touch, but can progress to one-touch when we feel the time is right. Kick 1 – The keeper receives the ball and passes out either left or right to the waiting centre-half. Kick 2 – The keeper receives the ball and clips into the small or big goal, which replicates a pass to a full-back or midfielder in a game. Kick 3 – The keeper receives the ball and drives into the small or big goal, with a greater emphasis on power. Kick 4 – The keeper receives the ball and can pass to any player or target goal using free play. We will perform 10 repetitions of each kick.
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What are the key technical elements to look out for? The keeper must deliver the ball at the right angle, and to be able to do this his body needs to be firmly behind it. His stance is set and the pass must be hit with confidence. He needs to be able to switch between using the side of the foot (for accuracy) and driving off the front of the foot (for power and speed). The ball must always be moved out of the feet so the keeper can pick the option under pressure to pass.
A variety of targets and distances is a great keeper distribution practice
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KEY Ball movement Player movement Dribble
THE ENGLISH PREMIER LEAGUE’S BEST KEEPERS… BY DISTRIBUTION (2013/14 campaign, more than 25 games played) Top six by ground kick
Success %
Top six kicking out of hands
Success %
Asmir Begovic (Stoke City) Wojciech Szczesny (Arsenal) Simon Mignolet (Liverpool) Artur Boruc (Southampton) Tim Howard (Everton) David de Gea (Man Utd)
66% 58% 58% 58% 58% 55%
Tim Howard (Everton) Artur Boruc (Southampton) Joe Hart (Manchester City) Brad Guzan (Aston Villa) Wojciech Szczesny (Arsenal) Asmir Begovic (Stoke City)
40% 40% 39% 38% 37% 35%
9 ELITE SOCCER: THE TECHNICAL MASTERCLASS
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JOHN ACHTERBERG LIVERPOOL
GOALKEEPING TECHNIQUE Fingers are spread wide to offer the best chance of keeping the ball away from goal
The top hand is driven up into the air
The keeper leans in the direction of the ball
Eyes remain on the ball at all times
The High Dive
Chest and arm pit land first
Note: the keeper must get back up on his feet as quickly as possible.
The back leg moves towards the chest The lower back is arched
The near leg drives off the ankle
Hips are bent
TECHNIQUE:
High and low diving saves
Being able to dive safely and efficiently is crucial for a keeper, and good technique only comes with practice. While a lot of attention is applied to diving technique, excellent initial stance and quick reactions are both essential in the lead-up to movement being taken. So once the flight of the ball has been tracked, it’s the keeper’s job to move into the correct position as quickly as possible, with the emphasis on upper body movement towards the ball, not footwork.
The back leg raises up, moving gradually into a horizontal position
Eyes remain on the ball at all times
The upper body twists towards the ground in the quickest time possible
The Low Dive The keeper lands on the side of his body with legs in the air The keeper must push the ball to a place where danger has been cleared
Note: the keeper must get back up on his feet as quickly as possible.
Fingers are spread wide in order to get as much behind the ball as possible
10 ELITE SOCCER: THE TECHNICAL MASTERCLASS
The hand is driven down and moved towards the ball
The heel is driven up, in essence so that the leg ‘gives way’ underneath
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JOHN ACHTERBERG LIVERPOOL
GOALKEEPING TECHNIQUE
Positional play in central goal
(20mins) This session rehearses the keeper’s positional play in goal, from a point of being out of position to getting back towards the middle in order to block an incoming shot or attacking play. The practice is used to play out the core technical elements already learned, utilising rehearsed position, body shape and stance. With the correct technical approach play to the task, keepers should still be able to make a save in any area of the goal given that the immediate threat is from outside the penalty box. So to begin, and as shown, the keeper works a set of four tasks. Starting from a central position, he moves fast to the left flat disc, touches it with his hand, then back-pedals quickly onto his goal line to give himself the best chance of making a save. The striker approaches the first ball and shoots at goal (1a). For the next phase, the keeper touches the second disc. This time, the striker picks the ball up and takes a volleyed shot out of his hands (1b). Next, the keeper moves to the third disc. This time, the striker dribbles the ball in for a 1v1 (1c ). In the final phase, any of the first three moves can be repeated by the striker. What are the key things to look out for? Speed and reactions are the two key elements that the keeper needs to achieve in any situation in the penalty area. In this session, that’s the speed to and from the cone, and the reactive quality to deal with the attack that then begins. What are the technical elements to be rehearsed? When the keeper sets himself back on the goal line, he must be at the right angle to the ball. Furthermore, he must be on his front foot leaning into the ball to be able to attack it. He must ensure his body height is prepared for any type of shot, be that low, medium or high into the goal, with his hands out in front of his body, open, and palms facing the ball. From a coaching perspective, we look at whether he succeeds in catching the ball, or if not, how and to where he parries. Does he put power onto the parry to get the ball away out of the danger zone, or is he looking to take the sting out of it and get up quickly to ensure he holds onto possession should it spill out of his grasp? 11 ELITE SOCCER: THE TECHNICAL MASTERCLASS
The keeper runs to the first disc then back-pedals to his line
1a
Immediately a shot at goal comes in from the attacker for the keeper to react to
Now the keeper runs to the second disc
1b
This time, the attacker volleys the ball out of his hands
1c
In the third phase, the keeper runs to the next disc, with the attacker bringing the ball in for a 1v1
KEY Ball movement Player movement Dribble
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NICK DAWS
HEAD OF COACHING QPR
The art of the throw-in Overview
A
s part of an individual’s development programme, players will practise corners, free-kicks and goal kicks in order to improve their technique, but how often is the art of the throw-in properly rehearsed, either individually or as a team? And look at the accepted evidence - there are more restarts from throw-ins than any other method in football. And restarting from the hands plays a significant role in a team’s play, be that relieving pressure in the defending third, retaining possession anywhere on the pitch, or setting up effective attacking moves in the opposition half. Unfortunately, poor technique, lack of appreciation of team mates and ineffective decision-making quite often lead to the throwin becoming a key part of the opposition’s ability to counterattack. So this session looks at perfecting the art and developing the technique of the throw-in. We look at both short and long throw-in technique, how to practise it in isolation and how to integrate it into one of many practices that have a multiple outcome. Players should quickly understand how the short throw-in helps the team to retain possession and switch play effectively. And rather than look at the traditional use of the long throw-in to load the box with strong aerial players, we will analyse how it can be used as an attacking weapon to break lines in the middle or attacking thirds. It’s important to practise the art of the thrownin because, as part of any team’s game preparation, a coach or manager will place great significance on set plays and restarts.
SET-UP AREA
Up to a full pitch EQUIPMENT
Balls, cones, goals SESSION TIME
THE KEY TECHNICAL ELEMENTS OF THROW-INS
• Posture • Movement • Release • Direction • Power • Accuracy
“Thereare morerestarts fromthrowinsthanany othermethod infootball. Andrestarting fromthe handsplays asignificant roleinateam’s play.”
60 mins 12 ELITE SOCCER: THE TECHNICAL MASTERCLASS
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NICK DAWS QPR
THE ART OF THE THROW-IN TECHNIQUE:
The art of the throw-in
Release the ball from the hands at a point slightly behind or above the head
Place the hands behind and slightly to the side of the ball (45 degrees), with fingers apart
Propel the elbows down and the hands over the head to create momentum
The longest recorded throw…
Take the ball behind the head to a point where the fingers are pointing backwards and elbows are forwards
The longest throw-in was recorded at 51.3m (168ft) by Thomas Gronnemark on June 18, 2010. The Dane used a ‘forward roll and flip’ technique, with the achievement recorded in a throwing demonstration at a girls’ football camp.
To increase power, arch the back as the movement starts and follow through with the arms during the forward motion
Throw-ins: common mistakes Technical mistakes: • Releasing after the ball has passed over the head, resulting in a foul throw • Lifting one foot off the ground • Overstepping the touchline • Releasing with one hand Tactical mistakes: • Lack of accuracy and overuse of the long throw into the box • Using the throw-in down the line to relieve pressure rather than playing to feet and receiving back to feet • Teams rushing the throw-in, rather than waiting for movement from receiving players
For a powerful throw, approach the pitch ensuring feet stay behind or on the line
For a short throw, face the pitch with feet apart and in contact with the line
13 ELITE SOCCER: THE TECHNICAL MASTERCLASS
To add power and distance to the throw, ‘snap’ the feet together at the start of the movement
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NICK DAWS QPR
THE ART OF THE THROW-IN Practice for ‘the art of the throw-in’
White plays to blue and receives a return pass
Short and long throws (10mins) Setting up as shown using the side of the pitch - area size can vary depending on the ages of players - white begins with the ball at his feet and passes to blue in front. As blue returns the pass, white adopts a crouched position to pick up the ball with both hands. After resuming a standing position, white performs the throw-in, over blue and to the red at the opposite side of the practice. Here, red controls the ball with his chest, thigh or foot, takes an additional touch to the side and passes the ball back to white. Each player performs 6-8 repetitions of each role. How do I progress the practice? We can progress by varying distances, as well as using verbal/ non-verbal communication between players to signal when to pick up the ball within a minimum or maximum number of passing reps – for instance, after the fourth pass. Finally, we can vary the skill that the player uses to get the ball in hands from a team mate – for instance “flick up”, thus allowing a serving player to call out the skill the other must attempt.
Red controls with his chest, knocks the ball into space, then passes back for the move to restart He picks the ball up and throws it over blue’s head to red
In the progression, we can adjust the distances between players – here, blue plays a shorter pass in front of white, who sprints forward before making the throw
KEY Ball movement Player movement Dribble
Practice for ‘the art of the throw-in’
Moving, receiving and returning
To warm-up players move at random in the square, calling for the ball and returning it first time to the thrower
Techniques for receiving a throw-in & pulling behind the defender to receive over the top or down the sides of the defenders
! pinning the defender " checking off the defender # pulling off and around the defender
% playing back to the thrower before pulling off with an open body to receive back in play 14 ELITE SOCCER: THE TECHNICAL MASTERCLASS
$ playing back to the thrower before pulling off and around to receive a pass back in play
(10mins) This begins as a simple throw-in technique practice with equal numbers of players, and can be used as an extended warm-up activity also. We use 12 players - whites who stand around the area on the outside with a ball, while blues occupy the middle area without a ball. Blues move around the area calling for the ball from whites, who must throw into the middle. Receiving players touch or head the ball back, then look for a new team mate. We’ll run 6-8 repetitions before the roles are reversed. The session can be progressed in a number of ways by varying the distance of the receiver, varying the body part the receiver must use to control the ball, using a onetouch return to the thrower and increasing the number of touches with the ball not touching the ground. We might also ask the receiver to control and take the ball away before turning and playing back to the thrower. In the second practice, mannequins are added to the same area to act as passive defenders. In the diagram, the coloured arrows highlight the progressions after each set of 6-8 repetitions. The ball is always passed back to the thrower between each rep.
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NICK DAWS QPR
THE ART OF THE THROW-IN
Set plays (10mins) In this practice we are looking at an example of switching play from a throw-in, in the mid third. We have split the pitch up into thirds (defence, midfield, attack), and can adapt the practice to focus on one area, or develop throwins from all three areas. So we’re looking at the movement and rotation of the midfield trio of players (in the square box – black arrows) to create space for one of them to receive and switch play to the advancing fullback or opposite wide player (in the blue box). We can also encourage a long throw in order to release a right-sided player. The second example (red arrows) is used to show how a team can utilise the long throw to release the right-sided central defender. For this to be possible the movement of the midfield trio 4, 8 and 10 changes to clear the space for a safe throw-in.
Short throw into the central area opposed
Long throw forward to an attacking runner in the attacking third, unopposed
Long throw back to the unopposed defender
What are the advanced technical elements players should be expected to progress to? Over time, and once basic techniques are pinned down, we begin to introduce a link between the technical subtleties and tactical preferences of the team. These advanced principles include awareness of time and space, movement, exploiting the opposition’s lack of awareness, as well as manipulating flight and speed elements. 15 ELITE SOCCER: THE TECHNICAL MASTERCLASS
Black arrows: The midfield trio show good movement and rotation to make space, and the ball is fed on to the right-sided central defender
Red arrows: Utilising a long throw sees the ball enter the defensive third before being fed to the right
Breaking lines (10mins) This practice takes place as an adaptation of a traditional mid-third game aimed at developing the team’s ability to play through the mid-third and break lines into the attacking third. This can be used to set up against a team who play a high defensive line. The practice allows defensive players to use the defensive third unopposed to play into the mid-third and can be progressed to become semi-opposed (2v1/3v1) in this area. Play restarts with a throw-in in the mid-third with three options available to the thrower: • Play a long throw back to the unopposed defender • Play into the central area opposed • Play a long throw forward to an attacking runner in the attacking third, unopposed If the third option is taken, a supporting attacker can enter the attacking zone unopposed to receive a cross. A time limit should be placed on the attackers to shoot at goal. We can progress the practice by manipulating the number of players permitted in the attacking zone – for instance 2v1, 2v2, 3v2.
KEY Ball movement Player movement Dribble
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MICHAEL JOLLEY UNDER-21s MANAGER BURNLEY
Perfect ball contact Overview
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his session - or series of sessions - is about developing a range of varied bilateral ball striking techniques that can be recalled and relied upon in matches whilst playing under pressure. By developing enhanced ‘range’, players can open up new possibilities for delivering the ball to the correct part of the pitch or team mate at the required moment. Why is it important to practise these techniques? Well, it’s simple - when a golfer stands on the 18th tee knowing he must make a four to win the tournament, he is under intense pressure. He must hold his thoughts together and trust that he has performed sufficient practice that his technique will not falter when placed under such intense scrutiny. Similarly, footballers - especially those operating at the top end of the professional game - are under incredible pressure. Solid ball striking techniques can make the difference between a successful performance and an unsuccessful one - at every level of the game. Furthermore, if a player can improve his ball striking with both feet, he can execute passes and shots which demand a very high level of skill. Glenn Hoddle was a player with great mastery of technique. A pass that sticks in my mind was one he played in England’s 1986 World Cup match against Paraguay. After an initial feint, he played a ball with the outside of his left foot that bent into Gary Stevens’ path, who crossed for England’s third goal. It was a simple looking pass but would have taken Hoddle hours of practice to develop that type of contact with his ‘weaker’ foot. When he spoke recently during the 2014 World Cup, Hoddle said he developed his techniques with “a ball and a wall”, and that’s what forms a key focus of this session.
SET-UP AREA
Up to a half-pitch EQUIPMENT
Balls, cones, goals SESSION TIME
THE KEY TECHNICAL ELEMENTS OF KICKING
• Contact areas of the foot • Body movement • Control to set up a pass • Types of pass • Ball physics
“Solidballstriking techniques canmakethe differencebetween asuccessful performanceand anunsuccessful one-ateverylevel ofthegame.”
60mins 16 ELITE SOCCER: THE TECHNICAL MASTERCLASSS
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MICHAEL JOLLEY BURNLEY
PERFECT BALL CONTACT Technique:
Parts of the foot OUTSIDE FOOT A key area for ‘quick’ play, where a subtle poke or flick can move the ball quickly away from a tackle or past an outrushing keeper. Also used to deceive an opponent as to the direction a pass will take, perhaps after a step-over has been performed.
LACES A key area for generating power, using weight transferred through from the thigh muscles in order to fire the ball towards its intended target, though with more premise of keeping the ball down (compared to the high instep). For players to perfect ‘getting laces behind the ball’, they must have the foot pointed down, and locked, with toes curled. They must balance on one foot, swing the leg and have solid, planned placement of the non-kicking foot (see next page).
TOE Much like the outside of the foot, a key area of the foot used to move the ball with speed. A locked foot means playing off the toe can deliver an accurate pass albeit probably only over short distances. HIGH INSTEP The top surface before where the laces begin, and the part of the foot where most spin can be generated. When the foot isn’t being cut across the ball, the high instep is also used for long passes, including goal kicks, but often with height.
INSTEP Used for accuracy and placement with less power given the fact the ankle needs to be locked.
SOLE OF THE FOOT Used predominantly to control an incoming pass, the sole should be angled so the ball nestles into the space between the angled foot and the ground. The sole is also used to push the ball in front of the player when then making an onward pass. Although a player resting the ball under the sole of the foot can still be tackled, he is nonetheless protecting it more than if it was simply left in front of him.
PHYSICS OF A FOOTBALL
OUTSIDE HEEL Used primarily for one-touch flicks and tricks when moving an incoming pass onto an opponent quickly. A subtle use of the foot yet a part of the boot much more used now in the modern era of technical soccer. HEEL The heel, or back of the foot, is used for ‘clever’ layoffs or short passes, usually in attempting to throw an opponent off the scent. It’s a quick, grounded pass and the aim should be to hit the centre of the ball in order to maintain accuracy. The foot should be kept flexed when attempting this technique.
17 ELITE SOCCER: THE TECHNICAL MASTERCLASS
Pictured here is a plan view of a football spinning about an axis perpendicular to the flow of air across it. The air travels faster relative to the centre of the ball where the periphery of the ball is moving in the same direction as the airflow (left). This reduces the pressure on one side, yet increases it on the other, where the air travels slower relative to the centre of the ball (right). There is therefore an imbalance in the forces, and the ball deflects in the same sense as the spin - from bottom right to top left. This lift force is also known as the Magnus Force, after the 19thcentury German physicist Gustav Magnus. The accentuation of airflow and air pressure on the ball means even minor irregularities in technique can lead to huge differences in height, direction and power. Thus, perfecting technique means giving every pass or shot the best chance of hitting its intended target. www.elitesoccercoaching.net
MICHAEL JOLLEY BURNLEY
PERFECT BALL CONTACT THE HEAD The head should be still as the player strikes the ball, with eyes focusing on the panel of the ball that he wishes to contact with his laces. Some top players will be able to lift their head or look away on contact, but for now, they should focus on keeping the head still.
Mastering the key technique:
Striking the ball with the laces The player should stand around 12 yards from a target – we use a wall on the pages that follow. He must ‘pick a spot’ about 3ft from the floor to begin with, striking the ball - using his laces against that spot, so that it comes straight back to him. We advise not to practise by striking a dead ball because it’s not an accurate reflection of the sort of ball you would usually hit in a game. Instead, the player must roll the ball slowly in front of him on a 45 degree angle, then move onto it and strike it. It is good practice for a player to strike two balls with his weaker foot for every one struck with the stronger foot. In every strike, the player must pay attention to the following factors:
CONTACT POINTS Avoid contacts that are ‘part laces, part instep’ at this stage. Those contacts will give players more options as they become more advanced, but the players should focus initially on pure laces contacts that do not impart spin – although this is easier said than done. You will know when a player has been successful by the lack of spin on the ball and the ‘clean’ way it moves through the air. And the player will know from the feeling he gets when he makes a sweet contact with the ball – he’ll hardly feel the ball come off his laces.
USE OF ARMS The front arm should be raised slightly, out in front and to the side of the body, almost pointing the way for the strike as it develops . The other arm should be used as a counterbalance to keep weight neutral down at the side of the hips. Arm positions are not critical, and every individual will feel conformable with slightly different positions, but if the arms are in a poor position the player will lose power, accuracy, balance, or all three. The torso and hips should ‘make room’ for the strike, meaning the player will be leaning away from the ball. Use of the arms should be to retain balance, whilst avoiding being too upright, as that will make the player less likely to achieve the necessary ‘feel’ in his ball striking.
NON-STRIKING LEG The non-striking leg should be slightly bent at the knee as the striking foot is cocked back.
CONTACT The player must focus on making good contact on the centre of the ball at the back. The aim is to avoid putting spin on the ball, instead making a ‘clean’ strike. Can he make the ball travel seamlessly through the air towards the wall without imparting spin on it? POSITION OF THE NON-STRIKING FOOT Depending on the age/ size of the player, the inside edge of the non-striking foot should be between 6 and 12 inches from the centre point of the ball. If the non-striking foot is too close, the player will cramp himself and not develop sufficient power and range. If the non-striking foot is too far away, he may lose balance and accuracy of the strike.
We’re not all the same Remember, every player will have a slightly different technique/body position for this type of ball striking, so don’t get too hung up on every individual aspect - the most important thing is for players to be balanced, comfortable and focused on good technique.
FOOT SPEED As players become more consistent in the contact they make on the ball, consider recommending they increase foot speed through the ball and follow through more.
Angle of the shoulders Shoulders should be pointing roughly square to the target on contact. Now, as players develop range and disguise with more sophisticated ball striking, they may use their shoulders to trick opponents as to the direction the ball will take. But for basic techniques, keeping shoulders aligned with the target is good practice. Here’s an example of an attacker going 1v1 with the fullback and using his shoulders to imply he is going to move in a certain direction, yet actually releasing a pass ‘out the side’ to an overlapping team mate
18 ELITE SOCCER: THE TECHNICAL MASTERCLASS
KEY Ball movement Player movement Dribble Optional pass/ run
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MICHAEL JOLLEY BURNLEY
PERFECT BALL CONTACT
Practice for foot techniques 10
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Depending on the type of technique being practised, the coach might also consider organising the players into pairs or groups of three, in order to make the practice flow more easily. For example, lobs or ‘dipping volleys’ are practised most effectively in pairs rather than against the wall. It is worth remembering (from the foot diagram) there are, essentially, eight key surfaces (or 16 counting both feet) for striking or manipulating the ball. Bear this in mind when identifying which part of the foot you’re asking the players to strike the ball with. What are the most commonly made mistakes? Players should not try to hit the ball too hard until they have reached a good level of competency; and even then, that should not be the focus. Timing the foot speed through the ball and getting the right
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The organisation for this type of practice could not be simpler. As referenced already, players need a football each and a wall to rebound the ball back to them. Ideally the wall will be made from an appropriate hard surface so it comes back to the player at a realistic speed.
WA
Players practise onetwos with the wall at varying distances, and using different passing and receiving techniques
contacts with both feet should be the main concern. How do I progress the session? You can progress the practice by varying the distance from the wall, or by choosing a different spot on the wall to aim for. A further progression may be to work in pairs and move closer to the wall (perhaps five yards away), so that one player can practise his close control by receiving the strike of his partner as it comes back from the rebound wall. How do you measure improvement of the techniques shown? In training you can mark areas/targets on the wall and compete to see who can be most accurate. In games, you’ll observe
enhanced ball striking techniques on relevant passes - for example, when a midfield player turns and switches play 40 yards with a driven pass to the moving target of an onrushing full-back; or when a player produces an outstanding technical finish. From this very basic laces ball-striking practice, a player can rehearse a range of other techniques using the same very simple organisation (a ball and a wall). So I would recommend a one-hour session, doing four blocks of 15mins, on four different techniques (practising both feet), from the variety of techniques already outlined in the Emulating The Experts box, below.
Extended team practice
We now extend play out onto a 70x50-yard area that progresses the wall practice into a one-touch, laces only passing exercise among five players. This set-up, ultimately, invites players to be more ambitious about the passes they are making. On the face of it, it may not look especially innovative, but soccer relies on mastering the basics, and players will be improving their ball-striking techniques with every pass. So the aim is to now include: • Bent passes with the inside of the foot • Bent passes with the outside of the foot • Driven half volleys with slice and late fade with laces (telling players to cut across the ball as they contact and dipping their non-striking shoulder lower) • Lofted passes with ‘late dip’ as they reach their target The technique can be moved into any small-sided game because the mechanics involved are always excellent for testing these ball-striking techniques. Each player must adjust his body position in order to deal with the ball as it comes, ensuring he makes excellent contact.
19 ELITE SOCCER: THE TECHNICAL MASTERCLASS
Emulating the experts See if you can get your players to emulate the types of dead ball techniques seen by some of the best in the game, either against a wall or into a goal:
On a half-pitch, players use a variety of bent, driven and lofted passes, one-touch
KEY Ball movement Player movement Dribble
‘David Luiz’ sidefoot free kicks ‘Ronaldo’ shooting with top spin and swerve ‘Roberto Carlos’ long-range bending free kicks ‘David Beckham’ short-range free kicks Chipped finishes with backspin Dipping volleys with laces
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KEVIN NICHOLSON UNDER-18s MANAGER CARDIFF CITY
THE KEY TECHNICAL ELEMENTS OF OPERATING ON THE MOVE
• Playing on the back foot • Receiving on the half-turn • Balance • Anticipation • Awareness
On the move... Overview
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lick technical soccer has its foundation in receiving and passing with style and confidence, and this session drills down into the heart of why the Spain and Barcelona method of play has courted worldwide acclaim. Whilst we all know the importance of good touch, close control and the progressing of key technical skills that enable players to find a way out of tight situations, this session also puts a lot of emphasis on player awareness. Simply, without this, no amount of receiving ability, control, movement or shielding will let a player reach his full potential. I like this session because it has a strong bedrock in touch, close control and passing, and that’s essentially what players practise throughout, but by adding in an intellectual edge, it means players can’t just rely on technical skills, and need to build a proper ‘game’ understanding if they are to really flourish. I’ve organised the games so they can be interchanged depending on how the coach or the players feel on the day. They each offer something different – almost a ‘greatest hits’ of practices that I enjoy delivering – and can be used either as a collection or separately. But at the heart of everything I coach is simplicity. For players to master technical elements of soccer they require repetition over detail. I still see many coaches making training complicated, yet if players can combine basic technical moves with an ability to read and work the play, they will take great reward from these practices.
SET-UP AREA
Up to 35x25 yards EQUIPMENT
Balls, cones, goals SESSION TIME
15mins per practice 20 ELITE SOCCER: THE TECHNICAL MASTERCALSS
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KEVIN NICHOLSON CARDIFF CITY
ON THE MOVE KEY TERMS
Receiving on the half turn Receiving on the back foot T his technique enables players to receive without the pressure of receiving on the front foot, which is closest to the ball. Instead, receiving on the back foot draws the ball in to the body and enables the player to open his hips and turn towards the attacking direction. Another universal term for ‘receiving on the back foot’ is ‘receiving across the body’, but either way, the ball must be allowed to run across. Opening up the hips This describes the action of players receiving a pass with an open stance. Balance is equally weighted which means the player has the opportunity to move off in either direction, at the same time not offering an opponent any clues as to the direction he intends to take.
Still shielding, he turns away from the defender and moves on into the space in front of him
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He lets the ball come across him using a side-on stance and shields it from the defender who has closed in. Receiving side-on also allows him to begin moving forward as he sees passing options in front of him
PROVING THE COMPONENTS OF TECHNICAL SOCCER? It’s said that the key exemplars of technical soccer are passing success and possession, but is there a strong enough correlation between the two, and are the rewards there for the sides who play a staunchly technical game? Top 10 teams in European football (2013/14 season) BY AVERAGE MATCH POSSESSION
1 2 3 4 5 6 7 8 9 10
Bayern Munich (71%) Barcelona (68%) PSG (65%) Rayo Vallecano (60%) Roma (59%) Real Madrid (59%) Southampton (59%) Fiorentina (59%) Manchester City (58%) Swansea City (57%)
BY PASS COMPLETION
PSG (89%) Barcelona (88%) Bayern Munich (88%) Roma (86%) Manchester City (86%) Juventus (86%) Arsenal (86%) Fiorentina (86%) Real Madrid (86%) Swansea City (85%)
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The player glances over his shoulder as the ball approaches. He is assessing the situation, checking for the positions of team mates as well as opponents
Bold denotes domestic or European trophy winners Italics denotes domestic or European trophy runners-up 21 ELITE SOCCER: THE TECHNICAL MASTERCLASS
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KEVIN NICHOLSON CARDIFF CITY
ON THE MOVE
Passing and receiving to turn
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Now players have different distances to contend with, and central players rehearse receiving on the half-turn before passing out
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At irregular intervals the ball is passed into the middle where central players combine and feed the ball back out
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In the biggest square, we want to see players moving ‘in and out’ (swapping positions) as the pass is laid into that cone, in order to test angles for receiving and passing the ball on 22 ELITE SOCCER: THE TECHNICAL MASTERCLASS
3!
We now set up three passing squares, as shown. One requires short passing (of under 10 yards), another medium (between 10 and 25 yards) and the third long (over 25 yards). Players aren’t fixed in one area for long – we’ll rotate them around all three areas with the intention of mixing up the passing challenges quickly and regularly. Each square works in the same way - the ball is moved around clockwise. At each corner, the player must receive on the back foot before passing on. The ball can either go to the next corner man, or it can
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In the progression the central player has to call out the number of fingers being held up by the player behind him
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Passing squares – three variations
The ball is fed into the player in the middle, who receives and passes on, with players following their passes
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For the first drill, and on a 15x15-yard practice area, we have three players on each cone and two balls in play, as shown. The player at top left begins, passing into the man in the middle before following his pass. The receiver takes the ball on the half-turn, then passes out the other side, diagonally, to bottom right. He also follows his pass. Now the new player in the middle immediately receives a pass from top right. Again, the action is to receive on the half-turn and continue the line of the ball by playing out to the man waiting at bottom left. Once more, all players follow their passes, with the ball now coming back in the other direction from bottom right, and so on. What are the key technical elements to look out for? This is a continuous practice that requires basic technical skills, such as receiving on the back foot and receiving on the half-turn. Passes must be accurate, sensibly-weighted, and tactical sense requires everyone to be on the move quickly and with purpose. How do I progress the drill? Just before the player in the middle receives, he must take a look over his shoulder towards the player he is about to pass to. The player on the cone holds up either 1, 2 or 3 fingers. Whatever number that is, the central player must shout it out, before turning to receive the ball and passing it on. The goal here is for central players to begin to develop an anticipation of the next phase something we give more emphasis to in upcoming drills.
15 KEY Ball movement Player movement Dribble
be fed inside the square where the two central players become involved. These players can combine and then send on to the next corner players. No players follow their passes and all operate at two-touch maximum. How do I progress the drill? At first, switch the direction to anticlockwise to ensure players become comfortable using both feet. Next, we introduce the idea of players moving ‘in and out’. So, in mirroring what was done in ‘Passing and Receiving to Turn’, a corner player will swap positions with a team mate in the middle. This must be done though when the player on the previous cone has the ball - this means players moving ‘in and out’ only have a couple of seconds to organise themselves before a pass comes in. What are the key technical elements to look out for? Technical proficiency is now building given that when players move ‘in and out’ the receiver is no longer taking on a straight pass running across the body, but a pass that might have to be taken on the back foot and turned 270 degrees towards 25 the next cone. www.elitesoccercoaching.net
KEVIN NICHOLSON CARDIFF CITY
ON THE MOVE
Passing, receiving and turning circuit
Players rotate positions then a pass is laid down the left side
This is a 40x40-yard circuit, set up as shown. There are two balls in play at once, and the task is for players to move themselves (by following each pass) and the ball around using a variety of everchanging technical skills.
A one-two between working players is made at the top corner
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The man at bottom left receives on the back foot then performs a curling pass using the inside or the outside of the foot to the man at bottom right
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One player is positioned between two mannequins, and must either stay fixed, or move left or right, in reacting to the incoming pass. He collects the ball then passes on
A short pass is fed along the top edge, with the player receiving on the half-turn and passing to the top left
A one-two is played against the wall, before a lofted pass is made to the next station, either over the wall or around it
Transfer endto-end
In Transfer EndTo-End, the simple task is to move the ball from one target man to the other using quick and incisive passing technique with greys, at first, one-touch neutrals
E N D S C O R IN G Z O N
In the small-sided game, reds successfully receive in the central zone and pass the ball on using the techniques practised to score in the end zone
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central neutrals are now defenders, with the practice having reverted to a 4v2. Thus, attackers must know what they are turning into before the ball arrives, or they run the risk of being In a penalty area turned sideways, the tackled and losing possession. task here is to get the ball from one Small-sided game target player to the next, though no To finish, we run a tight small-sided player can be in possession of the ball game on a 35x25-yard area. for longer than one second. Atfirstthetwocentralplayersareneutral; Midfielders drop into the theycanonlyplayone-touch,whereasall middle channels to receive, unopposed otherplayersaretwo-touch. at first, though Players must always be looking to turn moving into opposed and pass forward, with the intention of in the progression. getting the ball to the other target man Furthermore, an attacker can as quickly as possible. move into the opposition half to make When a target player receives, team it 4v4 when his team is on the attack – mates must make themselves open for all players are two-touch. a pass so the ball can be turned around The intention for each team is to get and the other target player attacked the ball to a designated target at each immediately. end. This can either be a goal, a target What are the key technical player, or an end zone. principles to look out for? In playing out the small-sided game, This is another practice that uses the we would expect to see all of the technical ‘wins’ from other practices, intelligent technical and tactical so that includes receiving on the halfactions learnt from the other turn and the back foot, movement to parts of the session. We go ‘in and out’ in working space and want players to be angles, and passing with speed. proactive, with sharp How do I progress the drill? movements and bright minds, staying In the progression, players must also ahead of the game and, as a look over their shoulders to survey result, enjoying their soccer. any incoming threat, because the two N
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23 ELITE SOCCER: THE TECHNICAL MASTERCLASS
KEY Ball movement Player movement Dribble
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STUART WATKISS HEAD OF YOUTH GRIMSBY TOWN
Implementing defensive principles Overview
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he job of the defender is like no other, given the relationship he needs to have with the keeper behind, and midfielders in front. So much of a defender’s technique comes down to positioning, communication and awareness, and that’s what this session looks to coach. So this session is a favourite of mine for its use of good technical habits as a basis for sound positional knowledge, combined with the anticipation of danger and opportunity required for any player in the defensive line.
THE KEY ELEMENTS OF DEFENSIVE PRINCIPLES: SET-UP AREA
Up to 50x40 yards EQUIPMENT
Balls, cones, goals, mannequins SESSION TIME
20mins per practice
24 ELITE SOCCER: THE TECHNICAL MASTERCLASS
• Jockeying • Tackling • Positioning • Communication • Clearances www.elitesoccercoaching.net
STUART WATKISS GRIMSBY TOWN
DEFENSIVE PRINCIPLES
Position and technique rehearsal 25 The attacker passes in to a defender who must emerge from behind the mannequin and pass back first-touch to a different attacker
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25 In the progression, we replace the mannequins with attackers to create an 8v4 situation
Now progressing to intricate play, attackers work space but defenders position well to close down the threat
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25 ELITE SOCCER: THE TECHNICAL MASTERCLASS
25 The working defender must use the right part of the boot in ensuring the ball goes back first time, needing to adjust his body shape quickly once past the mannequin given that he’s approaching the ball from an angle
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What do I get the players to do? 25x25-yard practice We begin by setting up a 25x25-yard square, as shown - four midfielders in a line at the top, four defenders at the bottom behind mannequins – note, the left and right mannequins (which shield the full-backs) are slightly further forward. The ball is played in to a midfielder. They must hold their line and pass the ball left and right, not necessarily to the ‘man next door’. Defenders move left and right in order to see beyond the mannequin and keep watch of the ball. After three or four passes, a midfielder passes into a mannequin. The defender obstructed by that ‘opponent’ must nip around the side and play a onetouch pass back to any midfielder. We want to ensure defenders adopt the habit of using quick technical movement to nip around mannequins - they cannot get caught behind and must always be working to the side. And this technical movement is in the context of positional elements too - so the shape of the back four when the ball is transferred. Defenders should be equally spaced, six yards apart and moving as a unit as the ball goes left and right. When the defender moves forward to return the pass his team mates must ensure they adopt adequate covering positions. If a centre-back returns the pass: His fellow centre-back comes around and sits deeper The nearest full-back drops back to protect the baseline The furthest full-back moves slightly towards the centre-back’s mannequin If a full-back returns the pass: The nearest centre-back has to be to the side of the full-back’s mannequin, half a yard behind The second centre-back is three yards deeper and in between the two central mannequins The other full-back is one yard in front of the centre-half, the usual six yards across. His position is in advance of his team mate so that he doesn’t play fellow defenders onside – he must always be in front. When the ball is returned, defenders squeeze up and flatten the line.
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KEY Ball movement Player movement Dribble
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STUART WATKISS GRIMSBY TOWN
DEFENSIVE PRINCIPLES
KEY Ball movement Player movement Dribble
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How do I progress the game? We now replace the mannequins with strikers. A defender must come forward and press his man . Working individually, strikers are aiming to run the ball over the baseline using simple approach play (no tricks). If held up, he lays the ball back, thus causing the working defender to drop back and a team mate to move forward for the next press. If a defender wins the ball, he passes back to the server, who restarts. Defenders must combine technical play (jockeying) with positional skill, forcing an opponent to the wing, rather than inside. Attackers can hold up using shielding, and can progress by becoming more adventurous, especially those out wide, to include receiving on the half-turn and taking on a defender in a 1v1. What are the key things to look out for? Using shepherding and jockeying, can the defender force play out towards the wing? If strikers make one-twos, we want all defenders reminded of their positional duties, and the idea of keeping an eye on the ball at all times. 50x40-yard practice Now setting up as shown (with an 8v4 plus two midfielders acting as potential obstacles to the back four) the attacking team ensure that every third or fourth pass is played in to either a striker or a wide man. Two-touch full-backs only support from behind and don’t overlap. Strikers must score in the top goal; defensive positions must be set and secure (10 yards apart) with consistency over depth, and
We set up a 50x40-yard practice to show a back four being tested by waves of attacking threat, as well as having to deal with the obstacle of two mannequins
always with the aim of forcing play away from goal, by protecting the goal and jockeying players high up the pitch (with cover in behind). If one attacking midfield player gets goal side of the defensive mannequins, the back four should become really compact to force the attacking team to play wide. The nearest full-back then tries to stop the cross; the nearest centre-half covers the near post; the furthest centre-half covers the middle of the goal; the furthest full-back covers the back post. Likewise, if attackers play one-twos
CLEARING WITH THE SIDE OF THE FOOT When defenders are dealing with a cross from the wing there are a number of ways to see off the threat – some better than others. The temptation for inexperienced defenders (or non-defenders helping out in defence) is to punt the ball as far forward as possible. Although this removes the immediate danger, more often than not it offers the ball straight back to the other team, and a new attacking wave begins. The best method for clearing a cross is with a controlled volley. Players should not jump at it, rather side-foot the ball clear and with medium pace (if kicked too hard it’s likely they’ll slice the clearance), achieving power and distance. Any headed clearance should be made full on the forehead (even if that means being returned to the general direction it came from), with height and power. As soon as a clearance is made, defenders push out and squeeze the space.
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40
around the mannequins, a defender must be aware and alert, coming forward to close down the threat. Defenders must always look to fill that danger area in front of the goal, tracking potential runs and movement, and using measured and controlled clearances. If defenders win the ball, they gain a point by returning it to the server. If clearing into opposition territory, the defensive line must push out and squeeze. To progress, the attacking full-back is allowed to overlap to create 2v1s on the wing, so lots of crosses come into the box.
“Thebest methodfor clearinga crossiswith acontrolled volley.Players shouldnot jumpatit, rathersidefoottheball clearandwith mediumpace, achieving powerand distance.” www.elitesoccercoaching.net
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DEFENSIVE PRINCIPLES Technique
Jockeying Jockeying is crucial in closing down opponents in possession of the ball, and relies on the patience of the pressing player. It’s a technique that slows play, threatens a tackle and puts maneuverability back the way of the defender. Approaching quickly can often panic the opponent into making a mistake, even if the jockeying defender does not attempt to get the ball. Lunging in is a mistake since it offers the easiest escape route for an attacker, as well as increasing the prospect of fouling the opponent. The defender must be patient and not be fooled by the attacker’s feint or tricks, like ‘dropping the shoulder’ to appear to move in a direction
He must have his eyes on the ball at all times
He will usually be at a slight angle to the opponent in guiding that player the way he wants him to go, usually away from goal
Arms dropping low help the rest of the body move quickly towards the ball
Watch the ball and feet at all times, but try to be aware of the attacker’s hips, which will face in the direction of movement A low position is adopted with both knees bent
Jockeying is used to ‘guide’ the defender away from the danger area
The foot that offers balance pressure is the non-dominant foot He must be close enough to make a potential tackle whilst remaining a generous enough distance away to react to his opponent’s movement
25
The dominant foot is be furthest away but, because it isn’t taking the main weight of the balance, can be used to tackle and intercept when the opportunity arises
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He stays on his feet at all times
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Heads up
Overview
M
uch like tackling, good heading is something that has been in danger of becoming a lost art in recent years, but 20% of goals are still scored with the head, and try telling any defender that this unique sporting skill isn’t important! I’m passionate about the mechanics behind heading, from biology of neck movement, use of core strength in elevation and propulsion, plus the variety of different headers determined by specific match day situations. In this session I examine heading from two different extremes. On one hand, there is the aggressiveness and power that defenders invest into almost every header the unrelenting full-throttle approach to clearing their lines. But then contrast that with the delicacy and art of an attacker, whose purchase on the ball might be the thinnest and most precise flick. Whatever the position, I always begin by offering players and coaches one key point – that height is not the biggest factor in heading ability. So often is there a lazy assumption that the best way to master a team’s heading potential is via ‘the big lad’. The reality is, the art of heading – be that preventing goals or scoring them – isn’t actually about how tall a player is at all, and I’ll show why in this session.
THE KEY TECHNICAL ELEMENTS OF HEADING
• Posture • Power and subtlety • Direction • Style • Leverage
The logic behind having heading specialists in your team Most managers will select players purely because they are good in the air, even if there are better defensive players, or other attackers who have more impressive goal ratios. Having to deal with set pieces as well as the physical side of the game is imperative. I often see more skilful players being substituted and good headers of the ball remaining on the pitch because of the prospect that without that player on, the team’s small full-backs might get exploited at set pieces, for instance. It can make having good headers of the ball as important tactically as it is technically.
SET-UP AREA
Up to a full pitch EQUIPMENT
Balls, cones, goals SESSION TIME
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HEADS UP
TECHNIQUE:
Connection on the centre of the forehead
Defensive headers
Going up for the header The first lesson of heading technique begins with the arms. Whether nodding a chest-height ball down to an opponent or climbing for a tall header on goal above a packed defence, using the arms is essential. Use of the arms means bringing them up, either for leverage (in the case of a tall header), or to balance the body (for something closer to the ground). I don’t believe in having the arms in a regimented, set position. Rather, they should be loose and responsive to the different types of crosses that arrive. And of course, some of the best centre-backs don’t have to jump they know the flight of the ball and have the strength to hold off an opponent. That strength is concentrated into the elbows, which form a zone around the player. This is also what gives a player presence. Interestingly, a lot is made of players closing their eyes on connection, and if you look you’ll still see this in the professional game, but there is a reason for it. Very often, players are closing their eyes because they’re waiting for the impact of a defender, yet they’ve been firmly fixed on an arriving ball right up until the moment they head it. The best way to ensure eyes remain open is to coach the use of the arms as protection, as well as balance and leverage. That should give players more confidence to stay fixed on the ball even with the threat of an inrushing opponent around them. The ‘core’ I always emphasise to players and coaches the need to have a strong core. What I mean by this is the ability to drive strength up through the stomach. This is done by tensing the mid-section. If a player jumps without a strong, flexed core, he is allowing a lot of the energy generated by his legs to escape as he pushes up off the ground. The moment of impact The power with which the ball strikes the head is generated by the neck muscles. This is done by tilting the neck back as the ball arrives, lifting the chin slightly, Knees slightly bent to then arrowing the aid power being driven forehead forward with a through the body, and to ensure the ‘bang’, punching motion. ball strikes at exactly The best impact point will the right point on the always be found at the forehead centre of the forehead – this is where the head is smoothest, flattest and offers the ‘truest’ contact. And obviously, making the best contact means being able to return the ball with something close to the power it arrives at. So it is around this point that I remind people of my original point, that a player’s height isn’t the most important aspect – in fact it’s way down the list. Good heading ability is all about the core, leverage, the arms, and technique at the moment of impact, because that’s where real heading power Players going up for the header is generated. using their arms for leverage
Eyes open
Taut neck for power
Arms bent for leverage through the torso
Strong core
and positioning
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HEADS UP
Practices for defensive headers
KEY Ball movement Player movement Dribble
1
Face-on headers (1) We work in pairs with players five yards apart. We want to see the feet planted on the ground and shoulder width apart. The server throws into the working player at head height, who must focus on the ball, using a strong core to arch the neck back a maximum of three inches. Now the player must use his core to power through the ball and head it back. Arms are vital in terms of balance and the ball must hit firmly square on the forehead. The ‘throw and catch’ works for 10 repetitions, then we swap roles.
5
2
Side-on headers (2) Now the working player turns 90 degrees with the left foot in front. So standing side-on it’s the same movement in terms of strong core, a twist of the neck and a header back with the left side of the forehead, nothing against the side of the head. We then change to the opposite side – so again, 10 repetitions on each side, then swap roles. You’ll always find players have a strong side and a weak side. If a player finds one side unnatural, the only way to make it natural is to work on it again and again.
Jumping into headers (3)
The working player watches the flight of the ball then heads it back on the middle of the forehead
5
The working player now turns 90 degrees and returns the ball by angling his head
3 5
Now we practise by using a jumping position, with feet together. Again it’s 10 yards, straight on, then side on. We want to see a full jump with lots of spring, with power coming from the legs.
The working player must now jump to return the header
Headers off one foot (4) Finally, we will practise headers off one foot. Players will find that when they jump off one foot (their strong side), they can usually get a bit more height. This is why zonal marking can sometimes be of real benefit to attacking teams, with attackers running from deep to gain height, power and leverage by going off one foot. With a running jump off one foot, the core and arm movement is still essential, but now combined with the momentum of pushing off a strong leg.
5
Balls are sent in from left and right start points with defenders tasked to head the cross back to where it came from using height and distance 30 ELITE SOCCER: THE TECHNICAL MASTERCLASS
4 5
Finally, the working player jumps into the header off one foot
Box practice (5) We perform this drill using crosses sent into a penalty box. Now, the crosses are being kicked in not thrown. Although these are unopposed, we are chasing different angles on each cross so the challenge has progressed. Defenders must head the ball back to wherever it came from. Heading it squarely back like this ensures maximum return momentum. If they flick it or head it to the side then it won’t go as far. Tactically, in a game, by the time the ball has made it back to where it came from, team mates should have squeezed out to close down the threat.
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HEADS UP
Trajectory of the ball changed, not the direction
TECHNIQUE:
Attacking headers
Eyes open Neck and head moved back three inches Chin raised as contact is made
For me – and I say this even as a former attacker – the key players when it comes to heading are your centre-backs, because they’ve got to protect that defensive area and the goal. Although it’s great when attackers are good at heading in the area, I count it as a bonus because strikers arguably have a bigger job to do when it comes to heading. Instead of just going up and heading away from danger, they need to consider a precise destination for where the ball should be headed to. Is it up, a knockdown for a supporting player, a flick with the side of the head to a wide man, a back-flick for somebody to run onto, or perhaps something else? Although there are a variety of moves, most are achieved by the same technique, namely to draw the neck in and compress it into the shoulders. And whereas with defensive headers it was about getting the core and the neck rigid, now the core remains tight but the neck is loose and relaxed. The tightness is there still because the centre-forward has got to win the header, yet unless he’s going for a bullet header into the goal, he’s probably going to be knocking the ball down or bringing others into play, hence why he needs to be relaxed and accurate.
Neck looser than with defensive headers
Steady core
Bent knees
Despite a 13cm height disadvantage to the average basketball player, Ronaldo makes almost all of that shortfall up with his incredible jumping ability
PROPULSION OFF THE GROUND
244cm
Goal
263
cm
71
cm
78
Average NBA standing jump
31 ELITE SOCCER: THE TECHNICAL MASTERCLASS
cm
Why is it that players such as Cristiano Ronaldo and Tim Cahill can achieve incredible height and power with headers, yet some of the tallest players in soccer – such as Peter Crouch – cannot? The secret is in the way good headers of the ball propel themselves off the ground, almost always possessing the leg muscles to achieve that aim. Ronaldo has worked for years at increasing power in his thighs and upper body. With a thigh circumference of 62cm, it’s little wonder the Real Madrid man can reach heights of 44cm in the air from a standing start, and 78cm with a run-up – that’s 7cm more than the average NBA player. So to jump high, the players need strong calf muscles, hamstrings, quads and glutes. When in the air, they must utilise strong stomach muscles in order for them to move back, shoulder and neck muscles. I would lay on heavy weights in short bursts to develop these muscles. Now compare this physical framework to someone like Peter Crouch. The Stoke City man is a brilliant footballer and technically excellent, but he has thin legs, and energy has so much more time to be lost as it moves up through his body on the way to his head. www.elitesoccercoaching.net
CRAIG BREWSTER PFCA MEMBER
HEADS UP
Practices for attacking headers
5
‘Flicked’ headers A flicked header lets the ball guide itself. We are not looking to change the angle necessarily, more give it a different trajectory on its way into a danger area. The attacker must be subtle and controlled; at the moment of contact he is not using aggression. Sure, he’s got to be aggressive in terms of going up strongly, but it’s then about relaxing. The flick is usually done with the top of the head. If a player is tense, he will either miss the ball completely or gain too much purchase on it, meaning it flies up in the air. It’s like a striker in and around the goal – when he’s relaxed, he’ll most likely do well. At times, we see a goal happening before it’s a goal, and that’s the dangerous part; that’s when players lose so many chances because they see the goal – the attacker is excited and tense, instead of approaching with a clear mind and performing the task comfortably. For the practice, we simply stand three players in a line, five yards between each. The first player throws to the second, who flicks a header back into the arms of the player behind him. We progress this by changing the distances between players.
Cushioned headers For a cushioned header, it’s more about touch than power, and this is where we ask attackers to be really sensitive in their approach. We are looking for a ‘late cut’ on the ball, enough just to allow it to change direction slightly, and it can only be done on the side of the head. To practice this, the set-up is the same as for the flicked headers, but the third man moves around in an arc with the heading player having to direct the ball to him using cushioned headers. Again we can progress by altering distances between players.
Downward headers For downward headers, the player will need to be over the ball. Like a defender, this is relying on good use of the forehead, but the neck is tilted strongly downwards. Still, there is a subtlety to the play – the head is purely being used to kill the power in the ball and deflect it towards the ground, so that means going up strongly then relaxing as it’s sent down into the path of a team mate. Even when heading at goal, the header isn’t taken with the same venom and ferocity as a defensive clearing header, since the attacker must factor in accuracy, and that means lessening speed.
5 The ball is thrown in to the attacker, who flicks it back to the waiting team mate
5 5
Game situation
Fully opposed game Setting up as shown, this is an opposed crossing game - 11v11 on a full pitch. It’s 8v8 in the middle, with each team having a winger in the opposition’s attacking half, but these are locked in channels. Simply, any attack must come via an attacking winger (on either flank), with a high cross sent into the middle to be challenged. This is 10mins each way, with the wingers encouraged to mix between outswinging and inswinging crosses, and from various areas within the channel.
In the Cushioned Header practice, the receiver moves around behind and to the side of the heading player
What are the key technical elements to look out for? We want attacking and defending players to ensure they are looking for the flight of the ball, showing good timing and balance to get up. Use of arms must be prominent in helping with elevation and protecting their space, and once up, the neck must either be powerful and purposeful, or loose and subtle, depending on the type of header being executed. The most common mistakes are players jumping too early, misjudging the flight, jumping off two feet when they might get a better spring with one, and poor balance.
KEY Ball movement Player movement Dribble
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