The document discusses various offensive strategies, sets, and plays for basketball. It provides descriptions of man-to-man and zone offenses, motion offenses, transition plays, and plays to run at the end of the shot clock. It also discusses offensive concepts and principles, as well as the offenses of professional and college teams such as the San Antonio Spurs, Dallas Mavericks, University of Oregon, and University of Kentucky.
The document discusses various offensive strategies, sets, and plays for basketball. It provides descriptions of man-to-man and zone offenses, motion offenses, transition plays, and plays to run at the end of the shot clock. It also discusses offensive concepts and principles, as well as the offenses of professional and college teams such as the San Antonio Spurs, Dallas Mavericks, University of Oregon, and University of Kentucky.
The document discusses various offensive strategies, sets, and plays for basketball. It provides descriptions of man-to-man and zone offenses, motion offenses, transition plays, and plays to run at the end of the shot clock. It also discusses offensive concepts and principles, as well as the offenses of professional and college teams such as the San Antonio Spurs, Dallas Mavericks, University of Oregon, and University of Kentucky.
ZONE OFFENSE ay 8vel|s|av Pes|t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 TWO OFFENSIVE SETS OF THE DALLAS MAVERICKS ay Daaa Ne|saa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 ZONE OFFENSE ay Er|a Alamaa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 THE KENTUCKY MAN-TO-MAN PLAY 40 ay Taaay 8m|l| . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 EARLY AND SECONDARY FASTBREAK ay Jav|er |maraaa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18 ZONE OFFENSE ay Vaassa Taare ` . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 NOTRE DAME BASKETBALL: MOTION OFFENSE ay 8eaa Kearaey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25 THE GAME PHILOSOPHY OF THE SAN ANTONIO SPURS ay re Pajav|t| . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29 THE OREGON UNIVERSITY OFFENSE ay Era|e Keal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34 ATTACKING THE UNORTHODOX ZONE ay Draaa 8a|ala . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38 OFFENSIVE OUT-OF-BOUNDS SITUATIONS ay Baa Ha|as . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41 DEVELOPING AN OFFENSIVE STYLE OF PLAY ay 8ler||a wr||l . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45 THE BASIC OFFENSE OF THE HOUSTON COMETS ay Vaa C|aate||ar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 MAN-TO-MAN OFFENSE ay Paa| Caa|ler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53 OFFENSIVE BASKETBALL: AN ASSESSMENT ay V||e Kalt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57 HOW TO BUILD A WELL-BALANCED TEAM ay Pelar 8|aas| . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Plays To Run as the Shot Clock Expires ay P||| Ve||||a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 THE ATTACK OF THE detroit pistons ay Larry Brawa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 THE ARGENTINA OFFENSE ay Raaea Vaaaaa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73 OFFENSIVE CONCEPTS AND PRINCIPLES ay D|r| Baaermaaa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 OFFENSIVE CONCEPTS FROM ONE-ON-ONE ay V|teale Raar|aet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81 Transition offense ay Nevea 8ja||ja . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85 WAKE FOREST OFFENSE ay Skip Prosser, D|aa aaa|a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 MULTIPLe-CHOICE OFFENSE ay Ata Pelrav|t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92 THE PICk-ANd-ROLL ON OFFENSE ay 8asa ||||javs|| . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 SCOUTING THE 2004 OLYMPIC GAMES ay Jaaas Kat|aas|as . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99 A MUTATION OF THE TRIANGLE OFFENSE ay Hear|| Dellmaaa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12 HOWTO ATTACK THE ZONE DEFENSE ay Baa|tar Va|j|av|t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 THE 3 OUTSIDE - 2 INSIDE OFFENSE ay 8er|a 8tar|a|a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112 ARIZONA HIGH POST SERIES ay Lale D|saa, Jas| Paslaer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117 THE SECONDARY FASTBREAK OF NORTH CAROLINA ay Ray w||||ams, C.B. Vtral| . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121 PLAYING BY CONCEPTS ay Vaat|a Lajet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12 TRANSITION GAME ay araaa VtLeaa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129 THE OFFENSIVE SETS OF THE SAN ANTONIO SPURS, NBA CHAMPIONS 2005 ay re Pajav|t| . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133 Half court man-to-man offense ay Ze|j|a Daraaav|t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137 THE IMPORTANCE OF A FREE ATTACK ay A|la art|a Reaeses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142 Eurobasket CHAMPION OFFENSE ay Paaa|al|s |aaaa||s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 GERMANYS GAME PLAN ay D|r| Baaermaaa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 BASELINE OUT-OF-BOUNDS SERIES ay Laa Kraer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .155 HOWTO START THE GAME ay Dasaa |v|av|t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .159 SERBIAN UNDER 18 NATIONAL TEAM OFFENSE ay 8levaa Karaat|t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 THE PHILOSOPHY OF PRACTICE DRILLS and offensive post play ay 8leve 8m|l| . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 THE HIGH-POST AND THE TRIANGLE OFFENSEs ay eaa Aar|emma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 THE MARYLAND OFFENSE ay Breaaa |rese . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175 THE RATIONAL GAME ay Tamas 8leraeat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179 content FIBA EUROPE With the Argentinean Mens Youth National team, Magnano won the South American Championship and with the Under 21 team the Pan-American Championship in 2000. In 2001 he became also head coach of the Senior Mens team and won the South American, the Pre - World Championship and the silver medal at the Goodwill Games in Australia. His most recent achievement was winning the silver medal at the World Champion- ship in Indianapolis. With the Atenas Cordoba club, he won three Argentinean titles, two South American, one Pan-American and two South American League Championships. We try to run the fastbreak on every possi- ble occasion. However, if we dont succeed with the primary break, we then play in the following way. We dont usually call the play, but instead move offensively depending upon where the first pass is made and how the defen- ders react. After the early fastbreak, the initial set is the two - three. 1 is the playmaker with the ball, 4, the power forward, in low post posi- tion, 5, the center, out of the line of the three-point shot, 2, the guard, on the other side of the court, and 3, the small forward, on the side of the ball. 1 passes to 5 and makes a vertical screen for 4, who comes up at the opposite spot of 5, outside of the three-point shot line. After the screen, 1 cuts in the lane and goes to the low post ARGENTINAS MAN-TO-MAN PLAYS by Ruben Magnano This is the starting five that we have lined up at last years World Championships in Indianapolis and the corresponding numbers in the diagrams: N.1 Pepe Sanchez (playmaker, m. 1,93, Detroit Pistons) N.2 Emanuel Ginobili (guard- small forward, m. 1.98, S. Antonio Spurs) N.3 Hugo Sconocchini (small forward, m. 1,96, Milan) N.4 Ruben Wolkowyski (power forward, m.2,08, Tau Vitoria) N.5 Fabricio Oberto (center, m.2,08, Tau Vitoria) OFFENSE area on the opposite side (diagr. 1). Depending on who rebounds, 4 and 5 can exchange their position. 5 passes to 4 and, at the same time, 1 comes out screening 2, who cuts in the lane and goes to the low post on the opposite side. After having passed to 4, 5 screens for 1 (screen the screener) and 1 comes up to receive the pass outside the three- point shot line (diagr. 2). 4 passes to 1. First option: 2 screens for 3, 3 cuts in the lane along the baseline and receives another screen (stagge- red screens) from 5. After having pas- sed to 1, 4 screens for 2 (screen the screener). 1 can choose whether to pass to 3, who comes out of the stag- gered screens of 2 and 5, or to pass to 2, who comes up outside the three point line (diagr. 3). 4 passes to 1. Second option: 3 fakes to go toward the screen of 2 and, instead, pops out of the vertical screen of 4, 2 EV\Z& D.1 D.5 D.2 D.3 D.4 cuts in the lane along the baseline, receives a screen of 5 and goes out to the other cor- ner. 1 can choose to pass to 2 or to 3 (diagr. 4). 1 passes to 3, then cuts and goes in the cor- ner on the same side of the ball and 5 repla- ces 1, while 4 comes up and posts himself in middle post area, ready to make a screen (diagr. 5). 3 passes to 5 and 5 changes side to the ball, passing to 2. 4 goes to screen 3, who cuts in the lane and posts himself up in low post area on the other side of the court. 2 can pass to 3 (diagr. 6). 1, who was in the corner, receives two screens (staggered screens), the first one from 4 and then another one from 5 and then comes up high in the middle of the floor, out- side of the three-point line. 2 passes to 1 (diagr. 7). After having passed the ball, 2 cuts in the lane near the baseline and receives three screens in succession: the first one from 3, the second one from 4 and, at the end, the third one from 5. 1 passes to 2, who has gone out on the opposite side in the wing position (diagr. 8). We always start from the same set two - three, as seen in the first diagram. 1 passes to 5. On this pass, 4 goes out and screens for 3, while 1 screens 4 (screen the screener). 3 cuts in the lane near the baseline and posts himself in low post area on the other side of the lane. 2 pops out and receives the ball from 5 (diagr. 9). If X2, the defender who covers 2, plays high and X5, the defender who covers 5 stays low D.6 EV\Z' D.7 D.10 D.11 D.14 D.15 D.8 to cover the pick and roll, 2 passes the ball again to 5, who receives a screen from 3, who pops out from the low post position. 2 cuts in the lane along the baseline and goes to the low post area on the other side of the court. The ball changes side: 5 pas- ses to 4, 4 passes to 1, who gets free, and 1 can passes to 2 (diagr. 10). If 1 cant make a successful pass to 2, he receives a screen from 4 and then 4 recei- ves a screen from 2 (screen the screener), who popped out from the lane. After the screen, 4 goes in the low post position (diagr. 11). 1 passes the ball to 2 and 2 passes to 4 in low post position (diagr. 12). Initial set is the same seen in the first dia- gram, the two - three. 1 passes to 5. On the pass from 1 to 5, 4 goes out and screens for 2. After the screen for 2, 4 receives a screen from 1 (screen the scre- ener). 2 cuts on the opposite side of the lane along the baseline and posts in low post area. 5 swings the ball, passing to 3 and 3 passes to 2 (diagr. 13). After having passed the ball to 2, if is no possibility of shooting for 2, 5 goes to make a direct screen for 3 and 3 dribbles toward the middle of the lane and replaces 5, while 4 goes to the wing area. Immediately, after 5 has screened for 3, 2 goes out and makes a back screen for 5 (screen the screener). 5 goes in the low post area and 2 pops out to the wing (diagr. 14). 3 passes to 2 and 2 passes to 5 in the low post position (diagr. 15). This was the play, that we used the most at the World Championship. It is simple in the movements, creates possibility of shooting for all the players and it opens the court, helping exploit the one-on-one, the three- point shot, and the inside game. D.9 D.12 D.13 OFFENSE EV\Z( FIBA EUROPE D.1 D.2 He won a European Cadet, Junior, and Senior Championships, a pair of World Junior and World Senior Gold Medals with the Yugoslavian National Teams. Pesic also won a European Senior Championship while at the helm of the German National team in 1991. With a club team, he won one Yugo- slavian Championship and one Yugoslavia Cup, two German Championships and two Germany Cups. He is now head coach of the team in Barcelona. INTRODUCTION The introduction of the 24-second shot clock and eight-seconds speeded up the pace of the game. Many coaches quickly adopted offensive plays that could be put in motion in six or less seconds. For these reasons, the transition offense has become more and more important; it is organized, quick and simple. Very few teams now utilize offensive strategies, that use all the three phases of offense: early fastbreak, secondary fast- break and set play. Dont make the mistake of thinking that defense is now less important than in the past. Ive never seen a great team or winning coach that did not have a great defense. During the course of the years, we will face more and more organized defenses and more zone defenses, which are used for containing and disrupting organized offen- ses. The aim is to force a quick shot or to speed up the decisions of the offense. With the 24-second rule, we will not face the clas- sic zone defenses as in the past, but match- up or combination defenses, such as the triangle-and-two and the box-and-one. ZONE OFFENSE A team must be prepared for every eventua- lity. In a world of endless defenses and set plays, a team must have in his arsenal an offense that is useful against man-to-man, as well as zone defense. In the majority of the cases, the best weapon against the zone is the fastbreak. Because one of the weak points of the zone versus the fastbreak is the fact that the defensive players cannot reach their assi- gned positions before the arrival of the offensi- ve players. We want our players to run quickly to the offensive end, passing the ball up court without giving the defense a chance to recu- perate. This way we can take advantage of all the options offered during the transition attack after a steal, a turnover, a rebound, or quick out-of-bounds pass after a field goal made. EARLY FASTBREAK These are the rules the players should follow. 1. OUTLET PASS AND RECEIVING THE PASS We have two options and two solutions. Both guards must be ready to receive the outlet pass. The outlet pass can be made to 1 in the wing position or to 2 in the middle of the floor (diagr. 1 & 2). 2. THE FORWARD SPRINTS STRAIGHT TO THE BASKET The forward sprints, near the sideline, in a position where he can receive a pass from one of the guards (diagr. 3). This transition offense has three trailers. FIRST TRAILER He sprints opposite the ball. He is the most dangerous player of the fastbreak and must be ready to receive the ball. SECOND TRAILER He is involved with the secondary break. He runs the middle lane of the court and must go to the low post area. THIRD TRAILER He is the last player who goes on offense. He must change the side of the ball, pass to the low post, and make a screen. 3. THE FIVE LANES Ideally, the court is divided in five lanes and a player (diagr. 4) must occupy each lane. 4. QUICK DRIBBLE TO THE MIDDLE OF THE COURT OR A LATERAL PASS It is better to make a short pass instead of a long one and the best pass is tipically the lateral pass. The player on the opposite side, the first trailer, can run over to one of the guards to speed up the fastbreak. 5. INTERNAL PLAY If we cannot get to the basket on the first try, the offense must immediately create other options. The second trailer, the player who runs in the middle lane of the floor, must go to the low post area and the perimeter players should give him the ball. If there is not this option, we try to use the third trailer: the aim is to attack the zone under the basket, using the secon- OFFENSE by Svetislav Pesic ZONE OFFENSE EV\Z) dary break, because this part of the lane is not controlled by the defense during this phase of the play. SECONDARY BREAK 1 passes to 2 and 2 to 4. 1 after making this pass, cuts in the lane. 5 stops outside the free-throw line area and 3 outside the three- point line (diagr. 5). If 2 cannot pass to 4, 2 passes to 5 and 5 makes a pass to 4, who cuts in the lane (diagr. 6). 5 can also make a screen for 3, who receives the ball from 2. 4 cuts in the lane (diagr. 7). After screening for 3, 5 picks for 1. 3 can pass to 1 or 4 (diagr. 8). 1 pass to 5 in the low post, while 4 goes high to screen 3. 2 goes in the middle of the floor (diagr. 9). If 1 cannot pass to 5, 1 passes to 4 and 4 pas- ses to 5 (diagr. 10). SET OFFENSE AGAINST THE ZONE Every offense depends on how it is set up and how the plays are executed. In order to be successful, every offense: Must be efficient against every type of defense (man-to-man, zone or combination defenses). Must be able to adapt according to the changing defenses. OFFENSIVE PRINCIPLES 1. The offense must be flexible and balanced, using: a. Passes b. Dribble Penetration c. Offensive Rebounding 2. Must have continuity from the starting pass until the end of the offense. 3. Must hide the offensive weaknesses and exploit the strong points of the team. 4. The players must have excellent technical knowledge. 5. The offense must be usable against any type of defense. SPECIAL RULES AGAINST THE CLASSIC ZONE AND THE COMBINATION DEFENSES Perimeter Players At the beginning of the set play, all the perimeter players must be in physical contact with the defensive players neare- st to them. INSIDE PLAYERS Both inside players must be positioned externally, one on the left and the other on the right, slightly outside of the three- second area, near the baseline. Initially, there is no player on the high post area. This spot will be occupied later on. DRIBBLE PENETRATION Dribble penetration among two defenders of the zone. All the offensive players must be ready to receive the ball if: a) A teammate makes a dribble penetration. b) The low post receives the ball. c) The high post receives the ball. SCREENS Every time a player screens, he must roll to the ball after the screen. PASSES The most efficient passes are the short and quick ones. INSIDE PLAY From the beginning, its important that the ball must be passed under the basket (insi- de play), before the defense can recupe- rate. It is not advisable to immediately sho- ot from the outside, because we like to reserve the jump shot in the second stage of the play. OPTION A Start this set play on the left or right side against the two-three zone. 1 tries to make physical contact with X1, as well as 2 and 3 with X2 and X3 (diagr. 11). 1 can pass to 2 or 3: these two offensive players must have physical contact with X2 and X3, before popping out for receiving the ball (diagr. 12 & 13). TIMING ON MOVEMENTS Initially, the high post area is free and 4 and 5 stay behind their defensive players X4 and X5. Their movements depend on the position of the ball. They move to the open area near the basket and behind the defensive players and then they continue the cut toward the high-post area (diagr. 14). CONTINUITY ON OFFENSE Against the three - two zone defense, 1 drib- bles straight against the defensive player nearest to him and then passes to 2, who, after contact with X2, pops out to receive the ball. 3 and 4 cut behind the defense, with 4 cutting high at the free-throw line area, or in the corner. 3 can go on the opposite corner or go also at the free- throw area (diagr. 15). 5 can post out or make a screen for 3, if 3 cuts to the opposite corner. 1, after pas- sing to 2, makes contact with his defensi- ve player and goes outside on the wing at a 45 angle (diagr. 16). 2 has the option of passing to 4 under the basket, or to 5, who rolls after the pick for 3 (diagr. 17). 2 passes to 3 and cuts to the opposite corner, while 1 goes in the middle of the floor (diagr. 18). 3 can pass, dribble, or shoot. If 3 passes to 5, 4 cuts and goes to the low post on the opposite side to 5 (diagr. 19). If 3 passes to 4, 4 can shoot, dribble to the D.3 D.7 D.4 D.5 D.6 FIBA EUROPE OFFENSE EV\Z* D.9 D.16 D.19 D.20 D.10 D.8 D.11 D.12 D.17 D.18 D.13 D.14 D.15 basket, or pass to 5 (diagr. 20). 4 can also change side with the ball, pas- sing to 2, then cutting in the lane and going straight toward X4, and then to the low-post position. At the same time, 5 makes contact with X5 and then cuts in the middle of the lane (diagr. 21). 2 passes to 5. 5 can shoot or pass to 4 and 3 rebounds (diagr. 22). OPTION B Cutting of the point guard 1 dribbles toward X1 and then passes to 3 (diagr. 23). 1 then cuts to the basket and 2, while 1 cuts, makes contact with X3 and EV\Z+ D.22 D.21 D.26 D.25 D.24 D.23 D.28 D.27 FIBA EUROPE OFFENSE then pops out toward the ball (diagr. 24). 1 cuts and screens for 4 (diagr. 25). After screening for 4, 1 cuts in the corner using the pick of 5 and receives the ball from 2. 4 cuts and goes in the high post area (diagr. 26). 2 passes the ball to 1, and cutting around 4 goes in the opposite corner, while 3 goes high (diagr. 27). 1 pass to 4 in the high-post area, or to 5 in the low-post. If 4 receives the ball, he can pass to 5, who cuts in the lane (diagr. 28). FINAL CONSIDERATIONS It is extremely important to run the set in a precise way to break down the normal zones and the combination defenses. We want that the ball to be in certain spot of the floor, with the players in the exact position. Again, I would like to underline the fact that the offensive players, before popping out to receive the ball, must make physical contact with the nearest defender, and then must occupy the open spaces. If every movement is done as Ive explained, we can have a variety of shoo- ting solutions. The key to success is always how well the players execute the movements, their level of preparation, and their coaching. The advantages of the described con- cepts are: 1. Unlimited possibilities for our players to create individual shooting opportunities. 2. The possibilities to make a quick shot in every special situation, such as time run- ning out or foul problems for the defense. EV\Z, FIBA EUROPE Donn Nelson, the assistant coach of the Mavericks, is one of the most knowledgeable experts on inter- national basketball in the NBA. Scout and assistant coach for Milwaukee, Golden State, and Phoenix, since 1998 he has been President of Basketball Operations and assistant coach of the Mavs. Nelson continues to lecture at clinics all over the world. Our man-to-man offensive plays are centered around two players: the German forward Dirk Nowitzki, one of the best players in the NBA, and the top scorer in last years World Championship in Indianapolis, and Steve Nash, the Canadian point guard, who is among the top assist men in our league. Our plays are simple. They take advantage of the technical and physical skills of our players and how the defense reacts to them. With the exception of our centers, practically all of our players can chan- ge their position and cover two different positions, such as Van Exel, who can play both point guard and guard, or Nowitzki, who can play at the power and small forward spot. PLAY N.1 Here are the roles and numbering of the players in the diagrams: Two guards 1, and 2. A small forward, 3. A power forward, 4. A center, 5. This is the set on the court: 3 in the corner, 4 and 5 near the lane, and 1 and 2 outside of the three-point line. 1 passes the ball to 3, who came to the corner of the lane, 2 makes a cut around 3, and then goes out to OFFENSE by Donn Nelson TWO OFFENSIVE SETS OF THE DALLAS MAVERICKS EV\Z- the opposite corner. After the pass, 1 goes on the same corner where he passed the ball. 3 can pass to 2 or to 1 (diagr.1). FIRST OPTION After the cut in the corner, 2 comes back on the baseline and receives a series of staggered picks, the first by 4, and second from 5 (diagr.2). After 2 cuts in the in the lane, 5 screens for 4 (screen the screener). 4 comes high and 5 goes in the corner. 3 has the option to pass to 2 near the basket, to 5 in the corner, or to 4 in the wing area (diagr. 3). If 3 cannot pass to any other teammates, he passes to 1 and they make a pick and roll for each other (diagr. 4). SECOND OPTION As in the previous action, 2, who came out in the cor- ner, receives a staggered pick, the first from 4 and the second from 5. On this play, 2, instead of cutting along the baseline, comes up high. Then 5 screens for 4 (screen the screener), but in this option 4 makes a curl around 5 and then cuts in the lane. 5, after the screen, goes in the corner. 3 can pass to 2 on the wing, to 4 in the lane, or to 5 in the corner (diagr. 5). If 3 cannot pass to anybody, he passes to 1 and they make a pick and roll for each other (diagr. 6). THIRD OPTION 2 receives a staggered pick from 4 and 5 and comes out high (diagr. 7). This time 5, after the pick for 4, instead of going to the corner, cuts to the basket, and 4 goes to the corner (diagr.8). 3 can pass the ball to 2, to 5, who is cutting in the lane, or to 4, who can take a jump shot (diagr. 9). As usual, if 3 cannot pass the ball to 2, 4, or 5, he can pass to 1, and they can make a pick and roll for each other. FOURTH OPTION As Ive already said, if there is no solution, 3 can pass to 1 and set a pick for him (diagr. 10). The next moves of 1 and 3 depend on the reactions of the defenders (if the defenders change; if the defensive player, who is screened, goes under or over the screen, etc.). PLAY CAMP A point guard, 1, two wings, 2 and 3, outside the three- point line, and two big men, 4, the power forward, and 5, the center, near the basket. 1 passes the ball to one of the wings, 2, in this case, and then goes in the corner, on the same side of the ball (diagr. 11). 2 passes to 4 and immediately 1 makes a backdoor cut along the baseline, and then goes on the opposi- te corner. D.2 D.1 D.6 D.7 D.8 D.10 D.5 D.3 D.4 D.9 EV\Z. D.11 D.14 FIBA EUROPE OFFENSE After the pass to 4 and the cut of 1, 2 sets a screen for 5, who can curl around the pick or can flare out. With these movements, the offensive players take away the help of the defensive players and they can isolate 4, who can play one-on-one (diagr. 12) . Here are the other possible solutions. 4 can pass to: 1 on the backdoor cut 2 on the cut in the lane 5, who receives the pick from 2, and then makes a curl cut in the lane or a flare out Another different solution: After the start of the play, with a pass from 1 to 2, 1 goes to the corner. 2 pas- ses to 4 and then sets a screen for 3. 3 can come out of the pick, receive the ball from 4 and penetrate to the basket or else take a jump shot (diagr. 13). Another different solution is to have 2, after passing to 4, setting a screen for 1 in the corner and then cut- ting along the baseline. 1, after the screen, cuts in the lane and then screens for 5 (diagr. 14). Our main goal with this play is to create scoring opportunities for 4 D.12 D.13 EV\Z&% ZONE OFFENSE FIBA EUROPE Ergin Ataman began coaching the Efes Pilsen Istanbul junior team in 1990, winning seven national cham- pionships. For two years he was head coach of Turk Ankara and in 1998 he left for Stanford University. The following year, while coaching Pinar Karsiyaka, he moved back to Efes Pilsen, guiding them to the Turkish National Final and the Euroleague Final Four. Voted Coach of the Year in 2000, he was asked to join the Turkish Olympic Committee. He is head coach of Mens Sana Siena, and with this team, he won last year the Saporta Cup. In the recent past we had many complex zone offenses that worked the defense with several ball swings in the hopes of causing some kind of mistake. Now, with the 24-second clock, the predominant offensive principle that I utilize involves giving the players a few simple concepts that allow them to immediately attack any kind of defensive align- ment and without the use of set plays. In order for this to happen, the first thing we must do, however, is define the particular areas in which our various players can move: Our center must constantly move in the area outlined in diagr.1. He must work behind the defense, using a series of flash cuts in the center area to get open, trying to gain positions from about the middle post to the corner. Our power forward has his particu- lar space, as in diagr. 2, taking posi- tions from just below the free throw line all the way to the three-point line (so he can shoot, swing the ball in an emergency, or screen for peri- meter players). It is essential for the two post players to maintain the right spacing, not too close to one another. This forces the defense to spread out (for example, if 5 is in the middle post, 4 should be beyond the three-point line, or if 5 is in the cor- ner position, 4 can be below the free throw line, as in diagr. 3 and 4). We prefer that our two inside players take the second type of position, posting sideways (diagr. 5) we think this creates more problems for the defense. OFFENSE by Ergin Ataman EV\Z&& The first goal of our offense is to pass the ball to the players in one of these two positions. Every time one of the two catches the ball, the other must cut strong towards the basket, as in diagr. 6 and 7. We ask our perimeter players to move freely outside the three-point line, maintaining spacing between themselves and the inside players, and making sure that one defender cannot guard two offensive players at the same time (diagr. 8). We also want to teach our players some offensive situations that, even if not pre-arranged, can be very effective: A quick pick and roll at the high post (diagr.9); back screens between perimeter players; or back screens between the inside and perimeter players against a 3-2 zone (diagr. 10 and 11). Only later will I give a starting set up for the offense; for example a 1-4 D.2 D.1 FIBA EUROPE OFFENSE D.3 EV\Z&' D.6 D.7 D.4 D.5 D.8 EV\Z&( FIBA EUROPE OFFENSE formation, which is quite useful in identifying every type of defense that can be employed. A big part of the offensive work of my team con- sists of optimal player spacing. Its not only my job. The players must learn to take initiatives and create opportunities that are not pre-arran- ged, knowing that every movement they make will cause a correspon- ding movement of the other players in order to preserve the correct spa- cing (penetrate and kick). This is only one part of the offensive strategy. In the meantime, you cant forget the proper technical work on passes, skip passes, fakes, post player collaboration with the other teammates, and all the fundamentals that are employed against zones. I have found that this type of offensi- ve approach gives great confidence to the players and makes it very dif- ficult for the opposition to ever scout the team prior to a game. D.10 D.11 D.9 EV\Z&) ball for 1. At the same time, 3 screens for 2 (diagr. 2). After the screen of 3, 2 comes up and receives another screen from 4 (staggered screen). 2 can receive the ball from 1 and look for a jumpshot (diagr. 3). Other options: 1 can pass to 5, who rolls to the basket after the screen on the ball 2 can pass to 3, who popped out on the wing after the screen 2 can pass to 4, who rolled to the basket after the screen for 2 41 1 passes to the wing 2 and makes a UCLA cut to the post and then establishes low post position (diagr. 4). 2 passes to 5, who has stepped out of the lane, and 5 D. 3 D. 2 FI BA EUROPE Orlando Tubby Smith has coached at the University of Tulsa and the University of Georgia. He has been the head coach at the University of Kentucky since 1997. Coach Smith guided the Kentucky Wildcats to the NCAA title in his first season. In 2000, he was assistant coach of the US Mens National Team, which won the gold medal at the Sydney Olympic Games. Smith, who was selected as Coach of the Year in 1998 and in 2003, has won more than 70 percent of the games he has coached. Basketball is more than a sport at the University of Kentucky. It was, and is, a big part of life for everybody who works and attends the University, and it a big part of life for all the citizens of Kentucky. Kentucky was the home of legendary coach, Adolph Baron Rupp, for whom our 23,000-seat arena is named. Coach Rupp coa- ched at UK for 42 seasons, winning four NCAA Championships during his tenure. When you step on the UK court for a practice or a game you have the special feeling of being part of one of the top basketball pro- grams in the U.S. The banners that hang from the rafters of Rupp Arena celebrate the seven NCAA championshi- ps. They are there as a constant reminder of Kentuckys 100 years of storied basketball history and what it means to coach and play for the University of Kentucky. I would like to explain one of our sets that we call the 40 Series. This is a series of plays against the man-to-man defense we use to get a quick hitter on the perimeter, as well as post up opportunities for both our guards and inside players. The beauty of these plays is that when we see there are defensive mismatches, the 40 Series allows us to quickly exploit the defensive weakness. 40 The initial set is a one-four, with two high posts, 4 and 5, positioned at the corners of the free-throw lane, two wings, 2 and 3, and a point guard, 1. 1 starts the play, pas- sing the ball to one of the two posts, 5 in this case. As soon as 5 receives the ball, 2 fakes to go towards the ball and then makes a backdoor cut to receive the ball from 5 (diagr. 1). If 2 does not receive the ball, he continues the cut and goes to the weakside block. 1 cuts around 5 and receives a hand-off pass from 5. 5 then screens on the OFFENSE by Tubby Smi t h THE KENTUCKY MAN-TO-MAN PLAY 40 D. 4 D. 1 EV\Z&* reverses the ball to 4 (diagr. 5). 3 frees himself and gets the ball from 4. 1 sets a flex- screen for 2, and then 1 receives a staggered screen, the first one by 5, and the second one by 4. Options: 3 can pass to 2, who has cut in the lane to the ball-side block, or to 1, who came out of the staggered screen, or to 4 or 5, who opened up toward the ball after the screen (diagr. 6). 42 1 dribbles toward the wing 2, and 2 cuts in the lane, while 3 goes low near the basket. 5 shows his hands to ask for D. 7 D. 8 D. 10 D. 12 D. 9 D. 6 D. 5 D. 11 D. 14 D. 13 D. 16 D. 15 EV\Z&+ D. 17 D. 24 FI BA EUROPE OFFENSE the ball and freezes his defender (diagr. 7). 2 sets a cross-screen for 3. 3 initially looks for a quick post- up, and then pops out to the corner. 1 can pass to 3 in the low post (diagr. 8). 4 and 5 set a double screen for 2 (screen the screener), who comes out in the free-throw lane area and receives a pass from 1 and looks for the jumpshot. After the double screen, 4 and 5 X cross and go to the opposi- te low post positions. 1 can also pass the ball to the low post on his side, 4, in this case (diagr. 9). Note: If there is strong pressure on the ball, 1 can also rub his defensive player off a screen set by 4 or 5 before star- ting the play. 43 This is the same play as 42, but made on the opposite side for 3 (diagr. 10, 11, and 12). 42 PINCH 5 sets a ball screen for 1, who dribbles toward 2. 2 cuts in the lane and screens for 3, as in the previous play (diagr. 13). 4 and 5 set a double screen for 2. 2, in this play, does not rub around the screen, but cuts in the middle of 4 and 5, who screen the defensive player of 2. 1 passes to 2, who looks for the jumpshot. (diagr. 14). 43 PINCH This is the same play as 42 Pinch, but run on the opposi- te side for 3 (diagr. 15 and 16). 44 1 rubs around 5s screen and dribbles toward 2. 2 cuts in the lane and sets a back screen for 4, who goes in the low post area. 5, after the screen for 1, sets a down screen for 2 (screen the screener). 2 comes off the screen and receives the ball from 1. 1 can also pass to 4, in the low post area, or to 5, who rolls to the ball after the screen (diagr. 17). 45 This is the is the same play as 44, but run on the opposite side for 3 (diagr. 18). 46 1 rubs on 5s screen and dribbles toward the wing. 3 cuts in the lane and sets the first back screen for 4. 2 then sets another back screen for 4 (staggered back screen). After the screens, 4 goes on the low post area looking for the post-up (diagr. 19). 3 then quickly clears out to the wing and 5 sets a down screen for 2 (screen the screener). After the screen, 5 pops out and goes to the left corner of the lane. 1 can pass to 4 in the low post, to 2, or to 5 (diagr. 20). 47 This is the same play as 46, but run on the other side of the court for 5 (diagr. 21 and 22). 48 1 rubs off the screen of 5, and dribbles toward the wing 2. 2 cuts in the lane and sets a cross screen for 3, who cuts and goes in the wing position (diagr. 23). 2 continues the cut and sets a back screen, first for 4, then back-screens for 5. 1 tries to make a lob pass to 4 or 5 (diagr. 24). 49 This is the same play as 48, , but run on the other side of the court (diagr. 25 and 26). D. 22 D. 23 D. 19 D. 18 D. 25 D. 26 D. 20 D. 21 EV\Z&, EARLY AND SECONDARY FASTBREAK FIBA EUROPE Javier Imbroda coached last season Real Madrid, Spanish Division I team. Coach of the Year in 1995 and 1999, he was also head coach at Division I teams in Malaga and Caja San Fernando. Assistant coach of the Senior Spanish national team from 1995 to 2000, in 2001-2002 he was head coach of the National team. At the 1992 Olympic Games, he was assistant coach of the Lithuanian National team. SUMMARY I. Introduction II. Philosophy III. The players skills IV. How the fastbreak is run and the drills to develop it V. Preserving the fastbreak I. INTRODUCTION If we would conduct a survey among all coaches, players, and fans, Im certain that a vast majority would characterize themsel- ves as lovers of the fastbreak. If the survey is taken before a season starts, I am con- vinced that all coaches would say that they want to play a fastbreak style game. Basketball is synonymous with speed and lively play, a fundamental aspect of our sport. It is something we should enhance whenever possible because it is so popular with spectators. Before the implementation of four quarters and the 24-second shot clock, the fastbreak was like an endange- red species. Teams played control basket- ball and slowed the tempo excessively. Fastbreaks were rare, if at all. This led to a game that was both slow and boring. The new rule changes helped the game become more dynamic and led to a reco- very of part of its speed. The all-out full- speed game has still not been fully attained. Heres why. The biggest enemy of the fast- break is the tactic foul, a penalty taken thats not a flagrant foul, but still sufficient enough to keep the fastbreak from develo- ping. This type of foul inevitably harms the game. Although it cant be considered as a type of defensive strategy, it doesnt allow a good offensive play to develop. In my opi- nion, such a foul should be penalized in a different way in order to try to banish it com- pletely from the game. This would allow the fastbreak to develop for the sake of the teams and the fans. This will be described more fully in the last point of my article. II. PHILOSOPHY 1. It pleases the fans All fans like to watch a maximum number of high-speed plays during a game. We can agree that the controlled game is often more effective but we can also agree that if only that type of style were played the game would definitely lose most of its sparkle and liveliness. 2. The players like it When asked what style of play they prefer, players will tell you that they like to run fast- break on every possible occasion. 3. Easy baskets The fastbreak entails a higher offensive and defensive intensity. All the five players can be involved on the fastbreak and each one can score easy baskets. 4. Risky style of play The fastbreak has its disadvantages, prima- rily a greater possibility of turnovers. When you increase the speed of the game, you also run the risk of losing control at times, OFFENSE by Javier Imbroda D.2 D.1 EV\Z&- and the players can make more turnovers. For this reason some coaches are afraid to use the fastbreak as a style of play. III. THE PLAYERS SKILLS The athletic and technical skills of the players have greatly improved over the years, thanks to the evolution of the game and the increased effort that is put in training and conditioning. This has allowed the traditional fastbreak (orchestrated by the playmaker) to improve as well, resulting in a faster game with more sco- ring possibilities. With more athletic players, a power forward who gets a rebound now has the possibility of dribbling and leading the fastbreak by himself, without giving the first pass to a teammate. This leaves the playmaker to fill in the lane on one of the wings. In truth, this is not all that common, but with our talented big men, its a possibility. I have had the opportunity to coach a few highly-talented power forwards-the last one being Pau Gasol, now in the NBA, with the capability of rebounding and leading the fast- break. The same goes for some shooting guards and small forwards. When you have the talent, you should allow players other than the playmakers to lead and run the fastbreak. This does not leave the team at higher risk in terms of confusion and/or turnovers. In any case, this can all be worked out in detailed training sessions. IV. HOWTHE FASTBREAKIS RUN AND THE DRILLS TO DEVELOPIT When talking about fastbreak, what do players like the best? Without a doubt, its the finalization of the break with a lay-up, a short jump shot, or a dunk. However, the most important part of the break is the outlet pass. How it is made is usually a good indicator of how the play will eventually end. EARLYFASTBREAK Construction of the fastbreak: 1. Different situations 2. Making the first pass 3. Winning the spaces 4. Development: filling the lanes 5. Finalization: different options 1. Different situations I like to build the fastbreak from different situa- tion, such as after a defensive rebound, after a steal, after scoring an action basket, or after a free-throw, hopefully developing a fastbreak with the advantage of 2 on 1 or 3 on 2. D.4 D.3 FIBA EUROPE OFFENSE D.6 D.5 EV\Z&. D.8 D.9 D.7 D.10 2. Making the first pass Even though the end of the fastbreak is the most enjoyable part, the most crucial part is the beginning. It starts with a rebound, the all-important first pass, acceleration, filling the lanes, and a drive to the basket. In order to become a team that runs the fastbreak successfully, it is critical that your players master each of these key aspects. I like to use a series of drills that help per- fect the first pass and accelerate the fast- break: Diagr. 1: In 2 on 0, after the rebound, the aim is to move to open the passing lanes. After the reception of the first pass, players switch to high-speed running. Diagr. 2: Its exactly the same situation, but this time its 3 on 0 after the first pass, with the players filling the lanes. Diagr. 3: Again, its exactly the same situation, but in this instance imagine that your playmaker is overplayed and, therefo- re, hes denied first pass. The center, after taking a couple of dribbles, moves to the side in order to get free and makes the first pass on the dribble. This way, the play- maker doesnt have to go behind the center for an hand-off pass, losing so his position and the fastbreak advantage. Diagr. 4: Its the same situation, again with the defender overplaying the first pass. This forces the receivers to work hard in order create a passing lane. Diagr. 5: The difficulty is increased as two defenders choose whom they want to defend. Its then up to the rebounder to read the situation and choose whether he makes the first pass. If he sees that the receivers are overplayed, he can drive the ball, as in diagr. 3. 3. Winning the spaces Where do we make the first pass? Diagr. 6: The pass can be made to diffe- rent positions, depending on the abilities and the skills of the players. There are some teams that need all its players to box-out in order to get the defen- sive rebounds. Their athletic skills dont allow for any possible relaxation. In this case, it is position 1 where the first pass will be thrown. Other teams can get an advantage by recei- ving the ball farther upcourt. Thanks to their skills, they can receive the first pass in posi- tions 2 and 3. Winning these spaces allows you to improve your possibilities of beating the defense. 4. Development: filling the lanes Diagr. 7, 8 and 9: There are several drills that will help choose the proper lanes in order to run the break with a certain disci- pline. You can switch the order of the players to force them to find their proper lane. Diagr. 9: All players face the coach, who passes the ball to 3, who leads the fast- break as the rest of the players find their proper lanes. This is a way of preparing your team to run what I call an open fast- break. This allows the team to take advan- tage of any possible situation so that our players run the fastbreak, enjoy the game, and improve their skills. In this series of drills, three specific con- cepts must be considered: a) Using a partially deflated basketball in some of these drills during the first weeks of practice allows players to concentrate on passing rather than dribbling. b) The first trailer should run ahead of the ball any time he can. c) Who stays behind to prevent a fast- break? If, during the fastbreak, a player commits a turnover, or the opposing team in - bounds immediately in order to run their own fastbreak, your players have to be pre- pared to the defensive transition. 5 (who is usually the slowest player) has to be ready to switch to protect our basket at mid-court, while his teammates are trying to score on the early fastbreak. 5. Finalization: different situations Diagr. 10, 11, and 12: We can see different finalizations where we will reward our first trailer whenever he runs ahead of the ball. Diagr. 10: Finalization with a lay-up. Diagr. 11: Same finalization, but with a previous cut of the forwards. Diagr. 12: The trailer changes direction with a big step in order to receive a pass and score. SECONDARYFASTBREAK We start to talk now a series of finalizations that pertain to what we call the secondary fastbreak. Diagr. 13: The wing with the ball gets the ball inside and then, from inside, we swing the ball. At the same time, both big men try to improve their positions by cut- ting in order to receive a pass in the low post. 4 looks for the ball again and 5 cuts from the 3-point line to the weak side. The outside players continue to maintain their spaces. Diagr. 14: We are trying to make a pass in the low post. If we cant pass the ball inside to the first side, we can look for the same player on the other side after a cross-pick is made on the baseline. Diagr. 15: Since the wings are not D.11 EV\Z'% FIBA EUROPE OFFENSE ter who comes up high. V. PRESERVING THE FASTBREAK Tactical foul must be punished. I would like to see any fouls committed in this area, diagr. 20-the so-called tactic fouls- penalized with a free-throw plus pos- session of the ball. Its easy to differentiate the tactic foul. The defender doesnt have any intention of stopping the fastbreak through good defense. He simply stops it by committing a foul that, even though its not a flagrant foul, prevents the possibility of the offen- se from scoring an easy basket. By allowing these tactical fouls to go unpu- nished, the game is substantially harmed. D.12 D.13 D.17 D.18 D.14 D.19 D.16 D.20 D.15 If the defender commits a foul in this area with the intention of stealing the ball or stopping the fastbreak, it would be easy for the referees to call the play. If the referees, who are running in the same path as the players, consider it as a nor- mal foul, then the team either inbounds the ball. Banishing the tactical foul is my way of trying to protect the fastbreak, a crucial part of the spectacular nature of our sport and one of the biggest appeals for the fans. By eliminating these fouls, defenders would have to bring their game up to a new level in order to defend against the fastbreak. And if a foul is committed, it should be penalized ade- quately. open, the playmaker drives and holds the dribble until 5 sets a pick and then rolls inside. At the same time, the other big man 4 comes up high to receive a pass in the high post. Diagr. 16, 17, and 18: 1 drives in a lateral wing and passes the ball to the other side. This leaves two options. The first one is a screen for 4, who then receives the ball in the low post coming from the outside. The second option is to make two consecutive screens for one of the forwards. Diagr. 19: This option can confuse the defense. 2 cuts over 5.5 5 makes a pick- and- roll with 1. At the same time, on the other side, there will be screens for a shoo- EV\Z'& ZONE OFFENSE FIBA EUROPE Moussa Tour, a FIBA Level III coach, is an assistant coach of the Senegalese Womens National Basketball Team. In 1997 he served as head coach of the Senegalese Mens National Cadets Team. PREMISE Two are the types of zone defenses: The even zones (with two defenders in the front line): 2- 3 zone, 2-2-1 zone, 2-1-2 zone. The odd zones (with one defender in the front line): 1-2- 2 zone, 1-3-1 zone. The fast break is the best weapon to attack any defense because it is quicker, safer, and does not allow the defen- se to get back to its position in time to effectively stop ball movement to the basket. When and if the defense gets back in time to organize itself into a zone defense, it is necessary to counterattack with an offensive system that is both simple and efficient. The goal of any zone offense is to get an uncontested shot; a shot that offers a good opportunity to get fouled; or a shot that can be easily rebounded. It is particularly important to get the ball inside against zones because it can be very demoralizing to the defense: the heart of the defense has been penetrated. The zone offense owes its strength and efficacy to both individual tactical abilities and overall group tactics (the effective link of two or three players). The identification of the qualities of your players and their positions must be taken into account when setting up your zone defense. INDIVIDUALAND TEAM BASICS - INDIVIDUALFUNDAMENTALS Passing, dribbling, shooting, faking, cutting, and offensive rebounding. Rebounding is critically important against a zone defense. One of the major weaknesses of a zone defense is the confusion regarding box-out assignments. Make your players aware of this. Many rebounds fall on the side opposite the shot, so have the players concentra- te on weak-side rebounding. INDIVIDUALTACTICS When and why to use these different techniques. TEAM TACTICS How to set up and use screens. OFFENSE by Moussa Tour EV\Z'' INSIDE PLAYERS: 1. Move and post up. 2. Pass and cut. 3. Skip pass and cut. 4. Shoot and rebound. PERIMETERPLAYERS: 1. Pass and cut. 2. Dribble attack. 3. Open a gap. 4. Spacing for a shoot. 5. Every three passes, a pass to the low or high post. GENERALPRINCIPLESTHE FASTBREAK As already mentioned, the fastbreak remains the most effi- cient weapon against any defense. The objective of the break is to score quickly before the zone defense has a chance to set up. SPACING ON THE COURT All areas of the court do not have the same importance. When facing a zone defense, it is important that the attack be organized so that each player is in position to effectively break down the defense. For that, players must: 1. Occupy the gaps by always isolating a defender with two offensive player. 2. Occupy the key low post area. 3. Occupy the high post area. 4. Widen the defense on the court, making defenders cover more area. OVERLOADING An offensive player must create an overload position and then pass the ball as quickly as possible from the strong to the weak side of the court. The aim is to position the best shooter to get the ball to the player who is able to penetra- te the defense and drive to the basket. OCCUPATION OF THE HIGH POST AREA When the ball is received in the high post there is no effec- tive defense. This is the best area in a half-court set and I like to position my center or forward here. These are players who are good ball handlers and good shooters. ISOLATING ONE DEFENDER AGAINSTTWO OFFENSIVE PLAYERS You need to have a good weak side offensive player. Get the ball to him quickly for the shot. OPEN GAP A good attack creates a good open gap, forcing the defen- se to move quickly. Players must not dribble right after they receive a pass. The ball handler must always be in triple threat position, in order to force a defender to come out, make a dribble in such a manner such another defender would intervene and then pass. Dont ignore fake passes. Dont forget that when an offensive player fakes a pass, the defense will often be thrown off balance. CUT AFTER THE PASS Dont stand around. The player must cut after a pass in order to make the defender move from his position. The player must not run towards the basket with his back to the ball; always be ready for a return pass. D. 2 D. 1 D. 6 D. 7 D. 8 D. 10 D. 5 D. 3 D. 4 D. 9 EV\Z'( D.17 FIBA EUROPE OFFENSE Passing (primarily the skip pass), based on the various positions of players on the court. Optimal spacing on the court. Keep players approxima- tely 10 to 15 feet apart from each other in order to keep one defender from being able to guard two players. Timing of cutting. Remember: any zone defense can be broken down with four or five well-executed passes. So, be sure to stress pas- sing, passing, and more passing in your practice sessions. ALTERNATE THE RHYTHM OF THE ATTACK Move the ball quickly after overloading one side. BE PATIENT Good ball movement, screening, and dribble penetration will eventually cause a zone to break down and yield a good shot at the basket. Patience and tactical discipline are very important characteristics needed in order to effectively attack any zone. Never rush or precipitate offensive actions, but always seek to provoke the defense. Get your players to slow down and make good passes. Turnovers are caused from rushing the attack against a zone defense. Be patient and good shots will come. The best time to shoot is when both rebounding and offensive balance is assured. OFFENSE VERSUS THE 2-1-2 ZONE This is the basic set versus the even zone, a 2-1-2 in this case (diagr. 1). 1 passes to 2, and 2 to 4, who pops out in the corner (diagr.2). After the pass to 4, 2 cuts and goes in the low post position, 1 replaces 2 and 3 replaces 1, while 5 goes in the high post area (diagr 3). 4 passes to 1, and 2 cuts and goes to weak side, outside the three-point line (diagr. 4). As soon 4 passes the ball to 1 and 1 to 3 in the middle of the floor, 5 goes to the low post and 4 in the high post (diagr. 5). From this position 3 can pass to any of his teammates (diagr. 6). If 3 passes to 2, 2 can pass to 4, who can make a pass to 1, or to 5 in the low post area. After the pass 2 can cut (diagr. 7). For the continuity of this offense, 4 can come out in the corner and the players move as already described (diagr. 8). ZONE OFFENSE 1-2-2 This is the basic set against the odd type of zone. a 1-2-2 defense in this case (diagr. 9). With the ball in the hands of 1, 1 passes to 4, who pops out in the corner. At the same time, 3 goes in the low post area, and 5 goes in the high post position (diagr. 10). 1, after passing to 4, cuts in the lane, 2 replaces 1, 3 goes to the low post area, and 5 moves up to the high post position (diagr. 11). 1 comes out of the lane and goes out of the three- point line (diagr. 12). 4 passes to 2 and 2 makes a skip pass (this cross-court pass gives the offense more options and is essential in attacking the weak side of a zone) from one side of the court to the other to 1. 3 cuts to the other side of the court to the low post position, and 4 replaces 3.(diagr. 13). For the continuity, 1 can pass to 3, who pops out in the cor- ner, and cuts, or he can make a skip pass to 2 (diagr.14). ZONE OFFENSE DRILL Two lines of players set up outside of the court with the ball, and two lines set up outside the three-point line. 5 and 7 pass the ball respectively to 2 and 1 at the same time (diagr. 15). After the pass, 5 and 7 run outside the three-point line (diagr. 16). 2 passes to 7 and 1 passes to 5. 5 and 7 make a couple of dribbles, and then take a jump shot. 1 and 2 then go to rebound (diagr. 17). In preparing an effective zone offense, it is important to practice these key items: D.16 D.13 D.12 D.14 D.15 D.11 EV\Z') NOTRE DAME BASKETBALL: MOTION OFFENSE FIBA EUROPE Sean Kearney, former assistant coach at Providence with Rick Pitino, at Northwestern with Bill Foster, and Delaware, he became associate head coach at Delaware and, three years ago, at Notre Dame. BASIC PRINCIPLES Our Motion Offense under head coach Mike Brey is basically 3 players outside, 2 players inside. In the halfcourt, with the ball on top, we are in screening pairs with the two inside players working together with the perimeter players to get open. These initial screens can be a variety of different angles. We encourage the players to get to different spots on the floor to receive screens. We want to get away from it always being a big player setting a down screen for a perimeter player. Once we get the ball to the entry (foul line extended) the perimeter players will work together as will the inside players. WHY MOTION OFFENSE? We love to be hard to guard. Weve been fortunate to have versatile / multi- talented players in our program that have flourished within this system. Naturally, as a result of our success, we continue to recruit talented young guys who will fit us well. Teams that run motion offense are diffi- cult to defend and difficult to scout. We teach our guys to read the defense and make the right play. We have certainly instituted some rules but we try to give plenty of freedom. Whether they are responsible enough to handle that free- dom is something coaches need to work through. Defining roles with your group is just as important as where you are ente- ring the ball. If your best perimeter shoo- ter is not getting enough touches and shots then you have work to do. Teammates need to understand their roles and then trust each other within OFFENSE by Sean Kearney D.1 EV\Z'* FIBA EUROPE OFFENSE their own assignments. Coaches need to have the ability to loosen the reins at first, then pull them back in as your team handles this freedom. INITIAL ALIGNMENT 4 and 5, the big players, screen for 3 and 2 and 1 passes the ball to one of the wings, 2 in this case (diagr. 1 and 2). Spacing is so important for us in this offense. We use the three-point line as a guide for our perimeter spacing. 2 can either pass to 5, in this case, who posted up right away or 5 can screen to the other side for 4. At the same time, 1 and 3 are working together, either screening away or 1 can set a fade screen and then shaping up to ball on top. If 5 has screened across for 4, after he does that he will imme- D.4 D.3 D.6 D.5 D.2 EV\Z'+ diately shape up high and get himself to the high post (diagr. 3). Like all good offensive situations, ball reversal is crucial to the success of this offense. It is so much easier to make a penetrating dribble or post feed after weve moved the defense some with reversal. Most often reversal will come through the perimeter player who has come to the top. We do, however, love to get reversal through the big player in the high post. As the big player catches the ball in the high post, we teach him to look for his shot (depending on personnel), look to feed his partner in a high-low situation, or to reverse to the opposite perimeter player at foul line extended. At times we have had a rule where anytime the ball is reversed through the high post you must follow with a screen on the ball. We will generally either roll the big player to the basket or have him step out to the short corner. Our angle of the ball screen is usually back to the middle. On penetra- tion, the guard will have numerous options which will include the other big player at the opposite side of the court or even the other perimeter player in a drive and kick pass situation. It is important that once the ball is passed to the wing, the perimeter players are patient to allow the big players to work together before they look to reverse the ball. We teach that, for the most part, if you can see the jersey of our big player and he has a guy on his back, the ball has to go in there. It may not always be for a scoring opportunity, but it does flatten out the defense and we get more chances from there. We may play two man game on the same side and go inside - out with a shooter. He may look to go low to high for the other big player for a jumpshot at the corner of the three second lane. Or we may look to make a skip pass across the lane to the perimeter for reversal: all good options in our motion. AUDIBLES Along with our initial screening pairs we have several audibles we will utilize. a. Shallow - probably used most often. 1 dribbles to the wing 2 and 2 will replace 1 to the top. 3, the other wing, may choo- se to go down below 4 and get help with a screen or just get to the top as quickly as possible. For good spacing we encou- rage them to get a foot in the lane as they make their cut (diagr. 4). Anytime we shallow a wing, 4, the big player, and 3, the perimeter player on the other side, should time it so the down screen occurs just as the ball is coming back to the top from 1 to 2 (diagr. 5). We will get an awful lot of good looks with this movement. The initial pass from the wing back to the top cannot be a lazy one. We dont use it as frequently but we could shallow from wing to top as well. When 2 passes the ball to 3, 2 makes a screen for 1 and 5 comes to the high post, for keeping the defenders busy and not allow them to help (diagr. 6). b. Circle - 1 dribbles at 2, the wing, and pushes the perimeter players 2 and 3, around on the three-point line, each replacing the other (diagr. 7). 5, the ball side big player, will post up. 4, the opposi- te big player, will look to down screen for 2, who was circled initially. Timing is important. We may or may not get a shot or dump down to the big, but it does get us good ball reversal, with the ball passed from 1 to 3 and from 3 to 2 (diagr. 8). c. Cross - With ball in center of floor, 2 and 3, the perimeters players, will cross under the basket and receive down screens from 4 and 5 to get open (diagr. 9). We have generally always crossed under the basket with both players coming out on the low side. This year we have made a slight adjustment. The perimeter players coming from left to right will come off at a different angle of the big player at the right elbow. We are very interested to see this evolve. It should initially create some good three point opportunities (diagr. 10). As teams look to fight over the screens to get to our shooters, we should have big players rolling to the basket. The perime- ter players will also have a significant dri- ving area with the big players in a high position. d. Exchange - Perimeter players will dribble exchange at any opportunity. It is more of an exchange than a dribble weave (diagr. 11). We teach for the ball handler to try to drive the defense back by penetrating and flipping back the ball to the teammate to create some space (diagr. 12). This has even evolved to the point where we may wind up with one or two exchanges followed by a big player, who makes a screen on the ball on the top of the three second lane (diagr. 13) . e. Release - Most defenders of the big players are not comfortable defending out on the floor away from the basket. Against teams who we have difficulty make the entry pass directly to the wing, we will just make a release pass to a D.9 D.8 D.11 D.10 D.7 EV\Z', to score, but are aware of the other group on the opposite side of the floor. d. 5 vs. 0 motion We are now in a position to put it all together. We are using our initial scree- ning pairs to enter the ball as well as our audibles. Footwork and communication are important. The wing, who has just cau- ght the ball, may tell the ball side big player to go screen away because he is not open. They have to trust each other that they will get it back and that they are helping each other. We are also in a posi- tion to preach defensive balance that when a shot goes up we are being sure that the guards are thinking about being back and not going to the boards. SUMMARY Our Notre Dame version of the motion offense has truly evolved over the cour- se of the last eight years under Head Coach Mike Brey. Initially we were much more inclined to have more rules than less because it is difficult to let the control out of your hands. Much of this evolution had as much to do with the players we were fortunate to have and their individual abili- ties. Just as much had to do with their improved ability to read defenses and make decisions with the basketball. A one D.13 D.14 D.12 dimensional player, such as a low block only big man, may not enjoy great success in our system. Hopefully we can recruit the right type of player to help us continue to have success and win championships. In the meantime, we may continue to tinker with it some and make subtle chan- ges. The interesting thing is that someti- mes you can just sit back and watch what your team may be able to do with it them- selves. Players can do that. Dont be afraid to let them show you some new things every once in a while. There are many ways to run motion offen- se. Ours has helped us to three straight NCAA Tournament appearances, inclu- ding a Sweet Sixteen finish last season. During that time we have been the most consistent team in the Big East Conference, the only one to reach the NCAAs each of the last three years. On top of the successes, our Motion Offense and how we play are what we are known for. Our style of play is Notre Dame Basketball under Head Coach Mike Brey. Coaches and fans alike always remark to us about how well we play the game. What a great compliment for now! big player, who comes out high to begin our motion (diagr. 14). 1, the ball handler, will take the ball away from that big on top and than pass the ball to him, 5 in this case. We may look for a quick duck - in and post up and then we are into motion. You need to feel comfortable with that big player catching and handling the ball and making decisions with it out there. PLAYER DEVELOPMENT Everything we do in regard to our indivi- dual improvement plan is centered around our motion offense. We want to teach them the offensive dance within our offense. Simple drills which emphasi- ze catch and face without traveling are vital to our development. Can our big players flash high, catch the ball and make a high to low post feed without tra- veling? Can our perimeter players come off a big down screen, catch the entry pass and under great duress make a game winning post feed? HOWDO WE BUILD IT? a. Perimeter players 3 vs. 0 Using all of the audibles, the perimeters work together to get open. Great empha- sis for them on proper spacing, particu- larly in the high post, need to keep that area clear for the opposite big player. Getting them to read drive and kick pass situations, reading the defense. May add a coach to the post to allow them to make post feeds and read situations off of that. b. Big players 2 vs. 0 With passers at each entry pass to the wings, big players work together. Need to get both high and low posts filled and very important for them to communicate with each other. Must shape up to the ball after screening, screener most often the open guy! Big players may also step out to make a ball screen for passers. Mostly coming from high post to be a ball scree- ner but will also allow them to some out of low post to accomplish the same thing. c. 3 vs. 0 on a side With twelve players we will have four groups of three active players in this drill, two at each end. Again without defense, the ball handler has ball on top and big and perimeter players are working together in screening pairs. We look to start in different alignments and get various angles. Once the ball is entered to the wing, big player posts up. On post feed, the perimeter players work together, either screening for each other, basket cutting and replacing, or by just replacing themselves on the perimeter. Players look EV\Z'- FIBA EUROPE Gregg Popovich, the head coach of the San Antonio Spurs, won NBA titles in 1999 and 2003. He started his NBA career in 1988 as assistant coach of San Antonio, went on to be an assistant coach with Golden State before coming back to San Antonio as the coach and General Mana- ger. He was also assistant coach of the US National team at the FIBA 2002 World Championship. This article is taken from the Belgrade (Serbia and Montenegro) Clinic 2003, orga- nized by the Yugoslavian Association of Basketball Coaches. The defensive philosophy of the San Anto- nio Spurs starts with the answer to the question: At which part of the court do we begin to play defense? Full-court defense, if played from one baseline to the other one, is called 40; if we play from the free- throw line at the front half of the court we call it 30, from mid-court is 20, and in the shooting zone is called 10. Coach Dean Smith of the University of North Carolina taught me this very simple way to play defense and I have found that the players easily understand it. If we are playing against a team like the Los Angeles Lakers that is not making too much transi- tion, but relies mainly on the set offense around the lane, then we play a full-court defense to use up their offensive time and change their passing angles. We dont let them start their famous triangle offense, but make them use up time in the front court. On the other hand, when we play against teams like New Jersey Nets, against whom we played in the NBA Finals last season, our tactics are different. The Nets OFFENSE THE GAME PHILOSOPHYOF THE by Gregg Popovich SAN ANTONIO SPURS EV\Z'. help. He maintains the closed stance. Our goal is to make the most difficult possible situation for the team that wants to take a three-point shot. There are many players that have a good first step off the dribble and there are the those that jump and shoot well at the end of the penetration. However, there are only a few that can shoot in the space between the start of the dribble and the position they finally reach under the basket. Thats be- cause they have a defender by their side and another one, usually a tall player, that runs towards him to stop penetration to the basket. These shots in the lane are difficult, if not impossible ones to make and usually you will find that the offensive players in these situations will kick the ball out to a teammate. In this situation, the defender who goes to cover the ball, forces the player with ball to the baseline. In short, we dont help out defensively if we are one pass away from the ball. Every time we force the player with the ball to the ba- seline, and we help at the penetration from the help side (i.e. from the lower position, a defender from the baseline), and we ap- proach the offensive players, we apply the same rules, always forcing to the baseline. Naturally, when the ball is passed, a defen- der must jump to the ball and move to a good defensive position. We practice our defensive rules for 20 to 25 minutes a day, playing four-on-four at both halves of the court. All players run these drills so they become automatic. The following drill is a 4-on-4 (it is called 4-4-4, because there are run an excellent fastbreak, so there will be no full-court pressing, especially when Ja- son Kidd is playing point guard. Compared to the majority of NBA teams, we play a dif- ferent half-court defense (diagr. 1). We put pressure on the player with the ball: X1 plays aggressively against 1, and X2, the player, who is one pass away from the ball, plays in a closed stance and doesnt let 2 receive the ball. X3, the player who is guar- ding 3, who is two passes away from the ball, slides towards the ball and under the passing line. The passing line is the imagi- nary line between the player with a ball and 3. One of the best positions for shooting is when the player is positioned in the corner on the ball side. The majority of coaches want their players to try and stop the pene- tration by moving the defender X4 to play this defensive role. I do just the opposite. A defender from the angle never helps on pe- netration because I wont let the offense make a shot from the corner. This defensi- ve concept is, among other things, one of the reasons why San Antonio was second in the NBA defensive statistics for the lowest percentage of three-point shots made by opponents. My second rule is that the player with the ball can never penetrate to the middle of the court. Our goal is to always direct him to the baseline. If the defender of the player with the ball lets the penetration into the middle, I will immediatly take that player out of the game. In practice ses- sions I constantly underline to my players the proper way to approach to the offensi- ve player. This means that the leg of the de- fender farthest from the baseline must be over the farthest leg of the offensive player. X2, the player, who is one pass away from the ball. must be in a closed stance at the three-point line and, if theres penetration, he immediately leaves his offensive player and slides down at the help side, to the spot of X3, who must run to stop the pene- tration and place himself between the player with the ball and his teammmate un- der the passing line. Penetration is stopped by going face to fa- ce with the player with the ball. X2 goes all the way down, and if theres a pass, he mu- st go for it. While approaching the player with the ball after he receives the pass, the defender must again force him to the side- line of the court, without letting him pene- trate in the middle. The defender of the player with the ball in the corner must follow the same rule. Also, if theres penetration of the player with the ball from the corner to the middle, the de- fender that is the first pass away does not three teams of four players involved) and it serves to convince players that they dont win with the offense but rather by playing tough defense, especially in the last quar- ter of the game. At San Antonio, this drill is run by the youngest team player, Tony Parker, as well as by the oldest player, Ke- vin Willis, so they clearly understand what is necessary to win. While running this drill, we typically play up to seven points. The offensive players can play any way they want (diagr. 2). If any of the four players on offense score, they gain a point. If they miss a shot, the defen- se gains a point. If the offensive players do not score, they play defense against the other team, positioned at mid court. The coach stays under the basket to get the ball if the basket is made and pass it to the next team, which immediately starts to play. The players dont have time to talk or rest, and they must quickly communicate and decide who they will guard. I use this defensive drill every day and we play with the maximum intensity. In this way, the players gain the self confidence necessary to play a tough defense. They learn to com- municate with their teammates and make D.2 D.1 D.3 D.4 EV\Z(% FIBA EUROPE OFFENSE switches, when necessary, to stop their opponent. As a penalty, the teams that lose the game have to perform extra running drills. The final item I focus on is rebounding. If the offense takes a shot, misses, and grabs the rebound, the defensive team loses a point. In some cases, a defensive team that keeps losing rebounds can end up with mi- nus points, below zero, putting even more pressure on them to tighten their defense. This drill is a basic part of each practice session and, on average, we spend a third of the practice session performing it. Lets now talk about offense. Lets assume we start the offense with a defensive re- bound (diagr 3). The forwards run and the first big man, 4, in this case, runs on the sa- me side of the ball and tries to set himself into the low post position in front of defen- sive player to get the ball and score. Of course, if the defensive player is behind him, he seals the defender and he can ea- sily receive the ball. However, if the defen- sive player is contesting the pass, he must push him completely under the basket and look for the ball. Karl Malone of the Los An- geles Lakers is a master of this move. The perimeter players run near the baseline to force the defense to run behind them and to make it possible for the high post player to receive the ball. If we cant score off the fastbreak, I believe that the best way to play offense is the insi- de game (diagr. 4). The ball is passed to 2, the player in the corner, then to the low po- st, 4. After the pass, 2 runs alongside 4, the player with the ball, near the baseline, and the other post player, 5, goes to the low po- st position on the opposite side of 4. The player in the other corner, 3, goes to the top of the lane. If theres no double team by the defensive players, the player with the ball in the low post, 4, can play one-on-one. Af- ter the cut of 2, 1 goes in the corner, and then 3 takes the place of 1. After the pass and cut of 2, 1 goes in the corner, and 1 is replaced by 3. If we do not want to or simply cant pass the ball in the corner (diagr. 5), the pass is made from 1 to the second trailer, 5, and from him to the other side of the court, a re- versal pass, to 3. The first big man, 4, fla- shes to the other side of the lane to get the ball. After the cut of 4, 1 and 5 make a stag- gered screen, one screen after the other, for 2, who comes high at the top of the lane. After the first screen, 1 goes to the other si- de of the court where he and the other two players set a double screen or another staggered screen for the screener. In this last situation, it does not matter what you will do because there are many options EV\Z(& the previous four-on-four drill but the points are awarded differently. If the offense sco- res (they dont have to use any set plays), the offense go on defense and the defense on offense. The team on offense does not win any points for scoring a basket. If offense does not score and the defense rebounds, the defense gets a point and can immedia- tely fastbreak. Should they score off a fast- break, they earn another point. Even if they dont score from the fastbreak, the same five players remain on defense, and have the D.7 D.5 D.6 D.8 which can be signaled with a fist or some other pre-determined signal. Unless we can give a ball to one of the th- ree players on the same side, we try to pass the ball to the low post player. If we cannot do this, then this player can go to the free-throw line, receive the ball and play one-on-one or else pass the ball back to the player who made the pass and play pick-and-roll with him. This is an excellent situation to use against the teams that pop out vertically to the player from the pick- and-roll. We have two options to begin our offense. First, the ball goes to the corner and then to the low post. Second, the ball is passed to the other trailer on the other side and then there is a staggered screen. To move the ball effectively, we do not always need to dribble on offense. A lateral pass can be done immediately to get the ball in the cor- ner. This position on offense gives us a lot of possible options. The trailer (5) has to guess the offense: if the ball goes to low post, he goes to the other low post position. If the ball is passed around, he moves to the other side of the court and participates in the staggered screen and later, in the la- teral two-on-two play. If we do not mana- ge to get a good situation for shooting and the offense time starts to run out, players should be aware of how much time is left for offense and the ball immediately goes to the side. The players clear out to play one-on-one or pick-and-roll. Tall players have a special responsibility in this situa- tion should always be prepared to start a pick-and-roll as the final seconds tick away. I have already described the basic cutting that allows us numerous options, and now Id like to focus on just one of the- se options. 2, the player, in the corner, cuts around the post, 4, and runs to the top of the lane (diagr. 6). The second post, 5, from the top of the lane, screens on 3, the player in the corner, who cuts to the basket. We can call this a sort of offense in a triangle (loopoption). After a screen, the player in the corner does not go towards the basket, but instead goes to screen the player with the ball. They then play pick-and-roll. If the pass to the trailer is not possible, the trailer makes a backdoor cut, goes to the low post position and the player with the ball drib- bles to the top of the lane and changes the offense side. The key issue is that the ball changes the side and defense moves from one side to the other. If theres penetration along the baseline, we always want to have a player available on the opposite angle for an open pass and shot. The following five-on-five drill is similar to EV\Z(' FIBA EUROPE OFFENSE possibility to earn more points. We play un- til a team scores 10 points. The losing team has to perform extra running drills. I have always tried to increase the pressu- re in practice. The Spurs have not been a good free-throw shooting team-we were 26th out of 29 NBA teams last season. What I do is choose one player from the team that lost the game to 10 and have him shoot two free throws. If he scores both free-throws, his teammates do not have to run. If he misses, they all run. My final thoughts: The team that plays strong defense is going to win. If you can get your team to play tough defense, they will lead you to victory. Question: How do you get the motion of- fense started? There are no special calls for starting the offense. When I was a player, my position was playmaker. I knew that two guards had to run in front of the ball and that the first tall player had to go to low post and that the second trailer came last. Someti- mes, while starting offense, a playmaker may call the trailer to begin a pick-and-roll at half court. In such situations, help from the defense most frequently comes from the corner, leaving the shooter alone in the corner. There are no calls on offense and the player with the ball will pass it to the corner or else will bring it to the corner. Af- ter the pass, the player in the corner may run behind the tall player. The ball may be returned to the playmaker that also has a few solutions depending on whether the trailer is open for make a pass or not. Running an offense is based on the defen- sive situations and the score of the game, and other situations that present themsel- ves on the court. Certainly, in some situa- tions I react. For example, if Tim Duncan hasnt received the ball for three to four mi- nutes, I will naturally call a play for him.. I am not a coach like Phil Jackson of the Los Angeles Lakers, for example, who lets a player run a play for as many as eight ti- mes. I will call a timeout if that happens. The cutting that I have described in our of- fense gives equal opportunities for all the players to score. If its not working or get- ting the results I want, I will call for a spe- cial offense. Question: Whats the best way to force the offensive player to the baseline and how do you practice these situations? There are various drills we do on defense to push the offensive player to the baseline so he cant make it to the middle. One of these drills is a full-court one-on-one whe- re the aim is to return to a good defensive position after a penetration. This entails sprinting up to the player and, without pu- shing, use some hand contact and a good defensive stance to force him to the baseli- ne. We also use a half-court drill to achieve this objective. After a pass is made, the defensi- ve player runs towards the offensive player and they play one-on-one. The offensive player tries to penetrate in the middle and the defense tries to force him to the sideline (diagr. 7). Winning basketball teams are those that be- lieve in what they do and stick to what they do best. The key to winning basketball are basic skills performed well. The following drill is a basketball basic and should be performed every day in order to make players pay attention to tbasic details. Th- ree offensive players are placed on the half court, one in the center of the court and the other two on the wings. The two on the wings should get free to receive the ball. Af- ter making a pass, the passer goes away from the ball a step or two and then tries to pop out to receive the ball. Each time, before before receiving the ball, the player should cut away from the ball and then move towards the ball and cut in. A low screen can be made at the opposite side from the ball (diagr. 8), and then the player should roll toward the ball. EV\Z(( THE OREGON UNIVERSITY OFFENSE FIBA EUROPE Ernie Kent, former head coach of St.Marys College, since 1997 is on the bench of Oregon University. Assistant coach of the US Under 21 Mens National team in 2001, he was head coach of the US Mens Junior National team at the last FIBA World Championship for Junior Men. MAN-TO-MAN OFFENSE EAGLE Eagle is one of our primary half court set plays. We like this play because it gives us both inside and outside scoring opportunities. It is a very difficult play to defend because our alignment forces the weak side defender to make decisions about guarding our post man or con- centrating on covering the shooter, who comes off the double pick. ACTION The set: one point guard, 1, two wings, 2, and 3, two big men, 4, and 5 at the corner of the free- throw lane. 1 dribbles the ball to the right side of the court. As he does, the ball side post, 5, slides down the lane to the low post position and the ball side wing 2 slides to thecorner. 4 readies himself to pop to the high post as the point guard 1 reaches the wing area (diagr.1). SECOND ACTION As 1 makes a reversal pass to 4, 2 makes a flex cut off of the post 5. While doing this, he is looking to run into 5s defender to clear some space for the big man to post up deeper into the lane. by Ernie Kent OFFENSE EV\Z() FIBA EUROPE OFFENSE D.4 D.3 D.5 D.1 D.2 EV\Z(* 2 continues through the lane to the weak side block area. 3 slides in toward the lane (diagr. 2). THIRD ACTION As 1 gets the ball back from 4, he immediately looks to dump the ball inside to the post if he is open. Otherwise, he directs his attention back toward 2 as he comes off the high double screen set by 4 and 3 (diagr. 3). TAIL END The tail of the play has 3 going out to the ball side baseline after he sets the double for the shooter 2. If 5 cannot receive the ball in the low post, he turns and screens in for 3, who goes in the opposite corner, and 1 passes the ball to 3 (diagr. 4). 3 3 is designed to get a three-point shot for our best shooter. We use a flex action to disguise movement. ALIGNMENT We begin in a one-four low set across the baseline, and our best shooter, 2, in this case, is always in the right cor- ner. ACTION 1 dribbles to 2s side, staying even with the lane line. 4 flashes up the lane to receive the ball from 1 (diagr. 5). NEXT ACTION 3 takes one step off the lane and sets a back screen for 2. Using 3s screen,2 makes a flex cut across the lane to the low block (diagr. 6). NEXT As 2 cuts off 3s back screen,1 should be screening down for 3 (his man should be helping defensively in the lane). 1 then clears to the corner. 4 hits 3 with a pass . 5 should slide out of the corner to get a better screening angle (diagr. 7). FINALLY 5 and 4 set a double screen for 2 for the three-point shot (diagr. 8). ZONE OFFENSES STACK Stack is one of the simplest, yet most effective plays to use versus the zone defense. By out-manning the defense (three offensive players vs. two defenders) inside, we are able to score with easy baskets to force our opponent back into a man-to-man look. ACTION The action starts out of a one-two- two set. 1 initiates the play by passing the ball to the best shooter 2. The ball side big man 5 slides across the lane to form a low stack with 4. We always want 5 to be the high man in the stack (diagr. 9). NEXT ACTION 2 passes the ball back to the point guard 1, who dribbles opposite and passes to 3 on the other wing. 2 runs off the stack set by the two big men 5 and 4, and loops up off the baseline to draw the outside defender in the zone with him (diagr.10). NOTE: If the outside defender does not guard our cutter, we will throw the ball to him for the open jump shot. We want the cutter to drag the defen- sive forward to the corner with him so that we can get the ball into the short corner area vacated by the defense. SCORING ACTION After 2 runs off the double pick of 5 and 4, our top big man 5 screens the middle man in the zone. The low man 4 steps to the short corner directly behind 5s screen and looks for the pass from 3 for the short jumper or drive to the basket (diagr. 11). STACK HIGH Stack High is essentially the same plays Stack except we begin the action from a different set, one-three-one as opposed to a one-two-two look. As noted in the diagr. 12, 4 lines up on the wing and 2 in the high post to begin the play. The point guard always begins the action with a pass away from 4. As he passes to the wing, 4 moves to the block and 2 cuts under the basket. D.9 D.8 D.10 D.7 D.6 EV\Z(+ D.13 D.14 D.12 D.16 D.17 D.18 D.15 ALIGNMENT We start the play in a one-two-two alignment with the big men on the low blocks. FIRST 1 passes to 3 to initiate the play. 2 cuts along the baseline to the strong side corner (diagr. 15). NEXT As 2 cuts by the post players 5 and 4, 4 turns and screens for 5 the middle man in the zone. Using the screen, 5 cuts right off of 4s hip and moves to the short corner (diagr. 16). Once the point guard receives the return pass, he dribbles to the wing and the big men run our stack action as 2 cuts to ball side corner (diagr. 12). STACK & HOLD Stack & Hold is used against teams playing a zone defense with one or two defenders on the baseline (i.e.: one-two-two or one-three-one). The idea is to flood the baseline area with three offensive players against their one or two men. If properly executed, the play results in either a fifteen-foot jump shot or a pass to the post for an easy score insi- de. ACTION The action starts out of a one- two-two set with 4 and 5, who form a low stack on either side. As in stack, we always want our 5 as the high player in the stack, as his job will be to screen, then post up low. 1 initiates the play by passing the ball to the guard on the stack-side of the court, 3 in this case. As the pass is being made, 5 screens in the low defender and 4 pops to fifteen feet for the short jump shot (diagr. 13). SECOND ACTION If the defense gets wise to our strategy and decides to cheat out on 4 popping out, we tell to 5 to find the next defender and post him up in the lane. The passer reads the defense and then looks inside to our 5 posting up as hell be one-on-one with his defender and with the both feet inside the lane (diagr.14). As with all our offense, we empha size shot selection and discourage taking poor shots. If we get nothing out of the action, we tell our inside players not to force a shot, but to kick the ball to our perimeter players and allow us to reset the play to the opposite side of the floor. 5 5 is designed to get a high percenta- ge shot against a zone defense. It is very similar to Stack in that we are trying to draw the defensive forward to the sideline and screen the middleman in, leaving an open area in the short corner. FINISH 3, the passer, must read the defense to make the correct pass. If the defensive center gets held up on the screen, 5 in the short corner should be open (diagr. 17). If the defensive center slides through 4s screen to cover 2 in the short corner, 4 should be open on a post up (diagr. 18). NOTE: It is imperative for the offense to read the defense and make the cor- rect play. This is a very tough play to defend if we screen well and make the proper pass. D.11 EV\Z(, FIBA EUROPE Dragan Sakota coached Zadar and Cibo- na Zagreb (Croatia), Paok, Iraklis, Peri- steri, Aris, AEK, and, this season, Olym- piakos (Greece). In 1991 he won the Sa- porta Cup with Paok. When putting a team together, every ba- sketball coach wants to have a satisfying number of good defensive players on his roster. This is also the main reason why a coach spends a lot of his practice time working on team and individual defense. Since the primary defense for most teams is man-to-man, the coachs bigge- st satisfaction is when he sees that his defender is able to successfully guard the opponents outstanding player. In reality, everybody knows that guarding the opponents star is a very difficult task. It is also difficult for a team to mat- ch-up with a team that has a high level of collective offensive play and can attack in a variety of ways. Facing these two kinds of problems are the coachs main reasons for using alternative defenses, such as the simple zone defense and the unorthodox zone defense. My subject of discussion is the offense that can be used against the one-four zo- ne. However, before I delve into the phi- losophy of this defense and my theory of how to attack this and other zones, I would like to share with you my expe- rience facing the one-four. The first time was in 1987 at the final game of the Yu- goslavian Cup. Like any young and inex- perienced coach, I was surprised and unprepared when the opposing team switched to the one-four zone. Since I had no organized offense for this kind of defense, I acted on my instincts. I quickly substituted the player that was being closely guarded by a man. The opposing team then switched from the one-four back to a simple zone defense and the game fortunately turned in our favor. From that day on, I spent a lot of time thinking about how to face this kind of defense and before every game I now pay special attention to the possibility of that defense being used. My players and I will not be caught surprised and unpre- pared. I always have a play prepared for every kind of unorthodox zone defense: the box-and-one, the triangle-and-two, and finally, the diamond-and-one. BOX-AND-ONE DEFENSE The box-and-one defense consists of four men playing a box zone defense, with one man playing aggressive man- to-man defense against the best offensi- ve player (diagr. 1). The goal of this de- fense is to neutralize the scoring poten- tial of this player. The box is used to for- ce the outside shot by preventing easy shots from close range. However, this defense has its weaknesses. The box-and-one is not a good choice to use against a team with several good outside shooters and can easily be OFFENSE by Dragan Sakota ATTACKING THE UNORTHODOX ZONE EV\Z(- ve a double pick from players 2 and 5 (dia- gr. 3). Since the whole defense is focused on the ball and looking for a shot to come off the double pick, this double pick can be used as a decoy so the play can quickly be transferred to the other side. At the same time when 3 comes of the double pick, 2 aggressively sprints to the opposite side and 4 pops out to the high post to receive the ball from the 1 (diagr. 4). As soon as 4 gets the ball, he must immediately pass to 2, who should now be open for a shot. When 4 passes the ball, he has to cut to the basket, looking for a return pass and an easy lay-up. 2 has several options. Consi- dering the fact that he is a good shooter, his first option would be to face the basket and, if open, shoot. He should also see that 4 is cutting to the basket for an easy lay-up. However, 2s third option is to look at 5, who has flashed at the high post area. 2 can pass to him for a shot or involve him in a high-low game (diagr. 5). In case that 2 does not do any of this, he re- turns the ball to the point guard, who now makes a strong move towards the ball to receive the pass. After the pass, the teams alignment is exactly the same as it was at the beginning of the play, only the players are now on the opposite sides (diagr. 6). Therefore, 2 sets the double pick for 3, and runs to the opposite side, followed by 5, who pops out to receive the pass from 1 (diagr. 7). Then, 5 passes to 2, who in this moment should be able to attack the basket either by feeding 5 on the post, or using him for a pick-and-roll game (diagr. 8). broken with penetration at the gaps. The best way to attack this defense is to place one man in the gap between the two defensive guards. This man should then make an effort to penetrate in this gap, with the intention of drawing the two men to cover him. This quickly opens room for the wing man. Once the ball is kicked outside, the offense should not differ much from any other offensive mo- tion used against a zone defense. The slight difference though, is seen when an individual player is pressured by a defender who is not following the zone formation. In order to give more space to his teammates and remain an of- fensive threat as well, this player should always set up outside or near the baseline. In this offensive motion, however, a pro- blem can occur when the individual player that is being pressured is the teams point guard. In this case, the point guard must switch positions with the 2 guard, with the 2 taking on the point guard duties. Howe- ver, the best solution is to have two point guards in the game at this time so the of- fense can run easily and effectively. With this offense, you can see that the in- dividual players job can be difficult when confronted by this defense. For this rea- son, the other four players have a bigger responsibility. They must attack based on principles from offenses against a normal zone. The best way to prepare for this kind of defense is to use an exercise shell during practice sessions. We force the of- fense to penetrate in the gaps in order to disorientate the defensive formation and create easy free shots. When preparing for this defense, it is of vital importance to make the right player selection. You should have four effective shooters from the perimeter. They should be very agile and good passers. Since you are confron- ting a defense with plenty of rotations, you should have a big low-post man who is ca- pable of finishing mismatches and getting offensive rebounds. When you have fini- shed your preparation for attacking this defense and have selected your best players, you can then proceed in choosing the one or more systems you might have for the box-and-one zone. At this point, I will show you the system I have used for a long time against the box-and-one, an ef- fective system that still helps me today. OFFENSE The basic alignment for this attack is one- four low (diagr. 2). The man in position 1 or- ganizes the play in such a way that he waits for 3, who is being pressured to re- ceive a back pick from 4 and then conti- nues on the other side. Here, he will recei- DIAMOND-AND-ONE The principles of this defense are similar to the box-and-one defense, with the only difference being in the formation of the players. The alignment consists of an odd-man front. The clear purpose of this defense is to attack the point guard in or- der to disorganize the offense (diagr. 9). This defense is weak against teams with good shooters and players who can pe- netrate from the baseline. For this rea- son, the same principles that we use in an offense against the box-and-one can be also used against this diamond-and- one defense. Penetration is a very powerful weapon against this defense. Not only because of the kick-out pass option, but because it offers the chance for an inside game as well; the diamond defense is particularly weak and vulne- rable at the low post. OFFENSE One particular offense that has been te- sted a number of times and with great success against this kind of defense is the following (diagr. 10): 3, who is facing the man-to-man defense, stands in a D.2 D.1 D.3 D.4 D.5 EV\Z(. FIBA EUROPE OFFENSE ses it to 1, who rolls in towards the basket af- ter the pick. The pass to 1, as well as the pass to 5, are the two possible final passes that can happen. During the course of this attack, however, the option for making a diagonal pass to an open player- due to a possible de- fensive delay-always exists. Obviously, in or- der for any of these options to work, good ti- ming between the players is a must. CONCLUSION Never allow yourself or your team to be sur- prised when facing this kind of defense. By being prepared, you let your opponent know that you have been expecting his move. Use all offensive principles against a zone defense. Choose a wise offense in which the tightly-guarded player can move in such ways that he would give his teammates more space to create and be effective offensively. The four men that are facing the zone defense should have a greater responsibility in the game than they usually have, since their closely-guarded teammate will give them more space. As long as the tightly-guarded player is the point guard, it is recommended that he switches his position with another guard who is not being pressured or, if possible, have two point guards in the line-up. After every shot shot, be in position for the offensive rebound since this defense is vulnerable to that aspect of the game. It is vitally important to make a wise selection of the four players who will be facing the normal zone defense. The wing players should be good shooters, and the 4 man, who is the key against this kind of defense, should also be a good shooter and a good passer. Insist on an aggressive defense that will gain quick possession of the ball and run the fast break at every opportunity. This will prevent the zone defense from setting up properly. Many coaches consider these unorthodox zones a poor way to play defense and I agree. However, since the nature of using these zo- nes is to surprise the opponent, I strongly re- commend that before a game, a coach should spend a few minutes reviewing what to do if one of these defenses is used. D.6 D.7 D.8 D.9 D.10 D.11 D.12 stack position next to 4. In the meantime, the ball is being passed around the peri- meter. Once 2 receives the ball, he drib- bles down, opposite from the stack, and passes it to 5, who pops out to the corner. 2 then cuts to the opposite side. While he is cutting, 4 makes a flash to the level of the foul line, and receives the pass from 1 in order to then pass it to 2, who should be on the other side in a triple-threat offensi- ve stance. (diagr. 11). However, when 4 has the ball on the foul line, 3 moves to the other side, intersecting with 2s cut, and makes a strong pick for 5, who uses that pick to cut towards the ball and possibly receive an easy pass either from 2 or 4, according to the timing of the movement. In this triangular position, 2 and 5 now ha- ve a good chance for an easy shot. 3 is al- so in position for an open jump-shot from the foul-line if the defense is not aggressi- ve. If, however, none of this occurs, 2 re- turns the ball from his triple-threat position to 4, who again passes it to 3, who has just received a pick from 1 in order to get open (diagr. 12). If 3 does not have a shot, he pas- EV\Z)% OFFENSIVE OUT-OF-BOUNDS SITUATIONS FIBA EUROPE Bob Huggins is one of the most successful college coaches. He was assistant coach of Ohio State, and then head coach of Akron. For the last 14 years he has been the head coach of University of Cincinnati. He reached the Final Four in 1991-92, and was chosen as National Coach of the Year by ESPN and various publications in 1998, 2000 and 2002. He has written eight techni- cal books with Coaches Choice. This arti- cle is an excerpt from the book Special Situations-Making the Most of Limited Possessions, 2002. END OUT-OF-BOUNDS LOB FORTHE BIG PLAYER 1: Screen down hard on his defender (diagr. 1 and 2). If the lob is not available, 1 cuts by 2s screen to the corner for the inbounds pass. If the ball come to 1 in the corner, 1 looks to feed 4, who has stepped inbounds and posted. 2: Screen down hard on his defender. If the lob is not available, 2 side screens for 1 so he can cut to the corner. If 2s man switches on 1, 2 seals 1s man and steps to the basket. 3: Screen down hard on his defender. If 3s man tries to anticipate the lob and go behind the line, 3 cuts to the open basket area. by Bob Huggins OFFENSE EV\Z)& FIBA EUROPE OFFENSE 4: Takes the ball out-of-bounds to move his taller defender away from the front of the basket. Looks first for the soft lob to 5, who cuts behind the line of screens in front of the basket. Second read is 1 clearing to the corner; if the pass goes to 1, then 4 steps in and calls for the ball at the post. 5: Starts to cut as if going in front of the line, then V-cuts and goes behind the line for the lob in front of the basket. If possible, 5 should try to catch and shoot before bringing the ball down. If 5 defensive man anticipates and goes behind the line early, then 5 simply steps to the ball and scores. SLASH TO THE BASKETAND THE LOB 1: Reads the play in one of our four ways: First is to inbound to 3 making a basket cut (diagr. 3). Second is to inbound to 4 making the second basket cut. Third to inbound to 5, if X5 moves to either cutter. Four is to inbound to 2, step in, and come off a screen to 2s side. 2: Delays for a count and then cuts to the ballside wing, making himself ready to receive the safe entry pass. Catches the ball looking either for a shot, for 1 coming inbounds and off the baseli- ne screen, or for 4 posting up on the block. If 4 is fronted, looks for 5 who has flashed to the high post for a high-low with 4 (diagr. 4). 3: The ball side player cuts first off 5 and can cut on either side of 5, but normally goes to the side away from the ball. Attempts to rub his defender off on 5, while at the same time creating another screen for 4. If the ball is inbounded to to anyone else, immediately thinks - offensive rebound. Posts up big if 5 receives the ball at the high post from 2. 4: Is the second cutter off 5. Attempts to rub his man off on 5 or hang him up as he cuts off 3s tail. Reads 3 to make sure he cuts away from ballside. Moves to the ballside and posts hard. If the ball is inbounded to 2, he screens for 1, who is stepping inbounds. Continues to post hard and, if fronted, pins defender and expects the ball to be pas- sed to 5 at the high post for a high - low feed. D.4 D.3 D.1 D.2 EV\Z)' 5: Stands facing the basket six or seven feet from the baseline. Reads his defender as he acts as a screen for 3 and 4. Slips to the basket or looks for the lob if his defender moves to cover either cutter. If 2 receives the ball on the wing, he flashes to the high post and looks for high - low feed. LOB VERSUS A ZONE DEFENSE 1: Receives a screen from 2 (diagr. 5). Receives a reversal pass from 4. Takes a hard dribble away from 4. Looks to 5 flashing into the lane. Looks for lob to 4 behind 3s screen. 2: Screens the top of the zone to get 4 open. Sets screen for 1 to get open for the rever- sal pass. Steps back for a shot and occupies the zone defender in his area (diagr.6). 3: Inbounds the ball to 4. After the ball is reversed to 1, 3 steps inbounds and screens the back defender in the zone. 4: Receives the screen from 2. Catches the entry pass from 3. Reverse the ball to 1. Cuts behind the zone, receiving a screen from 3. Catches the ball at the highest point for a lay-in or a dunk. 5: Post up looking for a direct entry pass from 3. Flashes to a spot between the two low defenders in the zone to set them up for the back screen. Targets the ball as he flashes, looking to receive a pass from 1 and scores. TANDEM STACKFORTHE L0B OR POSTUP 1: Reads 4s defender, X4, to anticipate which cut will open (diagr 7, 8, and 9). Feeds 4 or 5 cutting to the basket. Enters the court away from the ballside. 2: Spots up outside the three-point line for a shot and targets the ball with his hands. If the ball is passed to him, looks for the shoot or 5 posting up in the lane. 3: Spots up outside the three-point line for a shot and targets the ball with his hands. If the ball is passed to him, looks for the shoot or 5 posting up in the lane. 4: Reads how the defense is playing him and makes one of the following decisions accordingly: If X4 steps above 5 on the left, 5 will cut left to the basket and 4 will go right to the basket. If X4 steps above 5 on the right, 5 will cut right to the basket and 4 will go left to the basket. If X4 plays behind 5, then 5 screens X4, and 4 pops straight out, as far as his shooting range will allow. If the entry pass comes to him, he looks to catch and shoot if the defense doesnt get to him. If the defense comes out to guard 4, he looks to make a high-low entry to 5 posting in the lane. Could receive a lob from 1 if the defense sags too deep on the stack. 5: Faces the basket and reads how his defender and 4s defender are playing them: If X4 is above him on the left, he cuts left to the basket. If X4 is above him on the right, he cuts right to the basket. If X4 plays on the baseline side of him, 5 screens down to him. If 4 gets the ball high, he posts hard in the lane and looks for the high-low feed. If 2 or 3 receives the ball, 5 posts up strong on the ball side. 1-4 LOW, DOUBLE SCREEN FORTHE BESTSHOOTER 1: Spots up behind the three-point line, tar- geting the ball with his hands and looking for a shot (diagr. 10). Keeps the defender occupied and backcuts if the defender loses vision or double-teams the ball. Sets down-screen toward the block if X2 anticipates the double-team and cheats toward the side of the double screen (diagr. 11). 2: Inbounds the ball to 5 on a pop-back cut near the elbow. Sets his man up and runs off the double screen set by 3 and 4. Reads how his defender plays the double to decide if he is going to curl or flare off the screen. If X2 anticipates the double screen and cheats toward it, 2 comes off the single screen set by 1. D.9 D.8 D.10 D.7 D.6 D.5 EV\Z)( D.13 D.14 D.12 5: Starts the play by setting a down-screen for 1. Turns and sets the first screen of the triple for 2. Reads his defender as 2 uses his screen and looks to slip the screen and post. A LAST-SECOND THREE 1: Starts in the middle of the triple stack between 4 and 5 (diagr. 14). Cuts to the basket and uses 2s screen to curl to the corner. Angles his approach to the three-point line so that when he catches the ball, his feet are squared up and clearly outside the line. If he catches the pass and cannot get off a good shot, he immediately makes a return pass to 3 who has stepped in from out-of- 3: Comes in from the corner on the inbounds pass and sets up on the bottom side of the double screen (the better shooter between 3 and 4 goes to the bottom of the double). As soon as 2 has cleared the double screen out of his line of vision, 4 screens down on 3 defender, and 3 pops the stack cutting up the key looking for the shot or feed down to 4, who is posting (diagr. 12). 4: Has the freedom to cut to the ball if X4 relaxes or loses vision. As the ball is inbounded to 5, 4 sets up as the top man in the double screen with 3. After 2 has cleared the screen, 4 screens down for 3 and then posts looking for high- low from 3, who has popped the stack and gone to the high post. 5: Attempts to pin his defender and receive a lob from 1. Tries to duck in and post if X5 is between him and the basket. Pins X5 and pops out to the elbow to recei- ve entry pass. Reads 2s defender and looks for him either coming off the double screen or the single screen by 1. Reads the stack and looks for either 3 pop- ping the stack up the key or 4 screening down and posting up. If 2 uses the single screen, 5 can also read the switch and feed 1 as he splits the switch. SIDE OUT-OF-BOUNDS BESTSHOOTER OFF A TRIPLE STAGGERED SCREEN 1: Sets up defender and comes off 5s screen (diagr. 13). Catches the ball at the top of the key and looks for 2 coming off the staggered screen. As 2 goes off the screens, 1 looks for any of the screeners slipping the screen for a shot. 2: Initiates the play from out-of-bounds and passes to 1 flashing to the top of the key. Runs off the triple stagger sets by 5, 4, and then 3. After curling around 3 screen toward the three-point line, looks for a pass from 2 for the shot. 3: Sets the final screen for 2 making sure that he has a great angle for 2 to curl. As he is screening, 3 reads the defense and looks to slip if his defender cheats. 4: Sets the final screen for 2, attempting to make a contact in the key. Tries to make his defender switch and then opens to the ball and posts up. bounds and is spotted up on the three-point line. 2: Lines up below the triple stack below 1. Screens for 1 as he curls to the corner. Cuts between 4 and 5 as they close the gate. Angles his cut, squares his feet, and cat- ches the ball in ready shoot position to shoot the open three. If he catches the pass but cannot get a good look at the basket, he immediately makes a return pass to 3 stepping inbounds for the three. 3: Looks first for 1 in the corner for the three; passes him the ball so he can catch and get off a quick shot. Second look is for 2 stepping through the double screen to the top of the key for a three. Immediately steps inbounds and spots up for return pass and a three-point shot. 4: Lines up nearest the ball in the triple stack and screens for 2 as he cuts to the top of the key. Steps to the ball if neither 1 or 2 are open and makes a quick return pass to 3. 5: Lines up on the far side of the stack. Sets a screen for 2 as he cuts to the top of the key. D.11 EV\Z)) FIBA EUROPE Sterling Wright was the head coach of the Senior Mens National team of Morocco at 2003 African Championship for Mens, and as well as the Technical Director of the Fe- deration. He is FIBA Coaching Instructor, and has been coach of French teams at every level and of the Tabac Sports Club of Casablanca, Morocco. Developing an offensive style of play is one of the most important tasks of a coach. To analyze the strengths and weakness of the group, find solutions, which will enable the team to reach the maximum of their poten- tial, are some of the goals of the coaching staff. On the elite level, (club or National Team), individual and collective develop- ment are important, but winning is the un- derlining factor to gage success. A coach must have general knowledge of both the controllable factors such as his team, club, etc., and some of the uncontrol- lable factors, such as the competition that he is engaged, his adversaries (both known and unknown), etc., to have a chance for success. After taking into account a general under- standing of these elements, a style of play consistent to satisfying players, coaches, and crowd while having the greatest chan- ce of winning should be developed. How many times have we observed an unsuc- cessful team become successful by chan- ging a few elements? Changing a player(s), coach, or style of play to produce a different winning style of basketball. We feel that it is important to attempt to get the most possible from everyone concerned to have a real chance to achieve expectations. We feel for the Moroccan teams to be com- petitive on international level we must play a very aggressive style of basketball both of- OFFENSE by Sterling Wright DEVELOPING AN OFFENSIVE STYLE OF PLAY fensively, and defensively. We try to com- pensate our lack of height and physical den- sity, by speed of execution, and preventing the opponent from playing their normal ga- me. To take advantage of our athletic but physically limited players, we feel that if we can have a moving type of offence we can neutralize some of our limitations. Our inte- rior players receiving the ball in a moving ty- pe of situation, as opposed to fighting it out in the low post position against stronger and taller opponents. The same point holds true for our perimeter players in that if they can receive the ball in movement, and have the proper spacing, they can take advantage of their creative skills. We feel that creating a style of play, which permits our players to read and react, as opposed to think and execute will give us the best chance of success. To play pressure basketball, both offensively and defensively, creates specta- cular style, which the players and the public EV\Z)* enjoy. Since we have a young, developing athletic team, this style gives the maximum amount of playing time to nine-ten players as opposed to a more limited number. So with a maximum number of players involved and highly motivated, we have had some de- gree of success in the present, while buil- ding for the future. RAPID OFFENSE We like to use as our basic offense the fast break or what we call pressure basketball. Really we hope that rarely we have to run a set half court offense. We try to take at least a third or more of our total shots from a fast break, or transition si- tuation. Playing an up-tempo style of game, while having the possibility to play from a set offense, is what we try to do. We feel that this is the best way to create the easiest scoring possibilities before our opponents can set up their complete team defense. We feel that if we walk the ball up the court every time we will be playing against a set defense that often has the physical domi- nance against us. If we must play 5-on-5 ba- sketball with almost every possession that we are in for a long game without many ad- vantages or possibilities to control the out- come. In our offense, fast break or half court, we always want to create several advantages. With the fast break, a team can create seve- ral advantages and through good passing can find an open player for a high-percenta- ge shot. We feel that getting the ball in a situation that our players feel comfortable with the minimum constraints gives them the best chance of success. This helps build con- fidence in their abilities. In our half court offense, through good movement, pas- sing, and screens, we try to create a quick 2-on-1 or 3-on-2 match up that can yield a high-percentage shot. So it is im- portant for us to create situations where the players have time and the proper spacing to react to certain situations, with a few rules so everyone under- stands what we want to accomplish on the floor. Our first option in our offense at any time during the game is our rapid attack. We like to run our primary break, which we create from steals, rebounds, blocked shots, made or missed field goals, made or missed free throws. We like to divide the court into three la- nes the traditional side - middle - side la- nes. However after the half court line we like to designate two additional areas. One which we call our attacking areas, and the possibilities. It also opens the opposite side lane for open shots on quick ball reversal. Once the ball is in the attacking area we want to continue to have good ball move- ment looking to profit on what the defense gives us. Once we gain possession of the ball, we want to get the ball to 1-the point guard, as soon as possible. We want our perimeter players 2-the shooting guard, and 3-the small forward, to sprint to the attacking areas on their respective sides of the court, looking back for the ball only when they ha- ve crossed the half court line. It is important to have good floor balance and, if they find themselves on the same side, then one must go to the far side lane. The rule is if the ad- vanced attacker is in the attacking area, D.2 D.1 D.4 D.3 other our scoring areas (diagr. 1) Actually our offense begins when we obtain possession of the ball. We try to have a conti- nuous free flowing offense taking advantage of any mistakes or weakness of our oppo- nents. When we gain possession we try to get the ball in one of our attacking areas (which is a couple of steps right over the half court line) as rapidly as possible. It is at this point that we want the ball handler to read the situation if: (a) there is a open teammate ahead of him to pass the ball if possible (b) he has an advantage to attack the basket (c) continue to advance the ball by passing, or dribbling down the same side to the scoring area. Advancing the ball down the side opens the middle lane for our big players to run to the basket, trailer, or offensive rebound EV\Z)+ FIBA EUROPE OFFENSE The last man down the floor, the rebounder, or the in bounder on a made shooting at- tempt, is the trailer running the middle, but going to the opposite side of the lane of the ball side low post. As he reaches the post area, he must read the situation. If the ball is: (a) in the opposite side scoring area, he can stop either at the high, or low post area ready to play the offensive rebound; (b) in the center lane, he can set a pick for the ball handler, or stop at the high post. (c) on his si- de, he can set a pick for the perimeter ball handler, or slide low post (diagr. 2). 4 gets the rebound and passes to 1, who comes to the ball. Perimeter players 2, and 3 sprint to the attacking areas on their respective sides of the court. 5 sprints down the middle of the floor towards the opposite basket. 1 passes to 2 in the attacking area right over half court. At this point we have the following ru- les: 1-ON-1 SITUATION This situation should always produce a hi- gh-percentage shot, whether it be a lay-up or a short jump shot. We want our players to attempt a shot for two reasons: (a) chances are it will be a good shot, and (b) in normal conditions offensive players generally chan- ge ends faster than defensive players, whi- ch can result in a rebounding edge as offen- sive teammates are hustling down the floor in anticipation of a missed shot attempt. We would like for our offensive player to read the defender. If the offensive player feels he can beat the defender on the drib- ble, he should take it all the way to the ba- sket. If the defender does a good job against the dribble, then the offensive player should pull up for the short jump shot. Certain time and score conditions may force us to tell our players to take only the lay-up if its available. If its not, we may want to have them pull back out and set up the half court offense. 2-ON-1 SITUATION We try to teach our players that with the fast break they must try to get a good shot off when they have a numbers advantage. Ho- pefully, the shot will be relatively unconte- sted and taken from a short distance. When we are in a 2-on-1 or 3-on-2 situation, we try to shoot the ball (given the time and score si- tuation). When a shot is taken, we can either score, rebound the missed attempt, or, at least, prevent the defense from possibly scoring as a result of a turnover. We must use a numbers advantage as quickly as pos- sible because the remaining defenders are eventually going to set up their defense. In a 2-on-1 situation, the offensive players must fill the outside areas and spread out D.6 D.7 D.8 D.9 D.10 D.11 D.12 D.13 then the second perimeter player crosses the middle lane to go to the opposite side. If the advanced attacker is in the scoring area, then the advanced attacker should continue to the basket then out to the opposite side scoring area. On a made basket, or foul shot we want 4- the post, in bounding the ball to 1. 5 - the cen- ter, sprints down the middle of the floor to the opposite basket, then looks for the pass, or offensive rebound. He should read the si- tuation and if there is not a shot, or pass insi- de, he should go to the ball side low post looking for: (a) the pass; (b) the two-man ga- me with the perimeter ball handler. D.5 EV\Z), wide enough to prevent the defender from playing them both at the same time. As the of- fensive players enter the scoring area (which is about a couple steps outside the three- point line), the ball handler should take the ball to the basket, while the other perimeter player spots up on the opposite side area waiting for a possible outlet pass on the dribble pene- tration for an uncontested jump shot. 3-ON-1 SITUATION If we have not created a scoring opportunity, or the ball handler chooses to only advance the ball to the scoring area, the other players continue to run their lanes. 80 to 85% of the ti- me our primary break is executed by our three perimeter players. We teach them that every time we gain possession to sprint to their re- spective lanes to create the proper offensive spacing. The middle lane is left open for the point guard, who directs the break, and the post and center, who are usually the slowest players, who serve as defenders in case there is a turnover. As 1 crosses half court our pri- mary break becomes a 3-on-1; or 3-on-2 situa- tion with the point guard becoming the third offensive player. 2, after receiving the pass in the attacking area, drives to the basket until he has good defensive resistance. At this point he passes out to the point guard at the top of the three- second lane. When 1 approaches the three- point area he should stop, and this will create space for 4 and 5 cutting to the basket, but al- so to be in the best position for the quick re- verse pass to 3 for a possible two or three- point shot (diagr.3). If the up defender X1 co- mes out to far to contest the reverse pass from 2 to 1, then 3 must read the situation and cuts towards the basket, and the 3-on-2 situa- tion becomes a 2-on-1 break. As 1 receives the ball, he swings the ball to 3 for a wide open jump shot. On occasion, 1 can take the jump shot, or penetrate, depending on the condi- tions of the game (time, score, defensive posi- tioning). 4-ON-2 / 4-ON-3 SITUATIONS 4-on-2 or 4-on-3 fast break situations are very rare. Usually the forth and fifth players beco- me involved during the secondary break when these possibilities occur. We want our forth and fifth players to go to the same posi- tions as in our secondary break. The forth player (5 in diagr. 4) cuts down the lane to the basket looking for a pass for a lay-up, or to pi- vot when he gets to the basket to pin a possi- ble defender for a post up basket and possible three-point play with a foul. If he doesnt re- ceive the ball in the lane, he should post up on the ball side. If any of the respective players are slow in their defensive transition, with good intelligent ball movement we hope to get: (a) an open player for an uncontested hi- D.14 D.15 D.16 D.17 D.18 D.19 gh percentage shot; or (b) a defensive mi- smatch giving us a physical advantage. 2 has advanced the ball to the side scoring area. The defense has slowed the fast break as 5 beats his defensive player to the lane looking for a quick return pass for a lay up. If X3, who is the weak side defender, attempts to help we want 5 to post him up right under the basket taking advantage of a mismatch situation. If he does not recei- ve the ball, then he goes to the ball side low post position. THE SECONDARYBREAK If the initial primary break does not produ- ce a good high percentage scoring possi- bility, we want the players to continue mo- ving and our secondary break begins. It is very important not to stop the action after our initial break, unless the time, score, or game conditions determine otherwise. So- metimes our offensive players fail to exe- cute our primary break properly, or the de- fense does a good job in transition getting enough players back in time to stop our ini- tial attack. We feel that if we continue to run, and just one defensive player is slow getting back, or if the defense is not set, then we should be able to find the open of- fensive player. Also, it will be easier to exe- cute player and ball movement. As stated earlier, the first interior player who crosses the half court line should cut directly to the basket looking for a quick pass for a possible lay- up. You would be surprised by how many easy opportunities we get by a lay-up, or offensive rebound by just running the floor. If he doesnt receive the ball he should go to the block on the ball side and post up his defensive player looking for the ball. He can also screen the ball handlers defender in the event the de- fense over plays the reverse pass from 2 to 1 and play a two-man game with the wing (diagr. 5 and 6). 5 receives the pass from perimeter player 2 in the low post. 5 looks to score if possible. If not, he must read the situation of his teammates movement. After the pass, 2 reads the defensive situation and he can cut to the basket, looking for a quick return pass, then clearing to the opposite side corner if he doesnt receive the ball. 2 can slide to the corner for a jump shot if his de- fensive player double-teams the low post EV\Z)- FIBA EUROPE OFFENSE 5. 2 can pick away for 1, who can replace him at the wing, looking for a jump shot coming off the screen. Any of these options are possible depending on what the defense gives us. We just dont want 2 to stay in place, if he passes inside. 5 can come out to set a on the ball screen for perimeter player 2. This option helps us espe- cially if defender X1 pressures the reverse pass to the point guard 1 (diagr.6). Also, if we want to get the ball inside to 5, this option creates movement and, sometimes, a defen- sive mismatch if there is a switch of the de- fensive players on the screen. If 2 drives in the middle we like the other perimeter players 1 and 3 to slide to create space and position for a possible outside uncontested shot if there is defensive help. The last player who crosses half court, 4, the offensive trailer, has several options as he en- ters the attack area. The majority of the time we would like for him to stop at the side high post opposite 5, the center. He can also conti- nue to the opposite low post, or set an on the ball pick, depending on the situation. He must read the offensive ball position, and adapt, as he is the last player to enter the offense. The- se are the options: 4 enters the attack area with the ball on the opposite side attack area. He can stop at the side high post, or continue to the opposite low post looking for a pass if he beats his man to these areas (diagr. 7). 4 enters the attack area with the ball this time in the center of the attack area. He stops and sets an on the ball pick for 1. He could also stop at the high or low post (diagr. 8). 4 enters the attack area and this time and finds the ball in his side attack area. He can stop at the high post, low post, or set an on the ball pick for 3 (diagr. 9). 5-ON-5 SITUATIONS Once the five offensive players have entered the attack area, our rapid offense continues until there has been ball reversal from one si- de of the court to the other, constantly looking for the open player for the good open high percentage shot. When the ball swings to the point guard 1, he can pass to the post and split with 3, screening X3, the perimeter defensive player (diagr. 10). Or, 1 can swing the ball to 3, who looks for an uncontested shot; or pass in- side to high post 4 cutting to the basket (diagr. 11). The last option is for 1 to hold the ball, and we go right into our set offense, without any break in the rhythm of our offensive play. Our point guard reads the situation and determi- nes when to stop our secondary break. 1 passes to high post and screens away for 3. If there is a switch on the screen, 1 rolls to the basket. 5 posts up in the lane for a possible hi- gh-low post pass from 4. 4 can also look for his shot (diagr. 10). This time 1 swings the ball to 3, who looks for an uncontested shot, or pass inside to high post 4 cutting to the basket. 4 can also stay on high post with this pass, and 5 can cut to the ball side low post (diagr.11). SET OFFENSE From a set offense we like to have a lot of player movement to limit the help possibili- ties of the defense. All of this trying to keep it simple while constantly having both quick hitter and ball control possibilities in our set offence. We use several man-to-man plays out of a one-four set offensive pattern. This formation gives us the proper spacing, floor balance, re- bound positioning to satisfy our needs. The following play we call telephone and it pro- vides the possibility to constantly have post play, three-point possibilities, and proper spa- cing for isolation and one-on-one play. It is im- portant for our players to read the defensive situation to take advantage of what the defen- se gives us. The basic line up is one-four with two high po- sts, 4 and 5, positioned at the corners of the foul lane, two wings, 2 and 3, positioned at the foul line extended and 1 the point guard. The play starts with 1 dribbling to either side, in this case the left side, towards the wing 2. The wing 2 cuts to the basket looking for a quick pass from 1 on his back door cut. If we have a speed advantage over 2s defender, we look for a bounce pass to 2 going to the basket (diagr. 12). If we have an athletic ad- vantage with 2s defender we can look for the lob pass. We can also post up 2, if we want to create an isolation situation with his respecti- ve defensive player when 2 gets to the lane area. At the same time, 3 cuts over the top of the key, using staggered picks set by the high posts 4 and 5 to replace 2 in the wing area. If 1 does not pass to 2 going to the basket, he passes to 3 in the wing area, and cuts to the opposite side of the court. Upon the reception of the ball, 3 faces the basket looking for shot. High post 4 sets a screen on 5s defender, as 5 cuts to low post looking for the ball. 2 conti- nues his cut to the weak side low post (diagr. 13). If 4 and 5s defenders switch their defen- sive assignments on the pick, 4 steps back to the ball to receive the pass looking for a post shot, or high-low, two-man game with 5. 1 continues his cut to form a double screen with high post 4 at the foul line area. 2 cuts off the double screen, looking for a possible three-point shot, while 5 is positioning low on the strong side (diagr. 14). At this point we are looking to get the ball inside for a two- point possibility, or a possible three-point shot by 2 at the top of the key. As 2 passes the screen, 1 cuts underneath 4 to the wing area. If 2 does not take his shot, he reverses the ball to 1 in the wing area, while 4 cuts low looking to post up his defender. 1 can look for his shot, or pass to 4 posting up (diagr. 15). 5 looks to position for possible weak side re- bound, 3 slides to the corner spotting up, and 2 slides opposite his pass also spotting up. With the ball in the wing area, 1 can play a two-man game with 4, if he does not shoot, or pass inside. If there is not a shot, he looks to pass to 3 coming off a staggered screen set by 5 and 2 at the top of the three-second lane (diagr. 16). 1 passes to 3 at the top of the three-second lane as 3 looks for his shot. 5 and 4 go to the lane, looking for offensive rebounding posi- tion, and 2 slides to the wing area (diagr. 17). 3 swings the ball to 2 and cuts away to the opposite side. 2, when he receives the ball, can look for his shot, or pass inside to 5 po- sting up, or play the two-man game with 5 (diagr. 18). 4 positions for a possible offensi- ve rebound while 1 spots up in the corner(the same movement as diagr. 4, but the opposite side). At this point we have the same options as diagr. 5, but on the opposite side of the floor with 1 coming off the staggered screen set by 3 and 4 (diagr. 19). We fell that this play gives to all three of our perimeter players a chance to shoot the th- ree-point shot, or run a two-man on the ball pick-and-roll situation with the low post. It also gives our players a chance to play one-on-one, while spotting up on the weak side when and if there is defensive help. Al- so, we have good general floor balance, and weak side rebounding positioning. It beco- mes a continuous play action if we want to have ball possession while constantly ha- ving low post, and perimeter threats. It is im- portant that our players read the defensive situations, and it has brought us a great deal of success not only against man to man de- fenses, but mixed defenses (box and one, triangle-and-two, etc.), as well. EV\Z). FIBA EUROPE Van Chancellor was the head coach of the University of Mississippi womens team for 19 years before accepting the head-coaching job of Houston Comets of the WNBA, the womens professional league of the NBA. He won four straight WNBA titles and was voted Coach of the Year three times. Coaching the USA Wo- mens Senior National team, he won the 2002 FIBA World Championship. He will coach the U.S. Womens National Team that will play in the 2004 Olympic Ga- mes. Our plays are based on a series of quick- hitting moves, each with different options. 1 dribbles to the middle of the court and passes the ball to 3. As 3 gets the ball, 4 makes a pick for her. At the same time, 1 and 5 make a staggered screen for 2, who can receive a pass from 3 (diagr. 1). If 2 cannot shoot, 5 screens on the ball for 2. 5 can roll to the basket or flare, if she has a good outside jumpshot (diagr. 2). 1 dribbles toward the sideline, and recei- ves a screen from 5, while 2 and 4 make a double screen for 3. 1 passes to 3 for a possible shot (diagr. 3). If 3 is guarded and cannot shoot, she quickly passes the ball to 2 in the corner, who can pass to 4 in the low-post position (diagr. 4). 1 dribbles down the left side, as 2 cuts in the lane on the ball side, and then goes to the opposite side of the lane to screen for 3. 1 can pass the ball to 3 in the low-post position (diagr. 5). If 3 is not open, 5 pops out, receives the OFFENSE by Van Chancellor THE BASIC OFFENSE OF THE HOUSTON COMETS EV\Z*% ball from 1, and passes to 2, who is coming off a down screen set by 4 (diagr. 6). Screen the screener action: 2 sets a cross screen for 3, and then receives a down screen from 5. 1 can pass to 3 in the low-post position, or to 2 in the free-throw area (diagr. 7). A variation of screen the screener ac- tion: 1 dribbles down the left side and looks to pass to 3, who received a screen from 2. 3 posts up in the low post. If 3 is not open, 1 dribbles towards the top of the three-second lane and passes to 2, who is coming off the double screen of 4 and 5 (diagr. 8). The Zipper play: While 1 dribbles down the left side, 3 cuts off a down screen ma- de by 5, and can receive the ball from 1. 3 can pass to 2, who is coming off the down screen set by 4 (diagr. 9). 2 must read and react to the moves of the defenders: If the defender X2 is screened properly and stays on the screen, 2 pops out for a possible jump shot (diagr. 10). If X2 tries the short route and slides over the screen, 2 cuts to the corner for a possible jump shot (diagr. 11). If X2 plays tight and comes off with 2 from the baseline, 2 will curl to the middle. This means that she will go around the pick and cut in the lane for a lay-up (diagr. 12). If X4, the defender guarding the post, tries to step out and help on 2, 4 quickly cuts to the basket, looking for a pass from 1 (diagr. 13). 1 dribbles down the left side, goes to the middle of the court, and tries to pass to 2, who is coming off the screen set by 5. At the same time, 3 cuts in the lane and clears out to the opposite si- de of the court. 3, while cut- ting in the lane, uses the pick of 4 to get open. 2 re- ceives the ball from 1 and quickly looks for a shot (dia- gr. 14). D.2 D.1 D.3 D.4 D.5 D.6 D.7 D.8 EV\Z*& FIBA EUROPE OFFENSE D.9 D.10 D.11 D.12 D.13 D.14 D.15 D.18 D.19 D.20 D.16 D.17 If 2 cannot shoot, she can pass to 3, and 3 can then pass to 5, who is posted up in the low-post position (diagr. 15). 1 dribbles to the middle of the court and looks to pass to 2, who is coming off the screen set by 4. 3 cuts in the lane and clears to the opposite side of the court, while 5 holds. 2 receives the ball from 1 and looks for the possible shot (diagr. 16). If 2 cannot shoot, she has an excellent clear-out situation for a one-on-one and a drive to the basket (diagr. 17). 1 dribbles down and then to the opposite side and passes the ball to 2, who has re- ceived a triple staggered screen, set by 4, who steps out of the lane, by 5 in the lane, and by 3 near the lane (diagr. 18). 1 dribbles towards the high-post player, who steps out of the free-throw area and sets a pick for 1. As 5 rolls to the basket, 4 pops out to the free-throw area to receive the ball for a possible shot (diagr. 19). If 4 cannot shoot, she passes to 3, who can pass to 5, who has posted up in the low-post area (diagr. 20). EV\Z*' MAN-TO-MAN OFFENSE FIBA EUROPE Paul Coughter is currently celebrating his 25th sea- son as an international basketball coach. He has tra- velled to more than 100 FIBA federations all over the world. While head coach of the Hung Kno Elephants in 1996-97 in Taiwan, he won the championship and he followed that up in the next season with another title. He is presently the head coach of Blue Stars in Beirut, Lebanon. INTRODUCTION In order to get consistently good shots in the half court man-to-man offense we need to teach spacing, timing, screening, passing and shooting. With this in mind, we have developed a team shooting drill that allows us to breakdown all these various aspects of playing. This drill is progressive and facilitates team awareness and collective responsibility, while allowing each player to develop and enhance their individual skills. And, the bottom line is, we get a lot of different game-type shots in a short amount of time. PARTI TEAM JUMPSHOTDRILL Spacing reflects that of a half court set. We start the drill with two shooters, one on each side of the lane, a screener at the corner of the free-throw lane, and two lines of players with two balls on each line, as shown in the diagr. 1. Basic sequence: Passers become screeners and screeners become shooters. The initial pass will be to the screeners on the sides of the lane, but originating from the opposite side, as shown in diagr. 2. Timing is crucial in all half court sets. In this drill we emphasis timing awareness on a daily basis. The first shooter, shoulders square to the ball, will start the drill. As the shooter sets his man up with a jab step towards the basket, the passer steps with his left foot down the ball side shooter, keeping the ball outside his left knee. As the shooter changes direction and begins to accelerate up the lane, the passer swee- ps the ball low and fast across the floor, quickly get- ting his left leg across his body and transfers the ball to his right side maintaining a leg, arm, ball posture (diagr. 3). The screener gets wide utilizing the free-throw line and the area as guides. His chin is tucked on his left collarbone (basket side), to afford him the vision of the ball and his man: by Paul Coughter OFFENSE D.3 D.1 D.2 D.4 D.5a D.6 D.5c D.5b EV\Z*( FIBA EUROPE OFFENSE (angle: butt-to-ball). This affords the screener the opportunity to be part of the set rather than impersonating a piece of furniture and pre- vents us from playing four against five (diagr. 4). The pass should be delivered when the shooter is parallel to the screener. As the shooter approaches the screen, he slows down to avoid flying over the screen and to be able to see his defender (diagr. 5a). As he gets parallel, he brings his hands up to receive the pass and opens his right (inside) foot towards the base line, which will help square him to the basket. His momentum will carry him to the middle of the free-throw line without dribbling (diagr. 5b). The screener will release when the pass is in the air; maintaining ball vision, he makes himself available for a pass or rebound. The shooter takes his jump shot and is responsible for the ball. He pursues, make or miss, cleans the lane and passes the ball to the line that it came from; he will go to the end of whichever line that needs balance (diagr. 5c). The passer who started the drill will now continue the exercise by setting a screen on his side of the floor and we go from there. We set a team goal of made shots before moving on, say, five in a row (diagr. 6). After the basic sequence is understood we begin to emphasis the teaching points: footwork with and without the ball, mental preparation by the shooters, ball vision, man acceptance, etc. (diagr. 7). PRACTICALAPPLICATIONS In our half court man system we have a couple of catch-and-shoot sets; we play stack with 4 and 5 at an angle at the edge of the lane with their shoul- ders square to the basket (diagr. 8a). The posts main- tain ball vision, while 2 and 3 meet under the hoop (diagr. 8b), read their defenders, and decide which door to go out. This is our north-to-south quick- hitter and we also have an east-to-west, catch- and-shoot set that we call loop. Dribble entry is on either side; in this case, 1 dribbles left so 2 slides around behind 4; then accelerates across the lane going over the high side on a screen by 5 (diagr. 9a). As 2 crosses the lane looking to pick up his screen, 3 goes straight across the baseline coming off a lateral screen by 4 (diagr. 9b). PARTII PROGRESSING THE DRILL: SHOTFAKE We have to consider that we may not get a clean look when we receive the pass coming off the screen. We can then incorporate the shot fake into the same drill (diagr. 10a). The shooter brings the ball up into the delivery posi- tion, but keeps his body down, knees flexed; he then pulls the ball down and across his body on an angle, and, with the ball now outside his hip, dribbles once to the corner of the lane, keeping his leg and arm in front of the ball. We dribble to the spot vacated by the screener. Everything else in the drill remains the same. Once again, we set a team goal of made consecutive shots that has to be achieved before moving on (diagr. 10b). D.7 D.8a D.9b D.10a D.9a D.11a D.11b D.12a D.10b D.8b EV\Z*) PARTIII UTILIZING THE SCREEN: THREE WAYS These are three ways to accept the screen that we use in our shooting drill. It should be noted that this particular screen, is positional and passive. The responsibility for executing the screen properly falls to the potential shooter: 1) the first way to accept the screen is to run the defender into the screener. This is accomplished by setting the defender up and getting a good angle to approach the screen. We looked at this in Part I, and then, in Part II we added the shot fake technique. 2) The second way to accept the screen is to curl - it means to go around the screen-, when the defen- der follows the shooter over the screen. Teaching points: Our shooter finds his defender, makes shoulder-to-shoulder contact with the scree- ner and slides around him into the lane. The passer must learn to read this adjustment made by shooter and change his delivery by sweeping the ball to the other side of his body to create a clean passing angle (diagr. 11a). At the same time the screener should step back and open up to the ball making himself available for the jump shot at the corner of the lane (diagr. 11b). 3) The defender may choose to go under the screen, which brings us to the third way to accept the screen, which is the fade. Our shooter sees the defender going under the screen, so he stops at the parallel position and pushes himself back to the three-point line. Our passer, once again, must read the adjustment; he pulls the ball back and over his head and makes a skip pass-it means a pass from one side to the other side of the court (diagr. 12a). The screener will roll to the basket when the pass is in the air (diagr. 12b). We add defense by position, initially guarding just the passers, then defen- ding the shooters and screeners, and creating a live drill. Naturally, if you like this drill, modify it to suit your needs and make it your own. MULTIPLE SCREEN SET The set is initiated by a pass to either post (diagr. 13a). D.12b D.13b D.13c D.14a D.13a D.14b D.14c D.14d D.15a EV\Z** D.15d D.15e D.15c D.16a D.16b D.16c D.16d D.15f On the pass, 3 comes up ball side looking for the ball; 1 has down screened for 2 and 4 sets a pin down screen to complete the staggered double screen (diagr. 13b). 5 passes to 2, coming off the double and looking to shoot. 1 retreats while 3, 4, and 5 hit the boards (diagr. 13c). We also have continuity in case 2 doesnt get a clean look. 3 will go off a screen by 1, then pick up another late- ral baseline screen by 4 (diagr. 14a). As soon as 3 goes past the screen by 1, 1 will up screen for 5. If we pass to 3, then 5 has excellent rebound position (diagr. 14b). 2 has the chance of a lob pass to 5, if 3 isnt open, or he can swing the ball to 1 for an excellent 2 man post up opportunity between 1 and 5 (diagr. 14c and 14d). MULTIPLE SCREEN ON THE SIDE OF THE BALL 4 and 5 are on the corner of the lane to screen for 1. 3 sets a fake cross screen to help free 1, who goes hand up the lane off the staggered double (diagr. 15a). 3 will roll back to the ball, looking for a direct pass if he has a mismatch. Otherwise, we pass to 1 (diagr. 15b). On the catch by 1, 3 back picks 2s defender. 1 pas- ses to 3 for a possible three-poin shot (diagr. 15c). 1 goes off a ball side back pick by 5, and then 5 pivots and sets a double screen next to 4 for 1 (diagr. 15d). 2 may curl this double if his defender follows him (diagr. 15e). If 2 curls, then 1 will come up off a pin down stagge- red screen by 5 and 4 for a top of the lane jump shot (diagr. 15f). MULTIPLE SCREEN BASELINE OUT-OF-BOUNDS PLAY 1 takes it out, 5 fakes an up screen (diagr. 16a), then squares his shoulders to the lane; 4 fakes towards the screen, then changes direction and goes off 2s angle back pick (diagr. 16b). We look for 4; 2, if is not open, goes off a lateral screen by 5. We usually make this pass and look to shoot. 5 will continue into the lane to set another back pick for 3 (diagr. 16c). If 2 cant shoot, he will dribble up towards half court to get a passing angle for 1 coming off a staggered screen (diagr. 16d). CONCLUSION This has only been an introduction to half court man offense utilizing a teaching drill to create offensive building blocks and to hopefully instill positive habits. The majority of the screens in this article are passi- ve, screens where the responsibility to get open rests with the potential shooter. But there are acti- ve screens, ball screens and situational screens such as small-to-big or big-to-small screens. My intent in writing this technical article was to pro- voke discussion, encourage dialogue, and to prompt communication among my coaching col- leagues. If you wish to share your thoughts with me regarding any aspect of the article, you can contact me via e-mail at [email protected] D.15b FIBA EUROPE OFFENSE EV\Z*+ FIBA EUROPE Mike Katz, the assistant coach of the Canadian National Senior Team, is al- so head coach of the Humber College mens team. His teams have won five national college titles and he was se- lected the Canadian College Coach of the Year in 2003. At the 2002 World Basketball Cham- pionships held in Indianapolis, India- na, it was apparent that some national teams had finally caught up with the USA. Many reasons have been offered for this. Some, however said that the U.S. did not send their best players, or that they had not properly prepared for the tournament. What happened on t he court however, requi res cl ose scrutiny in order to assess how the ta- lent gap has been actually narrowed. Argentina played very well against the U.S. I believe that a large part of the success of the Argentinean national team was in their offensive schemes and the manner in which they executed their systems. This was a team that had no NBA players (unlike Spain and Yu- gosl avi a, who al so def eat ed Team USA), but nevertheless dominated their game against the USA in a manner un- like the other two. Their supposed les- ser talent was more than made up for by teamwork, intelligence, and execu- tion on the offensive end of the floor. Argentinas arsenal included a transi- tion and early offense phase, a five- man continuity segment, as well as plays that isolated post-up and peri- meter one-on-one advantages. It can- not be emphasized enough how effi- OFFENSE by Mike Katz OFFENSIVE BASKETBALL: AN ASSESSMENT EV\Z*, offensive player alignment of this im- portant secondary phase is the same as that of a patterned fast break, whi- ch allows for a seamless transition to this part of the overall offense. In es- sence, it becomes the link between the break and the half court attack. As an example, the Canadian team has enjoyed success in transition by pu- shing the ball down the sideline, almo- st to the baseline. If there is no quick scoring opportunity, it will reverse the ball to the trail post, initiating the of- fense and quickly taking advantage of the defense, which has still not set up properly. Other teams with an explosive point guard wi l l of t en execut e a qui ck screen on the ball around mid court or deeper along the sideline out of their fast break attack, which is very hard to defend against. The essential purpose of a continuity offense is to get the ball from side to si de (run as secondary or as a set pl ay), whi ch i nvari abl y i nvol ves i n- creased player movement. This can ciently they ran their offense. As one observer noted, they dont run their of- fense, they sprint it! By no means, I am mitigating the es- sential roles that individual or team defenses play in enhancing team suc- cess, nor the importance of individual and ongoing offensive skill develop- ment. What I am saying is that a conci- se, delineated offensive system can bring about much improvement. The purpose of an early offense is to get easy baskets in transition. Many teams spend a lot of time working on the fast break, but have nothi ng to flow into if the quick score does not occur. This critical phase is essential because the defense is still not in pla- ce, leaving them quite vulnerable to open shots or dribble penetration. The D.1 D.2 D.3 FIBA EUROPE OFFENSE EV\Z*- D.4 D.5 D.6 D.7 expl oi t defensi ve mi stakes for easy scores. At the FIBA World Champion- ships, we saw that it also created nu- merous foul calls against the defensive team. This is important because it al- lows you to run your side and end out- of-bounds plays, which tend to be less frequently scouted and are good sco- ring opportunities. Many international teams run a form of shuffl e acti on wi th up and basel i ne staggered screens as their continuity scheme. Argentina enjoyed great suc- cess with a form of flex offense, rejec- ting the basic pattern at opportune ti- mes for open shots. The benefit of set plays for quick ba- skets allows for certain players to get the ball where they can be most effec- tive. Post up situations or three-point shots are created from well-executed plays that are desi gned for thi s purpose. Pl ays t hat ut i l i zed bal l screens, U.C.L.A. action, and small to big cross screens were popul ar at t he FI BA World Championships. An offensive structure, which involves early continuity and quick shots allows a t eam t o shi f t t empos as desi red within a game. This keeps the defensive team off ba- lance. It will be interesting to see how offen- sive trends and patterns have shifted at the upcoming Olympic Games. The game of basketball is forever evol- ving and the international game has proven itself to be a trendsetter at all levels of basketball. The following are diagrams that ad- dress the early attack in transition and may be of some aid for those coaches looking to quickly move their team from a fast break attack into a secondary of- fense. EV\Z*. FIBA EUROPE OFFENSE FASTBREAK TO EARLY OFFENSE Legend 1 - point guard 2 and 3 - perimeters players 4 and 5 - posts BASIC FASTBREAK PATTERN 1 receives the outlet pass from 5 and looks down court to pass the ball to either 2 or 3. 4 runs in the middle lane of court, and in the middle of the three-se cond area, until he is under the basket (front rim). He looks for a direct pass from 1, 2, or 3 to make a quick score (diagr. 1). SECONDARY PHASE If 4 does not receive an early pass in transition, he moves over to the ball side in a low-post position. 3 moves to middle of the court to receive a pass from 2. 1 cuts in the three-second area to the front of the rim and runs out side to the corner, after he recei ves a down pick from 5 (diagr. 2 and 3). 1, with the ball on the wing, has a num- ber of options: a) A quick shot (diagr. 4); b) A side pick-and-roll with 5, while 4 cuts in the lane, and 3 and 2 move to open spaces, opposite of the ball (dia- gr. 5). c) A ski p pass from one si de of the court to the other, after 3 has received a flare screen from 4. This is a screen made while 3 is going away from the ball (diagr. 6). d) 1 could also play a high/low post op- tion. This entails a pass to the post or a pass from the high to low post with 4 and 5, or a pass to 5 in the low post, af- ter the flare pick of 4. PUSH OPTION 1 keeps the dribble alive on the sideli- ne, which is a signal for 2 to cut in the lane near the baseline. At the same ti- me, 3 comes to middle of the court to receive a pass and then make a pass to the weak side of the court (diagr. 6). 2 receives the reversal pass and his options remain as indicated earlier. (diagr. 7). This option was utilized by the Detroit Pistons in the recent NBA playoffs. Ri- chard Hamilton received the ball on the wing, setting him up for a variety of one-on-one opportunities. EV\Z+% HOWTO BUILD A WELL-BALANCED TEAM FIBA EUROPE Petar Skansi began his coaching career in 1973 with Yugoplastika Split, the winners of the Yugoslavian championship, Yugoslavian Cup, and the European Cup in 1977. In 1978, he became the assistant coach of the Yugoslavian National team. From 1980 to 1998, he coa- ched different teams in Italy, including Pesaro (Cup of Cups in 1983), Fabriano, Venice, Rome, Treviso (Italian Championship in 1992). As head coach of the Croatian National team, he won a silver medal at the 1992 Olympic Games. This past season, he coached Novo Mesto, Slovenia. He has been an advisor and lecturer of the FIBA Olympic Solidarity Program since 2000. The most difficult, as well as the most important job for a coach, comes when he has to build his team at the beginning of the season. Every time we begin to speak about a working program, we must focus on the star- ting point: the selection of players. Only those athletes who possess the highest levels of psychological and physical qualities and who can be directed to follow a systematic and well-planned pro- gram, can help a coach achieve his goals for the year. CONSTRUCTION OF THE TEAM Here is an overview of what physical and mental attri- butes you want to look for in your players. N.1 POINTGUARD (PLAYMAKER) It is not mandatory, but it is preferable to have a team leader in this role. Along with good ball-handling skills and good outside shooting, this player must also understand the team organization and team defense. This player will act as the coachs right hand man when he is on the floor. N.2 SHOOTING GUARD I expect this player to be the best defender. The team will work hard so he can get his shot, but he has to pay them back by working hard on defense. N.3 SMALL FORWARD This player has the same characteristics as the shoo- ting guard. In addition, he must be a good rebounder, an inside shooter, and be able to effectively guard the most dangerous opponents. N.4 POWER FORWARD This is your crucial player. This player must play aggres- sive defense like a smaller player, be able to make a by Petar Skansi OFFENSE EV\Z+& FIBA EUROPE OFFENSE high percentage of three-point shots, have a good insi- de game, and be an excellent passer. Ideally, this one player must possess all of these characteristics. N.5 BIG MAN, PIVOT This player is the hardest worker of them all. He lives under difficult conditions in the low post. He is your most important defensive player and the first rebounder. He opens up the transition and most likely touches the ball on offense less than the others. He must be able to have strong inside moves with his back to the basket. N.6 BACK-UPPOINTGUARD This player has a very sensitive role on the team. Sometimes he becomes more important than the star- ting point guard. He is the player who must change the rhythm of the game. It is better if he is not a copy of your starting point guard. He should be a specialist in some other area like zone offense, transition, or shooting. N.7 This player has similar characteristics as N.2 and N.3 (not necessarily a back-up, but he is a specialist). N.8 Back-up player to N.4 and N.5. He is a strong reboun- der, a good offensive player (for example: against zone defenses). In all probability, he needs to gain more game experience. N.9 AND N.10 These are the young players with promising futures. Outside or inside players - it does not matter. What does matter, however, is that they are attentive players who will work hard in practice. They need game expe- rience and the coach must give them the opportunity to play every time he can. They must be ready to take advantage of the opportunity. My basic philosophy is that a good team is the result/consequence of a teams unity. We have to work a lot on this aspect every day throughout the season. Problems in unity typically develop because each player has his own confessor (his agent, his father, friend, girlfriend, or a journalist) and each of these peo- ple wants their protg to be the star of the team. But this is not possible until the whole team becomes a star. The solution to this is the following: every sin- gle player has to play strong defense. We have to build the team every day in practice. Here are the daily goals and how to achieve them: 1. Never let others work with the team. 2. Nobody is perfect! Have you ever seen a game or a player without mistakes? 3. The player needs encouragement when he makes a mistake. 4. You must care about the last player on the bench the same way as you do about your team star. 5. Dont ever change your attitude because of a players mistake. 6. It is enough if the players give their best EV\Z+' 4. Giving credit to the players who do small, but equally important things. 5. A good pass must always be recognized. Show the passer that you have appreciated the pass by putting your thumb up. 6. Letting the players show you when they are tired. Do not let the opponents notice this. 7. Make the players play defense with the same intensity as offense. 8. A good action has to be recognized by every member of the team. Players have to congratulate each other. 9. After the game, point out the qualities of the opponent to your players. It is bad to underestimate the opponents. 10. Be sure that your players know why they have to sprint! They have to do it because of pride! They sprint because they want to be better than the others. Sprints help them to build team unity. 11. Never allow a team member to become discouraged or depressed. 12. Every player has to have the feeling of belonging to a team. 13. Coaches, this is your team. You provide the rules and you make the team respect them. Do not turn players against you with hysteria, either in practice sessions or games. 14. Once you punish a player for discretion, its over! Dont bring it up again. 15. Young men want discipline. All of this helps them to build their own self-discipline. 16. Give young men another chance. How to get your ideas and concepts across to the players: 1. Let the player know that he is not on the floor just for shooting by changes in the line-up you make during the game. 2. We have to correct players, not criticize them. When you correct, also remind them of the good things they are doing. 3. Dont disturb them during the game or during practice. 4. You must always encourage them. This will help make them mentally stronger. 5. Positive thinking is extremely important. 6. It is not necessary that you always start the game with your best players. The opponents prepare their game against your best men. By not starting with your best, you will distract the opponent while giving your team a mental boost. When you do put in your best players, it will increase the intensity of play. 7. Always have a back-up player ready if you want to make a change. Recognize each player who comes out of the game with a pat on the back or a word of encouragement. 8. It is to think about your fans. Try to make them happy: how do you do this? 9. A young player is better than a tired star (at least, for a couple of minutes). Be sure that the players know when they can play. 10. It is clear that we need more than five effort. What more can you expect? 7. The respect of every single player is of fundamental importance. 8. We demand tolerance, but we do not try to satisfy players in every way and we do not beg them to do what is necessary. 9. We all know that our long-term unity depends on winning. What else is important? 1. To build and to nourish respect between the coach and players. 2. A coach must always stress the players qualities. 3. Back-up players must always stand up and encourage the teammate who comes off the floor. EV\Z+( players on a team. Players think primarily about scoring, but we must also appreciate other skills. We must encourage good passing and help on defense. 11. Never make the mistake of underestimating your players, the opposing players, or the coach. 12. Always speak to the opposing coach after the game. 13. Use the best performances of your players. Sometimes we win even if we dont play good basketball. 14. Always insist on pride. My philosophy of coaching basketball is wrapped up in the following attributes. In my opinion, coa- ches should take them into consideration during the ongoing selection of the players at the beginning of the season: The major character attributes: Ambition Bravery Discipline Intelligence The major physical attributes: Height Speed Power These physical attributes dont necessarily need to be combined in one person, yet it is clear that a person who is neither tall nor fast does not have the neces- sary requirements to be a good basketball player. Power, as an essential component of modern basket- ball, can be developed through hard work in the wei- ght-training room. FIBA EUROPE OFFENSE EV\Z+) FIBA EUROPE Phil Melillo became head coach of the A2 team of Forl, Italy, in 1994, where he won the championship. He then coached Vero- na, in A1, and won the Italian Supercup. He also seated on the bench of the teams of Siena, Roseto (where he won another championship in A2) in two different pe- riods, Udine, and, since last season, he has been the head coach of Scavolini Pesaro. When the shot clock is running out and we are running set plays I feel it is very important to have all the players touching the ball and moving without the ball, making the defense work harder. If the players are having a difficult time finding a way to score, they can run this set play: 2 goes out to the wing using the screen set by 5, 3 goes to the opposite wing posi- tion, 1 then passes to 2 (diagr. 1 and 2). 1 uses the screen set by 4 and then goes to the corner. 4, after the screen, gets open by going wide and receives the ball from 2 (diagr. 3). 3 moves to the opposite corner. 4 passes the ball to 1, who has just moved from the corner up to the wing position (diagr. 4). 4 sets up a pick-and-roll with 1. 1 uses the screen to drive to the basket or can pass to 5, who is cutting to the basket, if the drive can not occur (diagr. 5). After the screen has been set, 4 can either establish himself low or move out to the three-point line. On the other hand, if it is 5 setting up the pick-and-roll with 1, 5 then moves into the low post and 4 must move out to the three-point line (diagr. 6). Lets now have a look at the options we have in the development of this play. FIRST OPTION: BALL TO 5 IN THE LOWPOST 2 goes to pick for 4, while, on the other side, 3 cuts and exchanges his position OFFENSE by Phil Melillo Plays To Run as the Shot Clock Expires EV\Z+* with 1. The aim is to keep the defense busy, not allowing the defenders to rest. This gives 5 the chance to play one-on- one and avoid drawing the double team (diagr. 7). SECOND OPTION: 5 KICKS THE BALL OUT First opportunity 5 passes the ball from the low post to 4. If 4 can not shoot, he passes the ball to 2, who is at the top of the key, or who can pass to 1, who is coming off a staggered screen set by 5 and 4 (diagr. 8). Second opportunity If 5 can not receive the ball, 2 passes the ball to 4, who is now looking for to play with 5 in the post (diagr. 9). D.1 D.2 D.3 D.4 FIBA EUROPE OFFENSE EV\Z++ THIRD OPTION: SWING First opportunity 3 makes a back door cut, while 1 is trying to get open at the wing (diagr. 10). Second opportunity Now 1 has several options: 1 can shoot, he can drive or play one-on-one in the area left open from the backdoor cut of 3 (diagr. 11). Third opportunity with 3 in the post After the back door, 3 takes position in the low post. If he receives the ball from 1, 1 goes and picks for 4 and then replaces 4s position (diagr. 12). If it is 5 instead of 4 at the top of the key, 1 does not pick for 4, but establishes his own position on the wing, allowing 5 to set a screen for 2 on the weak side (diagram 13). D.5 D.6 D.7 D.8 D.10 D.11 D.9 EV\Z+, FIBA EUROPE OFFENSE D.13 D.14 D.15 FOURTH OPTION: PICK-AND-ROLL 4, after he has swung the ball to the weak si- de, sets a screen for 1, and breaks free. If he is not open, he can continue out to the three- point line or cut to the basket. Meanwhile, 5 moves out to the three-point line (diagr. 14). Now, with their roles exchanged, 5, after the pick of the player with the ball, cuts towards the basket and 4, starting from the low post, goes out to the three-point line (diagr. 15). This play allows me to have: Players in constant movement; The ball moving from side to side; All players touching the ball, which is the most important thing, because it makes the defenses job harder and al- lows for the best scoring opportunity. D.12 EV\Z+- FIBA EUROPE OFFENSE THE ATTACK OF THE detroit pistons Larry Brown is the current head coach of the 2004 NBA Champions Detroit Pistons and USA Mens Olympic Basketball team. A 2002 inductee to the Basketball Hall of Fame, Brown is the only U.S. male to play and coach in the Olympics. He is also the only coach to win both a NCAA and NBA title. Included among the teams he has coached are the UCLA Bruins, Kansas Jayhawks, San Antonio Spurs, Indiana Pacers, and the Philadelphia 76ers. After playing and coaching for more than thirty years, Larry Brown is widely conside- red one of the premier teachers of the game. In an exclusive interview we received the technical opinion on the NBA Champions Detroit Pistons by for- mer legendary coach Chuck Daly. Not only he was the coach of the first, uncomparable Dream Team that won the gold medal in the 1992 Barcelona Olympics, but Daly also won two consecu- tive NBA Championships with the Pistons in 1989 and 1990. This team reminds me a lot of the one winning two titles many years ago. Its dj vu. Just like the 1989 and 1990 teams, the basis is a strong defense inclu- ding two great rebounders and shot blockers. These roles were filled by Ben and Rasheed Wallace who can be compared to Salley and Rodman. The transistion game starting on the defensive end ultimately led to easy fast break points. The great pre- cision in executing offensive set plays and giving Hamilton several options were major factors for the success and equal distribution of points. All five starters for the Pistons scored in double digits in comparison to just two on the Lakers, ONeal and Bryant. Another advantage of the Pistons was the capitalization of each time out, where they scored almost immediately after each one. Talking about players individually, I want to underline the impact Ben Wallace had. His defensive presence was most noted, but his effectiveness on the offensive end was an unexpected asset. He was able to score using tap-ins and other methods to help the Pistons in troubled times throughout the EV\Z+. FIBA EUROPE OFFENSE D.2 D.1 D.4 D.5 D.3 D.7 D.6 D.11 D.9 D.10 D.8 EV\Z,% series. The main factor, however, was Chauncey Billups and his ability to increase his points per game average from the regular season, while also being an effective playmaker at the point guard position. We cant forget the defensive impact made by Prince, the only player to significantly slow down Kobe Bryant due to his height m 2.06 and wingspan, allowing him to play taller and follow Bryant in his movements. Thus, Larry Brown won using the basket- ball tools from the past : defense, fundamentals, offen- sive transition, perfect execution of set plays and the fact that all the Pistons were team players. THE 2003-2004 PISTONS ROSTER Chauncey Billups Playmaker m. 1.91 Lindsay Hunter Playmaker m. 1.88 Richard Hamilton Guard/Forward m. 2.01 Corliss Williamson Forward m. 2.01 Tayshaun Prince Forward m. 2.06 Rasheed Wallace Forward m. 2.13 Mehmet Okur Forward m. 2.11 Ben Wallace Center m. 2.06 Elden Campbell Center m. 2.13 = Starting Five Players CROSS FIST The beginning position has three perimeter and two low post players, placed in a stack. 1 (Billups) passes to one of the forwards, 2 (Hamilton), in this case, then cuts to the paint while 3 ( Prince) takes 1s place. 1 picks for 4 (Ben Wallace), then 4 cuts to the paint to receive the ball. If he does not receive it, he goes to play pick-and-roll with 2, while 1 comes out of the paint and goes to the corner (diagr. 1 and 2). Another solution: 1 cuts and goes to pick for 5 (Rasheed Wallace), after having passed to 2, 5 then cuts in the paint and sets up in the low post to get a pass from 2 and to play one-on-one. After the pass, 2 moves up or down on the three-point line for a pass from 5, if the defender of 2 traps on 5 (diagr. 3). CHEST 1 dribbles in the central lane, 4 is in mid post, 2 is in high post, 3 and 5 are positioned in a stack on the other side of the court. 2 cuts around the stack of 3 and 5. When 2 has cut to the paint, 3 cuts and then goes to the wing. 1 can pass to 2 or 3 near the basket or on the wing (diagr. 4). If 3 receives the ball, he can shoot or pass to 5 in high post. If these listed solutions do not occur, 2 keeps cutting, gets a pick by 4 on the baseline, goes to the wing and receives a pass from 1. If he cannot shoot or pass to 4 in the low post, 4 leaves the paint and plays pick-and-roll with 2 (diagr. 5). Another solution: If 2 is not open after the baseline pick of 4, 1 passes the ball to 3, 5 goes out and sets a side block to play a pick-and- roll with 3 (diagr. 6). FIST 1 dribbles along the midfield lane, 4 and 5 are placed at the elbows of the key, while 2 and 3 are in the low post. 1 dribbles to the left. 4 then sets a pick for 5, who goes EV\Z,& out to the wing. After the pick for 5, 4 keeps on cutting and makes a stack with 3. 2 then cuts and goes out of the stack, going to the wing (diagr. 7). 5 plays a pick-and-roll with 1 (diagr. 8) who dribbles toward the other side of the court and passes to 2 who has come out of the stack (diagr. 9). As it is shown in the previous diagram, after the stack, 2 goes to the corner, 3 goes to the wing and 4 goes to the low post. GET It is a set play intended to allow equal shots by Hamilton and Prince. 1 dribbles along the right side of the court, while 2, 4, 3 and 5 assemble a low stack near the basket. When 1 is on that side, 2 goes out using the pick set by 5 and rises up to the key to receive, and shoot or to pass to 5, who should get open (diagr. 10). If 2 cant shoot or pass to 5, 4 sets a pick for 3, who first goes out to the wing and then keeps on cutting to the basket. After having picked, 4 rises up immediately and receives pass from 1 and now he can pass to 3 (diagr. 11). The factor we have to underline is that in all the Pistons set plays a great attention was paid to balan- cing, thus allowing a fast defensive transition. FIBA EUROPE OFFENSE EV\Z,' FIBA EUROPE Ruben Magnano won the FIBA South America and Pan-American Champion- ships with the Argentinean Under-21 National team in 2000. In 2001, at the helm of Senior National Mens team, he won the FIBA South American, FIBA Tournament of the Americas and a silver medal at the Goodwill Games. In 2002, he won the silver medal at the FIBA World Championship, and this year the gold medal at the Olym- pic Games in Athens. With the Atenas Cor- dobas club, he won three Argentinean ti- tles, two South American, one Pan-Ameri- can, and two South American League Championships. FASTBREAK NEW 5 makes the out-of-bounda pass to 1, who dribbles the ball on the lateral lane, and stops at the three-point line. 4 runs in the middle of the court and goes to the low-post position on the ball side, 2 and 3 sprints near the sidelines, and 5 sprints to the basket in the center lane, and stops outside of the three-point line (diagr. 1). 2, the wing on the ball side, cuts in the la- ne, receives a screen from 3, and comes out of the three-point line. 5 screens for 1, and 1 dribbles towards 2. After the pick for 2, 3 picks for 4, who cuts in the lane to receive the ball from 1. After the screen for 1, 5 screens down for 3 (screen the screener). 1 can pass to 2, 4, 3 or to 5, who opens up to the ball after the screen (diagr. 2). FASTBREAK CIRCLE 5 passes to 1 and enters on the court as a safety man, while 2 and 3 sprint near the sidelines towards the offensive basket. 4 sprints in the middle of the court, acting as a trailer (diagr. 3). 1 runs the fastbreak, while the other four players sprint to reach their respective positions. 2 and 3 stop at the three-point line (diagr. 4). 1 passes to 2 on the wing, while 4, the trailer, goes to the low-post position on the ball side, and 5 to the high post (diagr. 5). 3 OFFENSE by Ruben Magnano THE ARGENTINA OFFENSE EV\Z,( comes in the middle of the court to receive the ball from 2 and 1 cuts in the lane and re- places 2 on the wing (diagr. 6). 3 plays pick-and-roll with 5, 4 goes to the high post position, and 1 and 3 go in the corner (diagr. 7). 2 passes to 4, who can pass directly to 5 in the lane, or pass to 3. 3 can pass to 5, who cuts to the ball (diagr. 8). A MAN-TO-MAN PLAY The initial set is a 1-2-2 formation, with one point guard in the middle of the court, two high posts, and two wings in the corners. 1 passes to 4, follows the pass, and receives a pass back from 4. Right after the pass, 4 receives a blind pick from 5 and goes out- side, while 5 rolls to the basket. If he does not receive the ball, he goes on the low- post position (diagr. 9). 1 passes the ball to 4. 4 passes directly to 5 in the low post or to 3. 3 passes to 5 (diagr. 10). If 4 cannot pass to 3 or 5, 1 follows the pass, receives a pass back from 4, pene- trates, and makes a kick pass to 2, or to 5, who cuts in the lane, or to 4 who went in the opposite direction of the penetration of 1. 1 and 4 can also play a pick-and-roll (diagr. 11). A MAN-TO-MAN AND A MATCH-UP OFFENSE: ZERO The set is a 1-2-2, with the point guard in the midddle of the court, the two posts at the corner of the free-throw lane, and the wings in low-post positions. 1 receives a screen from 5, who, after the screen, goes on the high-post position and then dribbles towards the wing. 4 receives a bl i nd, di agonal screen (staggered screen), first from 3, and then from 2. Af- ter the screen, 3 goes outside the three- point line (diagr. 12). 2 comes high, receives a screen from 5, and cuts outside the three-point-line to receive the ball from 1. After the screen, 5 goes outside the lane. 1 and 2 go down in the corners (diagr. 13). 5 screens for 2 and then rolls to the ba- sket. 2 dribbles to the right and then pas- D.1 D.2 D.3 D.4 FIBA EUROPE OFFENSE EV\Z,) ses immediately to 4, who comes in the middle of the court to receive the pass and make a reversal pass to 1, who co- mes towards the ball (diagr. 14). ZONE OFFENSE I will list the general principles, which serve as the basis of the our offense versus the zone: 1. Attack the weak sides of the zone with and without the ball. 2. Respect the spacing between the of- fensive players. 3. Use the dribble only to divide the zo- ne, to improve the angle of passing, or for creating proper spacing. 4. Do not face a defensive player. 5. Utilize the skip pass for attacking the defense from behind. OFFENSE VERSUS THE ODD ZONE: 12 The starting set is a 2-3. 1 passes to 2, while 5 cuts along the baseline, and re- ceives a pass from 2. 4 picks for 5, 3 co- mes high at the corner of the free-throw line, and 1 and 2 move away from the ball (diagr. 15). If 2 cannot shoot, he passes the ball to 5, who comes out of the lane. 4 goes D.5 D.6 D.8 D.13 D.7 D.12 D.9 D.9 D.10 D.15 D.14 down (diagr. 16). 5 passes to 1 and then goes on the opposite direction, while 4 goes on the low-post position on the ball side, 5 goes to the high-post position, and 4 starts to cut along the baseline (diagr. 17). 1 dribbles towards the mid-court, 3 cuts in the corner and receives a pick from 4. Its very important that 3 coordinates his movement with the movement of 1. 5 goes to the D.11 D.16 EV\Z,* FIBA EUROPE OFFENSE D.18 D.19 D.20 D.21 D.22 D.23 D.24 D.25 D.26 D.27 corner of the lane, while 2 is moving away from the ball (diagr. 18). OFFENSE VERSUS THE EVEN ZONE: 23 The initial set is a 1-4, with the point guard in the middle of the court, the two wings and two posts at the corners of the free-throw la- ne. 1 passes the ball to one of the wings (2 in this case). After the pass to 2, 4 goes low and 5 cuts in the lane and goes outside in the cor- ner on the ball side (diagr. 19). 2 can pass to 5 in the corner or back to 1. Af- ter the pass, 2 cuts in the lane and goes in the other wing position. 3 comes high and receives the ball from 1 (diagr. 20). If 5 receives the ball, he passes to 1, 1 to 3, who comes in the middle of the court, and 3 to 2. When 2 gets the ball, 5 can choose to cut high or cut low, and 4, based on the di- rection of the 5s cut, goes in the opposite direction (diagr. 21). An option: 3 gives the ball back to 1, and then goes in the opposite direction. On this pass, 2 can cut in order to go back to his ori- ginal position, and 5 and 4 screen the two defenders on the ball side. 2 comes out in the corner and receives the ball from 1 (dia- gr. 22). SIDELINE-OUT OF BOUNDS: THUMB The players are set in a box formation, with the point guard 1 in the low post to the ball si de, and the post 5 opposi te to hi m. 4 screens for 1 and 5 screens for 2. 1 goes hi- gh and receives the ball from 3 (diagr. 23). 1 receives a screen from 5, and dribbles to the other side of the court, while 5 rolls to the basket. 1 can pass to 5 or to 2. After the screen, 4 comes high (diagr. 24). BASELINE OUT-OF-BOUNDS 2 has the ball for the out-of-bound pass, 3 picks for 1, who goes in the corner. At the same time, 5 screens for 3 (screen the screener). 2 can choose to pass to 1, 3, or 5 (diagr. 25). If 1 receives the ball, 4 goes outside of the free-throw lane, and receives a pass from him, while 3 continues his cut and goes out of the three-point line (diagr. 26). After the out-of-bounds pass, 2 enters the court and screens for 5, who goes towards the ball. Right after the screen of 2 for 5, 4 makes a vertical screen (screen the scree- ner) for 2. 3 can pass inside to 5, or to 2 for a jump shot (diagr. 27). D.17 EV\Z,+ FIBA EUROPE by Dirk Bauermann OFFENSE OFFENSIVE CONCEPTS AND PRINCIPLES Dirk Bauermann, a former assistant coach at Fresno State University (U.S.), was the head coach of Bayer Leverkusen, where he guided his teams to six German titles and three German Cups. He also coached the German National team from 1994 to 1998. In addition, Bauermann also coached Sunair Ostende (Belgium) and Apollon Patras (Greece). He presently is the head coach of Bamberg (Germany) and the German Mens National team. The following article describes some of the basic offensive concepts that I have used against man- to-man defenses in the last couple of years. Both the club team that I am currently coaching, and the German National team play according to these concepts. As coaches, we must constantly adjust our offensi- ve strategies to the players at hand. We also have to constantly incorporate new ideas into our philo- sophy. Nonetheless, we all have certain beliefs and convictions that create the very substance of our coaching philosophy. I will outline some of my basic offensive tactics, principles, and concepts. 1. CREATE OFFENSE WITH DEFENSE I have always believed that an aggressive, physical man-to-man defense is the most important building block of a teams success. Ideally, we would like to generate at least one-third of our points from our defense. 2. BALANCED SCORING Currently, where statistics have become a major selling point for agents, every player wants good statistics to back up his efforts. If the system provi- des scoring opportunities for everybody, the player will have much greater motivation to defend, rebound, and do the dirty work. Also, in a balanced attack with a lot of weapons, defensive preparation is much more difficult because one cannot con- centrate on stopping the two star players. Am I a friend of equal opportunity offense? No. Roles have to be clearly defined and not everybody gets the same amount of shots. I would much rather have six players score in double figures than two score over thirty. Why? Because we will be a better offensive team that way. 3. PREPAREDNESS Bobby Knight once said that it is not just the will to win, EV\Z,, FIBA EUROPE OFFENSE D.2 D.1 D.4 D.5 D.3 D.7 D.6 D.11 D.9 D.10 D.8 but, also, the will to prepare to win that makes a team successful. He said it more in the context of game preparation, but there is no doubt in my mind that we must prepare our teams for every concei- vable eventuality and situation. I want them prepa- red for anything that our opponent might throw at us. I also want them to know precisely what to do at critical points in the game (e.g., end of quarter situations, special situations, and end of game situations). That is why we work on these types of situations for at least five minutes at the end of every practice. This kind of preparedness will help you win becau- EV\Z,- se your players know what to do and it will develop the kind of confidence that you need to win your close games. 4. GAME TEMPO Ive always felt that a nice balance of transition and half-court basketball is most conducive to winning. Players need to able to get out in the open court and enjoy the freedom and creativity that the run- ning game provides. Also, the transition game ena- bles you to score easy baskets, which is the main objective of offensive basketball in the first place. On the other hand, good teams will minimize your fast break opportunities with good shot selection, intelligent decision making, good defensive balan- ce, and great transition defense. Thus, a teams ability to function in the half-court game, to take care of the basketball, to properly execute its plays under pressure, and to make smart decisions with the basketball defines its degree of success to a great extent, especially in the play-offs. 5. OFFENSIVE STRUCTURE a. After a defensive rebound, we try to score within the first six seconds of the shot clock. We want the ball in our point guards hands as quickly as possi- ble. If another player comes up with a defensive rebound and he has the ability to push the ball up the court, we encourage him to do so as a way to eliminate the outlet pass. We want the ball in the middle of the floor and we want them to pitch the ball ahead to open receivers. We want our wing- men to sprint, rather than run, and we want them to slow down just before they approach the scoring area. In my estimation, it is vital that the players look for and find open teammates. If they do not, wings and big men will stop running. We want our non-rebounding big man to run right at the rim and we send our rebounding big man right to the weak- side elbow area (diagr. 1). If the defense is still scrambling to get back, we try to score quickly out of this box alignment with quick pick-rolls, post- ups, or skips (diagr. 2, 3, 4, 5, 6). All these are sim- ple yet effective ways of creating 2-on-2 situations out of transition. If the defense has gotten back on us and there is no more conceivable advantage, we get the ball to our point guard, change the rhythm, and run a set play. b. After a steal, we obviously try to score quickly. We only encourage our players not to be in a hurry and make good decisions with the basketball. c. After a made field goal by our opponent, we want one of our big men to inbound the ball as quickly as possible to our point guard. If we can surprise and score quickly, great. If not, we will run into a pre-set offensive alignment that looks like a diamond and then run different options out of that particular set, depending on the point guards call. 6. OFFENSIVE CONCEPTS These are basic guidelines for our players that give them an idea of how we want the game to be played. D.13 D.12 D.15 D.16 D.14 D.18 D.17 D.20 D.19 EV\Z,. a. The main objective of offensive basketball is to create a shot for a teammate, not for yourself. b. Play off the pass rather than the dribble. c. Play with a purpose. d. Get the ball inside on a consistent basis - play inside-out. e. Do not be content shooting jump shots - attack the rim-get fouled, score on the free throw line. f. Play within yourself - KISS (Keep-It-Simple- Stupid). g. Spacing and balance h. Play with poise and savvy at all times-dont be in a hurry. i. Have faith in each other-share the ball and make the extra pass. 7. OFFENSIVE AUTOMATICS As I have mentioned earlier, we run various plays. Most of them are continuity plays, where we basi- cally go from one option to the next. The players know their looks and options. We usually try to reverse the basketball once before we actually look to score. We try to get the ball inside first, then settle for a jump shot, or else go to a pick-roll of some sort. But regardless of what plays one runs, the same situations occur. With what we call automatics we try to give our players some basic rules as to how to react and what to expect from their teammates in these types of situations. Here are some examples of our automatics: a. Baseline drive - baseline drift (diagr.7) When a player drives baseline, the wing player on the weak side of the floor must move/drift to the corner in order to get open for a shot. b. Overplay on wing: - open post situation: backdoor (diagr. 8) - post down low: pinch post action (diagr. 9). b. Wing drives baseline - big man pulls out to elbow (diagr. 10). c. Wing drives middle - post drifts to soft spot (diagr. 11). d. Pick-and-roll with 5, 4 up to junction (diagr. 12). e. Pick-and-pop with 4, 5 ducks in and attacks dot- ted line (diagr. 13). f. Post feed: Passer runs elbow or baseline cut, others replace (diagr. 14) or screens and dives (diagr. 15) depending on what the defense does. We also have rules against post and pick-roll traps, but I unfortunately cant cover them in detail in this short article. 8. EARLY OFFENSE As I have mentioned earlier, we run into a pre-set play after made baskets by our opponent. Our point guard pushes the ball up the right sideline and each player runs to a pre-designed starting spot on the floor (diagr. 16). As our point guard approaches mid-court, he calls a particular play that we run out of this diamond set. A specific play is indicated by the numbers 1 through 5. Now I will outline our 5 and 3 play to give an exam- ple of the type of ball- and player-movement we like. FIBA EUROPE OFFENSE The 5-play (diagr. 17, 18, and 19) is designed to get the ball inside to our center. Note that we always try to reverse the basketball once before we look to score. Not every option and counter will be shown in detail. The 3-play (diagr. 20, 21, 22, and 23) is a version of the shuffle play run by many teams. In this particular play, we try to get a shot for our small forward by playing him inside-outside. 9. SET PLAYS Most of our set plays are continuity plays. We rarely run isolation plays or quick hitters, even though we realize that they are sometimes neces- sary in order to get a good quick shot, such as when it takes you too long to get into your offense or if you have to go quick because youre behind late in the game. Sometimes you also might want to foul a certain player out of the game and run an isolation play against him. Again, we strongly believe in the value of patience and quick, precise ball- and player- movement and our play selection reflects this con- cept. As an example (diagr.24, 25, 26, and 27), here are plays that show our shorts play. D.22 D.23 D.21 D.26 D.27 D.24 D.25 EV\Z-% FIBA EUROPE Vicente Rodriguez is the head coach of the Spanish Women's National Team. His teams won two bronze medals at the 2001 and 2003 FIBA European Championships. He coached the Celta Simen club team to the Spanish ti- tle in 1999. In this article, I would like to illustrate the basic movement concepts a team has to follow when one of its players has decided to score by at- tacking the basket. Starting from three positions (central, lateral, and low post), I am going to analyze the offense circulation in order to make it easier to score, which is the goal of every offense. It is neces- sary to keep some basic concepts in mind: Players have to move to a clear space. Players have to make more than one offense option possible through their moves. The offensive player has to move depending on the defender's reaction: a. He can make a back-door cut. b. He can cut in front of the defender from the top. c. He can make himself open (which is the pri- mary target of the offense). If the player with the ball realizes that his de- fender doesn't stand on a direct line between himself and the basket, he always has make a hard attack on the basket. ONE-ON-ONE MOVES FROM A CENTRALPOSITION If the player with the ball starts to drive towards the basket with the primary aim to score, the re- st of the team has to facilitate this move. In order to do this, some basic rules have to be stated: The forward on the same side on which 1 starts to drive, 2, in this case, runs towards the baseline to create space for 1. This will improve the passing angle for receiving a possible pass from 1. 4 and 5 drop to the baseline, when 1 starts to make the first dribble. OFFENSE by Vicente Rodriguez OFFENSIVE CONCEPTS FROM ONE-ON-ONE EV\Z-& FIBA EUROPE OFFENSE D.1 D.3 D.2 D.4 EV\Z-' The other forward, 3, who has just started to run towards the baseline when 1 deci- des on which side he will go, runs to the top of the key so he can create the proper spa- ce, and can also be a safety man on defen- se (diagr. 1). The defense can react in several ways to this starting movement, so we are going to move depending on which defender is coming to help from the weak side on the dribble penetra- tion of 1. Therefore, there are two possibilities, because X5 or X2, have come up to help on the opposite side of 1's drive. a. First possibility: X5 helps. If it is the post's defender, X5, who comes up to stop 1's dri- ve, 5 can screen on X4, or he can take a good position to receive a pass from 1. Or, he can set a screen on X2, who is recove- ring. 4 goes outside in order to be in a good position for a medium-range shot. In this way, we create two passing lines for 1: an inside pass to 5 and, at the same time, an outside pass to 4 (diagr. 2). b. Second possibility: X2 helps. If X2 goes to help X1 on 1's drive, 5 will rise to stop X2 to make him unable to recover in a straight li- ne towards his offensive player, in case 1 decides to pass laterally to 2, outside of the three-point line (diagr. 3). If 2 receives the ball after the screen of 5 on X2, he can have enough time to shoot, or he can D.7 D.6 D.5 D.9 D.8 EV\Z-( FIBA EUROPE OFFENSE D.10 D.11 D.12 now force X5 to sag off his position to cover the outside shot. In this case, 5 can easily go to the low post position, receive the ball from the team- mate, and get an easy basket (diagr. 4). ONE-ON-ONE MOVES FROM LATERALPOSITION Here is an analysis of the cross drive towards the basket, from the lateral forward position. On a cross drive, the primary goal is to gain a central lane position to achieve as many play's options as we can for scoring. There are several moves to be made, depending on the rotation of the de- fense: After 1 has started to drive, two different de- fensive helps can come to stop him and this can lead to different reactions by the offense. If the help is made by X2, it is the post 4, who will go to set a screen on X2, to help 2 to re- ceive the ball (diagr. 5). If it is X4 who comes up to stop the drive, 4 will a take position in the lane, or he can go behind X2 to stop his recovery (diagr. 6). In addition to these two possibilities, there is a third one: when the other offensive forward is on the same side as the drive. If 3 is in the corner on the drive side, 3 has to clear the area, so he quickly changes sides with a ba- seline cut (diagr. 7). ONE-ON-ONE MOVES FROM THE LOWPOST If we decide to attack the basket from the low po- st, the premises for our offensive players are dif- ferent from the ones in the previous situations. First, we have to pass the ball to 5 to let him play one-on-one. Beginning from the designated posi- tions, we can then pass the ball to 5 (diagr. 8). Once 5 has the ball, he will always play one-on- one if his defender is not helped by any of his teammates. It is important to be patient playing one-on-one, and never hurry. The other offensive players will keep their defenders busy, by going behind them with backdoor cuts, or other moves. X2 HELPS Here are the different options: a. If 4 isn't a good shooter, then 2 will cut behind X2. At the same time, he can surprise his de- fender with a sudden cut beyond 5. 1 and 3 will move depending on their defender's mo- ves and on 2's moves. 4 runs to the baseline, below X4, eventually (diagr. 9). b. If 4 is a good shooter, then 2 goes towards the baseline. 4 comes up in center of the lane, stopping on the free-throw line, or on the th- ree-point line, as well. 1 and 3 go outside wi- de to create space for 4's move (diagr. 10). X1 HELPS Here are the different options: a. Both the offensive players on the side, 2 and 3, go to the corners and 1 will try to overtake X1 (diagr. 11). b. If 4 is a good shooter, he goes to the central lane towards the three-point line, or stops before. 2 and 3, positioned on the two sides, go to the corners, while 1 takes a cross posi- tion (diagr. 12). X4 HELPS a. If X5 gets X4's help, both on low post in this case, they move depending on 4's shooting ability (diagr. 13). If 4 is a bad shooter, he kee- ps taking the low post and breaks X3's line, so that he can't recover backwards; on the other side, if X3 can take his position, then 4 screens to allow 5 to make a lob pass to 3, af- ter a back step, changing the play's side. At the same time, 1 follows the whole move- ment, going to the middle of the court. b. If 4 is a good shooter, he comes up in the center of the court towards the three-point line, depending on his shooting ability, while the other players, 1, 2 and 3 will move, all de- pending on their defender's positions to clear spaces (diagr. 14). CONCLUSIONS Every movement that can be completed fol- lowing the concepts described in this article has to be executed according to these principles: The players have to clear spaces so the help side defenders should be apart from each other, thus making recoveries difficult be- cause of space and time. It is important to move when the ball does. It is important to stay on the defensive reco- very lines. By doing this, we will gain many advantages over the defense when going for offensive rebounds. Always remember that the best offensive action is the one that surprises the defender. Always remember to follow the drives on the weak side, which will make it possible for one more pass option. It is important that every offensive player is able to read two or three play options. When these principles are followed, we can use every set play we want. D.13 D.14 EV\Z-) FIBA EUROPE by Neven Spahija OFFENSE Neven Spahija coached Cibona Zagreb (Croatia), Krka Novo Mesto (Slovenia), Saratov (Russia), and now Roseto (Italy). He was coach of the Croatian Under 22 national team, which won a silver medal at the FIBA U22 World Championship in Japan. He cur- rently is head coach of the Croatian National mens team. His Cibona team won two Croatian club titles, while Krka Novo Mesto won one Slovenian league title. Modern basketball cannot be seriously analy- zed without paying special attention to the transition offense. Every coach, at least during one part of his daily practice, covers the fast break, transition offense or quick-hitters offense. All these words symbolize one com- mon goal that every modern and successful team is trying to achieve: scoring as many easy points as possible during the game. There is one very important technical aspect that puts even more importance on the transi- tion offense, and that is the new 24-second shot clock. When this rule was first adopted, the time for offense decreased by six seconds, which gave the defense a greater chance to succeed. Teams that put a lot of emphasis on transition defense have become a real threat to the opponents that depended exclusively on a set offense. Therefore, the importance of quality and effective transition offense started to play a crucial role in modern basketball. The coa- ches now put countless hours in practicing this transition offense, and this phase of the game. This phase occurs when the defense turns into offense. This phase becomes a cru- cial factor in determination of the success of team transition defense and/or offense. The team that accepts and learns how to quickly transform from one phase of the game to another is the team that has a chance to beco- me what coaches call a good overall team. Watching todays basketball, its possible to notice that there are not a lot of easy baskets that are being scored during the game. The reason for this is that there are players that possess great athletic ability and through their athleticism, they manage to completely domi- nate the game. There are teams that have players that are capable of putting pressure on the ball at three quarters or even on the full court. That kind of energetic and athletic defense makes is really hard for a slower or more passive offense to function. This is another reason why we are now experiencing the evolution of the transi- tion offense and a quality fast break. Due to all reasons mentioned above, coa- ches have started to use all means necessary to bring their transition offen- se to perfection. I would like to now detail one of the tran- sition offenses and all of its possible options. It is important to notice that there are plenty of options that come out of this set, but I will offer some of which I most frequently use with teams that I coach. Without any special introduction, it is important to mention that every tran- sition offense or fast break starts with a successful defense. After our team fulfil- ls all the defensive requirements neces- sary to limit the offense, starting a poten- tial fast break is that much easier, quicker, and effective. There are several defensive criteria that we always emphasize to our teams: Strong ball pressure. Stopping the easy ball circulation. Putting constant pressure on the shot and not allowing easy shot selection. Transition offense D.2 D.1 EV\Z-* FIBA EUROPE OFFENSE D.4 D.5 D.3 D.7 D.6 D.9 D.10 D.8 Boxing-out. Control of the defensive side of the ball. Outlet pass after the control of the defensi- ve rebound. These factors are crucial and later lead to the successful fast break situation. Other situa- tions that can lead to a successful fast break are free-throw situations or even after the opposing team scores a basket (the so called quick-entry situation if the team that has just scored a basket did not recover well or if they were slow running back on defense). The classic outlet pass of the fast break occurs when the big man (4 or 5) takes the ball out-of- bounds. At that time, the other big man runs the floor as the so-called first trailer. The small forward and the off-guard are running wide on both sides of the court, and the point guard is responsible for bringing the ball up the court. After the ball is inbounded, the inbounder comes down the court as a second trailer (diagr. 1): Post player, 5, takes the ball out-of-bounds, and passes to the point guard, 1. Point guard is moving to free himself to receive the outlet pass. Off-guard, 2, and small forward, 3, run in the lateral lanes. Power forward, 4, runs as a first trailer. AFTER THE OUTLET PASS After the initial pass, the post player runs down the court as a second trailer, behind the point guard and the power forward (diagr. 2). Usually the point guard, after he catches the ball, can pass directly to the forward, without a dribble or after a couple of dribbles. The forward passes to the off-guard or a small forward sprinting down the court on both late- ral lanes. These two players can get open for a pass using two classic techniques: - A regular V-cut. - Crossing, switching sides by running near the baseline. Both of these techniques are shown in diagr. 2. The off-guard is getting open to receive the ball, using a V-cut technique. The point guard passes to the off-guard. The point guard clears the side by moving toward the baseline. The power forward cuts to the ball side. The small forward and the post fill the lanes. TWO OPTIONS Here are two possible options. a. If the defense is out of balance on the side of the power forward on the low post, then the pass goes from the off-guard to the power forward. EV\Z-+ b. If we decide not to pass the ball down to the low post, then the small forward cuts to the ball, and post player fills the lane (diagr. 3). USE OF THE SCREEN In diagr. 4, we describe the use of the screen (big player for small player), and the impor- tance of a cut to the ball motion. The pass goes from the small forward to the post player. The power forward sets a back screen on the off-guard. The off-guard tries to cut to the basket. The pass goes from the post player to the off-guard, if he is open. OPTIONS BASED ON THE REACTION OF THE DEFENSE I will now describe how players with sound fundamentals can take advantage of the defensive weaknesses, mistakes, or miss- matches. They must read the defense and use one of the following options. If the defender of the power forward bumps the off-guard on his cut to the basket on the outside, than the power forward, who sets the screen, has to read the situation: he must makes a strong step to get in the front of the defender and receive the ball from the post (diagr. 5). If the defense does not bump the offensive player to stop the cut, the power forward (after he set the screen) has to read the situation, and use the pop-out move on the outside. He has to be ready to receive a pass and make a jump shot (diagr. 6). After a pass from the small forward to the post, the post fakes a hand-off pass between the small forward and himself, and then executes a hand-off pass between himself and the guard. Finally, the small forward cuts to the basket (diagr. 7). OPTIONS IN THIS PHASE OF THE FASTBREAK This phase of the fastbreak offense offers several options. If the defender guarding the small forward follows him behind, then the post can pass to the small forward for the lay-up (diagr. 8). If the defender guarding the post with the ball goes for the bump, or if he decides to help on the cut of the small forward, the post can read the situation and go the basket himself (diagr. 9). If the defense denies the cut and prevents the small forward to go for the hand-off pass, then the post and small forward have excellent opportunities to make a back-door play (diagr. 10). If the defender follows the point guard closely behind, he has an opportunity to make one strong dribble, right after the hand-off pass, gaining an advantage and going to the basket (diagr. 11). There are also screens set by the small forward, the power forward, and the post for the off-guard. At this time, the off- guard has the option of deciding which side to come out on, either after a single screen set by the power forward, or after a double screen set by the small forward and the post on the other side (diagr. 12). The point guard passes to the off-guard or to the small forward for a shot or penetration. This is an entry pass into the last phase of the offense (diagr. 13). FINAL PHASE OF THIS MOTION OFFENSE Here are just few possible endings for this offensive motion (diagr. 14). The ball is passed from the off-guard to the post. The power forward fills the high post position. After the pass, the off-guard clears the side by setting the screen for the point guard. The point guard is open on the strong side for an eventual back pass (from 5 to 1). The small forward keeps good offensive spacing. The post plays one-on-one. There is the possibility of the pass for an open shot by the point guard or a similar pass and shot by the power forward (diagr. 15). This is just one of the many examples of a fastbreak offense. Modern and successful basketball teams must have this weapon in their offensive arsenal. A fast and dynamic up-tempo style of basketball is what makes this game interesting and what brings fans to the arenas. We, as coaches, have a great responsibility on our shoulders: we have to respect all aspects of this great game but, at the same time, we have to keep the game developing into right direction. Gone are the days of the slow, controlled offense game. Today the game is dominated by teams that can run, that can defend, and have great offensive potential. We have to do our best and teach the methods of modern basketball to the teams that we coach. D.11 D.13 D.12 D.15 D.14 EV\Z-, FIBA EUROPE Skip Prosser was head coach at Loyola College in Baltimore, then Xavier and, sin- ce 2000, at Wake Forest University. He is the only collegiate coach who has brought three teams to the NCAA Tournament in his first year. He was selected as the Atlantic Coast Conference Coach of the Year in 2003. Dino Gaudio was assistant coach at Xa- vier, before becoming head coach at Army, and then Loyola College. He joined Coach Prosser at Wake Forest in 2001. Due to the limited space, we are unable to show all our offensive plays, so we would like to introduce only few that we use against the man-to-man defense. SECONDARYBREAK After a made shot of the opponent, we run the secondary break. 1 passes to 4, 4 pas- ses to 3, while 5 follows the movement of the ball, and goes in the low post position on the same side of the ball. 2 replaces 5 in that position. 4 tries to pass to 5, while 5 is cutting in the lane, and then to 3, if 5 is not open. If it is 3, who receives the ball, he tries to pass to 5 in the low post (diagr. 1). After the pass to 3, 4 picks for 2, who comes out of the screen and receives the ball from 3. After the pick, 4 goes in the low post on the other side of the lane (diagr. 2). When 2 receives the ball and cannot shoot, 4 and 5 cut and take a strong position in the lane, sealing off their defenders. 2 can pass the ball to one of the two (diagr. 3). If the 2's defender tries to cheat on the pick and goes high, 2, instead going toward the screen, cuts low and around 5, and 3 can pass the ball to him (diagr. 4 and 5). "LOBo" PLAY We use this play against the teams, which defend strong on the pick. This means we use it when the screener's defender shows up high to help his teammate, who is scree- ned. Starting from a one-four set, 1 dribbles toward 5. If X5 shows up in advance to help OFFENSE by Skip Prosser by Dino Gaudio WAKE FOREST OFFENSE EV\Z-- FIBA EUROPE OFFENSE D.1 D.3 D.7 D.2 D.6 D.4 D.5 D.9 D.8 D.10 out, then 1 changes the side of the ball and passes to 4, who has stepped out of the cor- ner of the free-throw lane to receive the ball (diagr. 6). On this pass, 5 cuts to the basket and 4 pas- ses to 5 (diagr. 7). It is crucial that the point guard, 1, gives the impression to X5 that he wants to go around the screen, thereby forcing X5 to show up strong. "45 Out" PLAY 1 dribbles toward the right side of the floor, and this is a signal for 4, who came high, to go around 2, and make a pick on the ball for 1 (diagr. 8). As soon as X4 starts to show up strong, 4 "sli- des" in the middle. This means he cuts strai- ght to the basket, without screening for 1. If 4 is free, 1 passes to 4 (diagr. 9). If 4 does not receive the ball from 1, 2 screens for 5. 5 comes up in the middle of the court, and plays pick-and-roll with 1. In the meantime, 4 goes in the corner, 2 continues the cut and comes out of the lane. If, on the dribble penetration, the defenders help out, 1 EV\Z-. can also pass to 2, 3, or 4 (diagr. 10). "45 DOWn" PLAY We start from a one- four set. 1 passes to 4 and picks for 5, who comes out to the three- point line. After the pick, 1 goes to the wing position, and 2 goes in the low post area (diagr. 11). 4 passes the ball to ,5 and 5 then changes the side of the ball, passing to 1. 2 makes a back pick for 4(diagr. 12). 1 can pass to 2, who comes out of the pick, or to 4 in the low post (diagr. 13). "45 DOWN REVERSe" PLAY Starting from the same set one-four and with the same beginning of the play descri- bed before, we want to show an option of the play, based on the reaction of the de- fenders. We call for this play when X4, the defender of 4, tries to avoid the back screen of 4, sli- ding in advance in a position lower of 4, near the dotted line of the lane. As before, 1 pas- ses to 4 and screens for 5 (diagr. 14). 4 passes to 5, who, after the screen, comes out of the three-point line. When 5 sees that X4 is lower than 4, he fakes a pass to 1, then passes to 3, while 2 comes, as usual, high to set a back screen for 4 (diagr. 15). When 2 sees the position of X4, he screens again X4, and 4 cuts toward the baseline to receive the ball from 3 (diagr. 16). If we call "54 down" and "54 down reverse, the play is the same, but is run for 5. "ZIPPER 3" 1 dribbles toward the left wing, and 3 comes high and replaces 1 in the middle of the court. At the same time, 5 goes in the low po- st on the same side and 2 cuts along the ba- seline, and goes in the corner on the ball si- de (diagr. 17). 1 passes to 3 and 5, with his back to the baseline, starts to make some steps in the D.11 D.12 D.13 D.14 D.15 EV\Z.% FIBA EUROPE OFFENSE lane to bring his defender under the basket (diagr. 18). 3 dribbles hard toward the other side of the court on the wing, and then passes to 5, who turned and faced the ball, or to 4, who is in the corner of the free-throw area (diagr. 19). "ZIPPER 2 " PLAY The play is the same, but it is run on the other side of the court for 2 (diagr. 20 and 21). If 4 is fronted, 2 passes to 5 and then 5 passes to 4 for a "high-low" play between the two posts (diagr. 22). D.20 D.16 D.17 D.21 D.22 D.18 D.19 EV\Z.& FIBA EUROPE by Aca Petrovic OFFENSE Aca Petrovic was head coach of Cibona Zagreb (Croatia) at three different times and won a total of six championships and one Cup of Croatia. He was also the assistant coach and head coach of the Croatian National team. He coached Caja San Fernando and Lleida in Spain, as well as Anwill Wloclawek in Poland. Basketball is constantly changing and it can be said that we are witnessing some sort of basket- ball evolution. The worst thing that could possibly happen to any coach at any level is to be stuck in one time period, and stop developing his basket- ball knowledge or upgrading his methods of coa- ching (either tactical or theoretical). Methods of preparation for the game are diffe- rent today than they were 10 or 15 years ago, and defense is starting to play a crucial role in a team's preparation process. Therefore, I truly believe that coaches have to start paying more attention to specific details in their offensive sets if they are going to succeed. When I say details, I mean that today we have to focus on reading the defensive position, mismatches, and defensive mistakes. In other words, we have to use the ver- satility of our players to the maximum. To go along with that statement, modern offense has to be composed of several scoring options. With this type of diverse offense, the team is going to be difficult to scout and prepare for. That is one of the many reasons why I picked what I like to call a multiple-choice offense. Before I start with an explanation of the offense and break down little details, let me just point out several preconditions that have to be satisfied in order for this offense to work. First, not to diminish the importance of other players, but this offensive set can't function to its potential if the team does not have versatile players at the 2 and 3 positions. If those players have well developed skills, they can play with their back to the basket, and are genuine shoo- ting threats, then we can explore all options of this offense. I am not saying that the other three positions are less important but for this particular set to work properly, the versatility of the outside players present the key to successful implemen- tation. This offense begins in the classic "two players high set," with 4, the power forward, and 5, the center, on the high post area, while 3, the small forward, is in the low post area, opposite to the MULTIPLe-CHOICE OFFENSE D.2 D.1 EV\Z.' FIBA EUROPE OFFENSE D.4 D.5 D.3 D.7 D.6 ball and 2, the shooting guard, is near the three- point line. The play begins when 1, the point guard, dribbles the ball laterally on the side of 4 or 5 (it's his decision to make; the play can be executed on both sides). In this case, he dribbles on the side of the 5. At the same time, 5 uses a V- cut technique and gets free to receive the ball (diagr. 1). Immediately after he receives the ball (ideal area for receiving the ball is near the three-point line), 2 has to set a strong screen for 3 on the opposite low post area. This screen presents a precondi- tion for the continuation of the play (diagr. 2). In order to create proper offensive spacing when the screen between 2 and 3 is occurring, 4 sets a flair screen for 1, the point guard at the top of the lane. It is essential that, after this flair screen, 4 pops out and keeps a good space between him and the man with the ball (diagr. 3). At this point, we have an opportunity to read the EV\Z.( defensive position for the first time. If 2 had set a strong screen on 3, and if the defense did not defend well (they failed to use the bump move, or if they did not jump to the ball to create space), then we can expect the pass from 5 to 3 in the low post: he can play one-on-one, with the back to the basket (diagr. 4). If 5 cannot pass to 3, there is a possibility of pas- sing the ball to the top to 4. After the pass to 4, 5 receives a back screen from 3. This again crea- tes a triangle between 3, 4, and 5 on one side of the floor, with an option for a low post play, with the back to the basket (diagr. 5). If the triangle does not present an opportunity for a low post play, the next option is to pass the ball to 3, and play pick-and-roll (or pick-and-pop out, depending on the 4's shooting ability) between 1 and 4 (diagr. 6). At this point, we are going back to the situation previously described in diagr. 3. Let's assume that the first option could not be run, so the ball is passed from 5 to 4 up top, and, immediately after, a back screen is run between 3 and 5 (diagr. 7). When there is a back screen between 3 and 5, the ball is passed to 1. At this point, we are again looking at two possible options. This decision is up to our point guard after he reads the position of the defenders. Now, let's assume that he can- not pass the ball to the right side, so he decides to dribble to the left offensive side (diagr. 8). The dribble to his left side signals to 2 to go to the opposite low post spot to set a screen for 5 (diagr. 9). When the screen occurs, 5 cuts to the ball side and the action is going on between 1 and 5 on the side. His other teammates have to keep good offensive spacing. The first option is to pass to 5 in the low post for a back to the basket play (diagr. 10). If, by chance, there is no open passing lane for 5, the final option is the side pick-and-roll between 1 and 5 (diagr. 11). Let's return to the situation previously described in diagram 8. If 1 does not dribble to the left side, the action continues on the right side of the floor. Which means that 4 passes the ball to 1, while, at the same time, the back screen is run between 3 and 5 (diagr. 12). 1 has the ball on the left side, 4 is setting the side screen for 3. If there is a good timing of the screen, and if 3 brings his defender into the screen, there is a great chance that 3 will be open for a three-point shot (diagr. 13). In case that 3 is not open for the shot, we want 5 to clear the weak-side low post. At this time, we also want 3 to decide if he has an option to play one-on-one. If he chooses to do so, then 4 has to slide to the corner as a safety option for an out- side shot if his defender decides to help out on the drive of 3 (diagr. 14). This is a final option, but I must admit that I pre- fer for the play to be finished before this option has to be used. There are several reasons for this. First of all, the option is the pick-and-roll between 3 and 4. Obviously, this is the final option of this play, but I always tell my players to use it only if it is absolutely necessary. You have to realize that, at this point, there is not too much time left on the shot clock and that playing the pick-and-roll between 3 and 4 is not as effective because it presents an easy switch situation for the defense. So, again this is the part that is used only if we run out all other options. I have to say that if we practice particular segments of the play in detail that we will hardly ever have to use this option (diagr. 15). I would like to say few words about what we like to do when practicing particular segments of this offense. There are many ways of practicing, but what I do is separate the team into two grou- ps and pair the players up (for instance, two positions in couples, guards/wings and big men), or I will separate them by position and practice just their particular segments. For instance, they will practice setting screens, stepping in for the big men and reading, passing, cutting, using screens for guards and forwards. I believe that D.9 D.10 D.8 EV\Z.) FIBA EUROPE OFFENSE D.11 D.13 D.12 D.15 D.14 both ways of practicing are good and they both yield good results. If performed correctly, you should try to practice both ways during the cour- se of the week. Sometimes, the team will perform individual drills in the morning, and then combine the morning drills in the group work during the afternoon practice. However, there are several segments of these drills that need special atten- tion: Setting screens, either guard for the big men or opposite: This segment becomes crucial because there are number of teams which do not pay attention to small details such as screen angle or timing of the screen. These details are very important and they give the edge in this kind of offensive set. About screens: We have to teach our players to use screens, to read the defensive position, and gain advantage from that position. Moving without the ball: Players need to be active and make themselves an offensive threat all the time. If they move properly without the ball, they are very hard to guard, and our offensive flow is much better. Passing: There is not much to explain here. This is simple detail, but a very important one. Players must be taught to make good deci- sions. When they pass the ball, the passes should be on target, allowing the teammate to score immediately after receiving the pass. These simple details are often overlooked, but they play a very important role in succes- sful completion of this play. After we practice these technical segments and have become comfortable in executing them, I like to focus on particular options in the offensive set. Of course, I am not trying to make my players move mechanically without thinking about what is going on, but I am just trying to use repetition in order to achieve perfection. By doing this, I know that they will gain even more confi- dence in the play and start to make some good reads. It is the responsibility of the coach to teach them and point out all necessary options that the play consists of. As a final segment of the preparation, I have them play five-on-five on both sides of the floor. This is an ideal way to practice both offense as well defense. Earlier in the season, when we are introducing the plays, I allow only certain options to be executed at certain times. By doing this, I force them to focus and make them think. During the course of the season, I have noticed that there is a growing number of coaches, who are using multiple-choice offenses, and that guarantees dynamic offensive solutions, keeps the defense guessing all the time, makes the team more dangerous and less predictable, and hopefully, more successful. EV\Z.* FIBA EUROPE by Saso Filipovski OFFENSE Saso Filipovski has been assistant coach of Olimpja Lubljana, Slovenia, from 1996 to 2003. After becoming head coach in 2003, his team won the Slovenian Supercup and the national title. INTRODUCTION Coaches the world over have their own philosophy when it comes to offense and defense. To defeat their oppo- nents, they use tactics which are adapted to the players they coach. Many offenses use the pick-and-roll to help players increase their scoring opportunities with open shots. There are many ways of defending against the pick-and-roll, and one of them is to direct the pick away, it means take away the screen. The purpose of the defense is to keep the offensive players away from the three-second lane and force them to the baseline with the helpside teammates ready to help, rotate, or steal the ball. This defense is also used to cover up the lack of talent, especially of the big men. This type of defense has many different rules (trapping and stealing, rotating of all the defenders, helping and recove- ring, and switching) that must be maste- red if the defense wants to be truly effective. To be effective against this defense, the offense also has to know these rules. Therefore, the offense against the defense of the pick-and-roll has to be practiced a lot (from two-on-two to five- on-five). It is especially important to practice the five-on-five matchups because it dupli- cates game situations with time pressu- re, where decision-making comes in milliseconds. As there are many different ways to defend the pick-and-roll, there are many options to attack the defense. In this article, I will review some of the possibilities that are used by top European basketball teams. THE PICk-ANd-ROLL ON OFFENSE D.2 D.1 EV\Z.+ FIBA EUROPE OFFENSE D.4 D.5 D.3 D.7 D.6 D.9 D.10 D.8 DIFFERENT OPTIONS 5 screens X1 and 1 is free to shoot a three-point jumpshot (diagr. 1). 5 screens X1, 1 makes two strong drib- bles toward the sideline, and takes the open jumpshot (diagr. 2). 5 screens X1 and 1 drives in the middle between X1 and X5. The teammates must be aware of 1's drive, and be ready to rotate: 1 can pass to 4, 3, and 2 (diagr. 3). 5 screens X1 and 1 takes two strong dribbles to the sideline. When X5 goes toward 1 to help, 1 changes the pace and immediately penetrates on the baseline: again. The teammates must be aware of 1's drive: 1 can pass to 4 or 3 (diagr. 4). 5 screens 1, who fakes to drive to the baseline. 5 re-screens (changing the angle and the height of the screen) X1 to the middle and creates space for 1 to penetrate in the middle (diagr. 5). EV\Z., 5 screens X1, rolls to the corner of the free- throw lane, receives the ball from 1, and shoots (diagr. 6). 5 screens X1 and rolls inside the three- second lane. 4 flashes to the high post area. 1 can pass to 5 or 4 for a "high-low" play (diagr. 7). 5 screens X1, pops out to the three-point line, and receives the ball from 1 (diagr. 8). After receiving the pass, he has many options: Shoot; Penetrate in the middle and shoot, or pass to 4, 3, or 2 (diagr. 9); Change sides to the ball, passing to 2, who can penetrate and shoot, or pass to 3 (diagr. 10); Pass on the same side to 1 (diagr. 11 and 12); Penetrate toward the baseline and pass to 4 or 3 (diagr. 13). 5 screens X1 and pops out to the three-point line (diagr. 14). After receiving the pass from 1, he has many options: Pass to 2, who can immediately make a pass under the basket to 4 (diagr. 15). These two offensive players can also play two-on-two, with a hand-off or fake and hand-off, and penetrate or make a back- door cut; 5 can also screen down X1, and 1 can: receive a pass from 2 and shoot immedia- tely, make a backdoor cut, a curl, or fade away to the corner (diagr. 16). 5 screens X1 and pops out to the three-point line, while 1 drives to the baseline and goes directly to the basket. He can also pass the ball to 5 (diagr. 17). If X1 and X5 switch while 1 is driving to the baseline, 1 can pass the ball to 5 (diagr. 18). 5 can pass back to 1 and 1 can shoot or drive on X5 (diagr.19). After the pass to 1, 5 can make a direct cut to the basket, or go to the low post area and receive the ball from 1. 4, after the cut of 5, flashes to the high post area, receives the ball from 1 and plays "high-low" with 5, who is now guarded by X1, a smaller defender, and tries to take advantage of the situation. (diagr. 20). CONCLUSION It is very important to attack this defense and this will rely on a precise execution of tech- nical and tactical offensive elements. Fundamentals, spacing, complete vision of the floor, timing, patience, and team coopera- tion on offense without selfishness are the keys to success. For the offense to work effectively, players need to become consi- stent in their actions and behavior on the floor, helping each other by talking constantly as they get the offense in motion. D.11 D.13 D.12 D.15 D.14 D.16 D.18 D.17 D.20 D.19 EV\Z.- FIBA EUROPE Jonas Kazlauskas was the head coach of the Zalgiris Kaunas (the winner of one Eu- roleague championship and two national titles), and the Lietuvos rytas Vilnius, clubs in Lithuania. He was also head coa- ch of the Lithuanian National Cadets, Ju- nior, and Men's teams. He was elected European Coach of the Year in 1999. At the 2004 Olympic Games he was assistant coach of the Chinese National team. Everything in basketball is developing so fast (just like real life), and every player needs to work hard, so they don't fall behind the other players. Not such a long time ago, the USA national team was ma- de up of university students and they were formidable opponents. The USSR national team lost a game against the Milwaukee Bucks in 1987, even when the Bucks played without its top players. Much has changed since then. Now, the USA national team is com- posed of the leading NBA players and they have a hard time wining against internatio- nal teams. International basketball has made huge progress and it was so intere- sting to watch the most recent games of the FIBA European and World Champion- ships, and the Olympic Games. During the FIBA European Championship in Turkey in 2001 the leaders of the teams, such as Nowitzki, Kirilenko, Stojakovic, and Gasol, have prevailed over the team- mates so much, that they had to drag all the game load on the top games. The same situation remained during the next FIBA World Championship in Indiana- polis in 2002. Most of success and failure of the teams was based on the performan- ce of the top players. The leader's success as a main factor is evident in difficult ga- mes and in the final minutes of the games. ofFENSE by Jonas Kazlauskas SCOUTING THE 2004 OLYMPIC GAMES EV\Z.. D.1 D.2 D.3 D.4 D.5 Things are starting to change. At the FIBA European Championships in Sweden and in Olympic Games in Greece it could be noti- ced that teams that demonstrated good "team" play, such as Italy, Lithuania and, of course, Argentina, did very well. Argentina, with many talented players, was able to handle their players and show high-class collective play, using the strongest sides of its game in different ways. My favorite combinations from Argentina's play is shown in diagr. 1 and 2. The players 2 and 3 make a staggered pick for 4: it seems a very easy play, but the key is that each player finds his right place on the court. The team could then run the offense in various directions. The Italian silver medal was also an outco- me of good collective work and, especially, an excellent coaches' work. It should be mentioned that the Italian team was not on the list of favorite teams before the Euro- pean Championship or before the Olympics. However, after good teamwork, the team achieved great results. The Italians have showed just how dangerous two-on-two play can be, especially when you have inge- nious players. Bulleri and Pozzecco have done a great job, and have fascinated not only me, but all the coaches, with their un- selfish play. In many cases, these players used different variations that made it very hard for the opponents to foresee. The Lithuanian team also demonstrated so- lid play and the peak was reached during the game against Greece in the Olympics. As usual, Lithuania had many good scorers and their tactics were to use those scorers and structure the best plays so they could score. From that point of view, double- screens or triple screens, when the power forward jumps back into three-point area, left the low post area free for the center, and it proved to be very effective (diagr. 3 and 4). This play worked well at the European Championship in Sweden (diagr. 5), but was less effective during the Olympics, probably EV\Z&%% because of the poor play of the big men in the three-second lane. What about the team from China? The best result, which was reached in Olympics and World Championship before, was pur- sued again. The Chinese lost some games by big margins, which shows a lack of indi- vidual player strength and little experience playing games against high-level teams. The Chinese players had so many turno- vers that it was impossible to run a suita- ble attack. Still, the Chinese did make it to the final eight, playing in a group, where the Serbia and Montenegro (gold medal at the 2002 FIBA World Championship) and New Zealand (fourth place at the same event) had poor results. Chinese basket- ball is developing very fast, and much at- tention is now paid by the government and huge resources are put into basketball in whole country. It seems that Chinese ba- sketball players will become very powerful in the future. China has a star basketball player, Yao Ming, who plays for the Houston Rockets in the NBA. Obviously, the main goal for the coaches in the Olympics was to use this superstar and direct their offensive plays through this player. The main goal for the opponents was to isolate this player. Talking about defense, the zone defense or the mixed defense, the use of the double and triple team against the top players, caused many problems. In playing against a zone defense, we used our main weapon, the "high-low" plays, with different cuts. This combina- tion starts from the easy cut (diagr. 6). 1 passes into the corner for 3 or 2 and then cuts to the corner. 4 and 5 play "high-low." At this time, the player with a ball has to evaluate the situation and pass the ball to make it difficult for the opponents (diagr. 7). In case of a failure, the ball should be returned to the player 5, then passed into the opposite corner 2 or 3, and after the cut the "high-low" game is played again (diagr. 8 and 9). During this set, all the players should mo- ve. If players 4 and 5 are good scorers, they will make it very difficult for the oppo- nents. If the defenders move properly, talk on defense, follow the cutters, and the de- fense collapses on the center, this play is not very effective. If the defender follows the cutter, it is advisable to make a double cut on the opposite side (diagr. 10). At the beginning of this play, we could distract the opponent or check their defense with the cut of 3 or 2 (diagr. 11). After the ball is passed back to 1, 2 and 3 (there should be a space of three to four meters between them) cut to opposite sides and take their positions. After the second cut, 4 and 5 play "high-low." The power forward on the weak side could jump back for scoring ac- cording his skills. A double cut with the fol- lowing "high-low" play gives a big advanta- ge in specific area and opens up the three- second zone. During the last few years players became acquainted with the 24-second rule on of- fense and the play is becoming faster and faster. The team that has dominant centers (Chi- na with Yao Ming, and Lithuania with Arvy- das Sabonis) can use the following combi- nation. When 5 brings the ball into high post, three other players on the strong side should ro- tate. If any free player does not receive the ball, the center has more free space to play one-on-one in the three-second area or else the ball should be passed to the op- posite side to 4, and, further, to the corner (diagr. 12). When the ball is in the possession of the cutter, additional cuts should be made (diagr. 13). When the ball is in possession of the center, this play is not effective against the zone defense. D.6 D.7 D.8 D.9 D.10 D.11 D.12 D.13 FIBA EUROPE ofFENSE EV\Z&%& FIBA EUROPE by Henrik Dettmann OFFENSE Henrik Dettmann coached the Finnish national teams at every level, from Cadets to Men's. From 1997 to 2003, he also coached the German Men's National team, winning a bronze medal at the 2002 FIBA World Championships. His teams also won three club titles in the First Division League in Finland, where he was elected Coach of the Year two times. He was the head coach of MBC Weissenfels in Germany and his team won the FIBA Europe Cup. He was also elected Coach of the Year in Germany. He is now coach of Braunschweig (Germany), as well as head coach of the Finnish Men's National team. Zen Master Shunryu Suzuki once wrote, "To give your sheep a large, spacious meadow is the way to control them." I mention this quote mainly because, in the figurative sense, it ser- ves as the role model for a modern team game. The meadow represents wide tactical bounda- ries, within which the players themselves determine their path to success. There are few limitations and much space for creativity, where intuition and a readiness to take risks are rewarded. Modern basketball is a "players' game". Ideally, in a "players' game" the coach becomes redun- dant. Looking at it another way, the aim of a good teacher should be to teach his students to eventually manage without him. It is his duty to help his students to find their own potential and exploit it to the fullest. What is understood by the concept triangle offense, but not practiced very often, is very similar to this idea of the "players' game". The triangle offense is like an amoeba. There are as many different types of triangle offenses as there are coaches using this offense. "No ball, no game-simple. In the triangle offen- se the ball always dictates the direction of movement!" The triangle offense derives from basketball basics such as 3-on-3, 2-on-2, and 1-on-1. It is predicated on constant ball and player move- ment, and on anticipating and reacting to game situations. One play sequence follows the next. Triangle offense has the invaluable advantage that in the offense no player is doomed to stand around and look on. That does not mean that the players should be constantly shooting. All the players are involved; they move, pass the A MUTATION OF THE TRIANGLE OFFENSE D.2 D.1 EV\Z&%' FIBA EUROPE OFFENSE D.7 D.6 D.9 D.10 D.8 The triangle offense can be played at various levels of difficulty and, like a set of building blocks, it offers unlimited possibilities. You can run this offense against a man-to-man defense as well as you can against a zone. The greater the number of offensive options, the less predictable the offense will be, whe- reby the requirements also become apparent when this system displays its full strengths: the longer the coach and players can hone the system, the more efficient it will be. RULES Rule 1: Penetrate the defense This you can't emphasize enough. One should not misunderstand and think that the only penetration to use is the dribble penetration. The best way to penetrate the defense is a pass to a player cutting to the basket. Rule 2: Court positions Players must find the proper court positions to be able to determinate the triangle side (three- man game), and the tandem side (two-man game). Rule 3: Spacing The distance between each player on the court must be approximately 4 meters. Rule 4: Timing Number the passing options (penetration pass is always number 1, swing pass number 2, etc.) to help the players understand the timing of the offense. Rule 5: Pass the ball to the open man All players should always be available for a pass and you should always pass the ball to the open man (following rule no. 1). This is the ulti- mate goal of team play. A pass to the open man will result in a "natural way of playing", as well as create confidence and harmony between the players. There are no predetermined deci- sions, since everything is reading the play and then reacting. This makes the offense very hard to scout. Think pass-look to score! The more passes you make, the higher your shooting percentage will be. In the bronze medal game against New Zealand at the World Championships in Indianapolis, we had 32 assi- sts and a 65 percent shooting average from the field. Rule 6: Move with a purpose A player without the ball should always be ready/open to receive a pass. If you are not open, then move with a purpose to get open. We all are of equal danger for our opponent when we are on the basketball court. The diffe- rence will be seen as soon as we move or we receive the ball. The old good saying is "cut to the basket and something good will happen." PLAYERS' ROLES N. 5 (center - back to the basket) The center should be able to get open in the post. He should be a good passer and he should be able to hold the ball in the post. As ball and, above all, learn to assess their skills. If all the players are involved in the offense, they all become motivated on the defense, too. Moreover, as we all know, "defense wins championships. The triangle offense does not just help the big stars, but also the role players, since it gives them a sense of rhythm and self-confidence. This offense promotes the training of all-round players, as each player moves to almost every position, thus learning to act and react accor- dingly. Yet, depending on the players' skills, this concept also allows the game to reach varying levels. It enables the players to recognize their limits and know what to work on. At an advanced level, the triangle offense works without any great gestures and words. Each player movement and ball movement determines the next player and ball movement. These are actions which, on the one hand are automatic and naturally have to be practiced, but at the same time do not follow a set pattern. Still, they provide the players with escape options, any time, any place, according to their individual skills. This calls for each player to know his strengths and accept his role. There is room for improvisation without the game ending in chaos or a wild 5-on-5. D.5 D.4 D.3 EV\Z&%( soon as he catches the ball (in the post), he becomes a passer (except if he has his man sealed of and he can have a lay-up or a dunk). When the center is feeding the cutters, the pass should always be a bounce pass (bounce the ball hard on the floor so the cutter can pick it up easily without loosing his court vision). If the defense is able to cut off all passes and there are no openings, the center must be able to work his man and go for a lay-up. N. 4 (power forward - face the basket/back to the basket) He is (perhaps) the most important player on this offense. He should have a complete game (full package: passing, putting the ball on the floor, three-point range shooting, cutting, driving to the basket). He should also be good in reading the openings and flashing to the ball. N. 2, 3 (wings - face the basket) Must understand how to feed the post, as well as playing without the ball (by cutting, the wings are creating opportunities for their teammates). The wing must be able to use the dribble pene- tration against pressure defense. N. 1 (point - key player - as alwaysl) Pick & roll/hand-off, must be able to beat his man off the dribble. The triangle offense is a "read and react" offense. The better your point guard learns to understand the different options and the strength of the different individuals, the more you will get out of this offense. Note: The offense itself does not need a traditio- nal point guard, since all outside positions (1, 2 and 3) are interchangeable. In this case, you must just count that the team will need more time to create a natural understanding of each other's game. TEACHING EXPERIENCES I have been running the triangle offense with dif- ferent teams, on different levels, for more than 10 years, and have found that every situation requires a different approach. One thing is obvious in modern basketball: it has become a full-court game. Transition offense and transition defense will decide the outcome of the game. We like to build almost all our drills where we you convert from offense to defense or vice versa. To build up the triangle offense we start at one end of the court with a simple three-player trian- gle action (the inside option with the wings cut- ting), then we run our transition offense over to the other basket and go straight into our sideline triangle where we repeat the cuts. Then, we continue piece by piece, until we have all basic movement covered. Do one thing well, than ten things "so-so." The most important question a coach should ask before he starts to plan a practice is: "If there is only one thing we can learn today, what should we work on?" Of course, this philosophy also applies to teaching the triangle offense. Your players should first learn to develop (and reco- gnize) the triangle side and the tandem side. Then teach the different options using the side- line triangle. Rule 1 says: "Penetrate the defense," so you start to teach all options on how to get the ball to your big man from the sideline triangle and then how to execute the "inside option." Second, teach all options on how to swing the ball and how to execute the "swing option." Then, at last, teach the different ways to execu- te the "corner option." I had a very interesting experience when I was teaching the basic triangle offense to a team made up of top boys and girls. Both were more or less at the same basketball level and about the same age. The girls were able to understand and execute the different options right away. They "played the game" and were able to use the options the defense gave them. They tried to solve the problems collectively "using their heads." The boys were different. As soon as they got in trouble, they jumped out of the offense using their one-on-one skills. The boys tried to solve the problems individually using their phy- siological ability. I found that I could show the whole basic con- cept to the girls at once, while teaching the boys it was really necessary to emphasize only one thing at a time. This is a typical example of what coaching is all about. You should have a clear philosophy of what and how you want to run things. At the same time, you must be able to adjust your con- cepts according to your personnel. POINTS OF EMPHASIS The philosophy contains all elements of play. Creativity, risks, no predetermined deci- sions, handmade, intuition, players game, the ball is the game. Know yourself. Play to your strengths. Ultimate team concept. Sharing the ball = sharing the game (enjoy together). Emphasizes all basketball basics. Shooting, passing, dribbling, timing, spacing, getting open, cutting, screening. Know and accept your role. Everyone has an opportunity to participate. No spectators. Built on the basic elements of the game: 1-on-1. 2-on-2. 3-on-3. Develops versatile players who have to learn to use all basic basketball tools. Versatility = hard to scout. In the end, no one has a problem when you win a game. Good role model for the modern game. EXPLANATION OF THE DIAGRAMS Basic Alignment. 1, the point guard, 3, the D.11 D.12 D.13 D.14 D.15 EV\Z&%) FIBA EUROPE OFFENSE wing, and 5 the post, form the triangle, while 2 is on the other wing position, and 4, the power forward, in the short corner (diagr. 1). Strong Entry. 3 feeds 5, 1 must clear out, and then screens for 4, while 2 goes in the midd- le of the court (diagr. 2). Strong Entry (another option). 3, 1 and 5 form the triangle, while 2 and 5 play on the other side of the court. 1 passes to 3 and cuts insi- de or outside to 3, and goes in the corner (diagr. 3). Passing Options for 3. He can pass: a. Inside to 5; b. To the wing to 2, or c. To the corner to 1 (diagr. 4). Ball to 5. He can pass: a. To 1; b. To 3, while he cuts going to screen ,or c. To 2 (diagr. 5). Passing Options for 5. He can pass: a. To 2; b. To 4, who comes off the screen of 3; c. To 3, who rolls to the basket, after the screen for 4, or d. To 1 (diagr. 6). Passing Options for 2. He can pass: a. Inside to 5; b. Inside to 4, or c. To 3 in the wing (diagr. 7). Passing Options for 4. He can pass: a. Inside to 5 (play high-low); b. To the wing to 1, or c. To 2, who passes to 5 (diagr. 8). Triangle on the Other Side. If nothing hap- pens, 1, 3, and 4 form a triangle on the other side. Passing options for 1. He can pass: a. Inside to 4; b. To 2, who comes to the middle of the half court, or c. To the corner to 3 (diagr. 9). Passing Options for 2. He can pass: a. To 5 (play high-low); b. To 4, who has cut to the free-throw area, or c. To 1, who comes off the screen of 3 (diagr. 10). Passing Options for 1. He can pass: a. Inside to 4; b. To 3, who cuts off the screen of 5, or c. To 5, who rolls to the ball after the screen for 3 (diagr. 11). Ball to 5. He can pass: a. To 2, who cuts around him; b. To 3, who has received a screen from 4, and, after the screen, goes out, or c. To 4, who received a screen from 2- screen the screener (diagr. 12). Drive of 1. He can penetrate and pass: a. To 5, who has cut to the basket or faded away in the corner; b. To 4, while 2 goes to the corner, and 3 posts up (diagr. 13). Ball to 3: 2, 3, and 4 form the triangle, 1 is on the other wing and and 5 in the low post on the weakside. Passing Options for 3. He can pass: a. Inside to 4; b. To 1 in the wing, or c. To 2 in the corner (diagr. 14). Weakside Entry. 1 passes to 2 and cuts to the corner. 2 passes to 4, who comes out to the wing. 2 goes to the opposite side on the low post position after the pass (diagr. 15). Options. We can use the same options on the strong entry: 5 forms the triangle with 1 and 4, and 3 goes in the middle of the court. Passing Options for 4. He can pass: a. Inside to 5; b. To the wing to 3 (or use a slice cut, see diagrams 17 and 18). c. To the corner to 1 (diagr. 16). Slice Cut. This is an option, when 3 has the ball. 4 receives a screen from 5, and 3, after passing to 2, comes from the corner to the wing, and screens for 1. 4 goes around the screen and then to the low post on the ball side, while 3 cuts in the corner on the ball side (diagr. 17). Form a triangle. 2, 3, and 4 forms a triangle, 1 in the wing, and 5 in the low post on the weak side. 4 can pass to 3, who comes in the middle of the court, or to 1 in the corner (diagr. 18). Flash Entry. 1 passes to 4 and 2 cuts near him, while 5 screens for 3. 4 can pass to 2 on the cut (diagr. 19). Other Options. 4 can also pass: a. To 3, who goes around the screen of 5, or b. To 1 with an hand-off pass, while 2 goes in the corner, opposite to the ball (diagr. 20). Form a triangle. 1, 3, and 4 form a triangle. 2 is on the wing and 5 on the low post on the weakside. 1 receives the ball and drives to the wing, while 5 screens for 2 (diagr. 21). Passing Options for 1. He can pass: a. Inside to 4; b. To the wing to 2,or c. To the corner to 3 (diagr. 22). Push Down Option. If 3 is overplayed, 1 drib- bles toward 3, and this is a signal for 3 to go in the corner, while 2 replaces 1 (diagr. 23). Cross Screen Option. For creating space we can use a cross screen when the inside player, 4, in this case, is overplayed. 4 screens for 5, and 1 passes to 5 (diagr. 24). Flash Entry Option. This is used for creating space for a lob pass or a high-low play, when the inside player, 4, in this case, is overplayed. 1 can make a lob pass to 4, or pass to 5, who has flashed to the high post, and 5 passes to 4 (diagr. 25). Back Screen Option. This is used to get open when the inside and wing players are over- played. 5 screens 2, and then rolls to the basket. 1 can pass to 2 or 5 (diagr. 26). D.16 D.17 D.19 D.20 D.18 EV\Z&%* D.21 D.23 D.24 D.25 D.22 D.26 EV\Z&%+ FIBA EUROPE Bozidar Maljkovic is currently the head coach of Real Madrid. He previously coa- ched Jugoplastika Split (winning 2 Euro- pean Cups, 3 Yugoslavian Championships, and 3 Cups), Barcelona (1 King's Cup), Limo- ges (1 European Cup, 2 French Champion- ships and 2 Cups), Panathinaikos, (European Cup, Intercontinetal Cup, and Greek Cup), and Malaga (Korac Cup). He was selected European Coach of the Year and was twice selected as the French Coach of the Year. The zone offense can be applied to attack all types of zone defenses. The best way to beat a zone defense is with the fastbreak. You can score two, perhaps even three easy points, but what you also do, which has an even greater effect, is demoralize the oppo- nent. The second basic way to attack the zone defense is put the offensive players in the gaps of the zone. This means putting a player in between two defensive players, assuming a contrary alignment to the align- ment of the zone. The third element entails the use of screens: single, staggered, and double. There is a dif- ference between a screen on a man-to-man defense and a screen against the zone de- fense. If we play against man-to-man, we set a screen and jam the defender, who is guarding a teammate for whom the screen is being set. In the screen against a zone de- fense, however, we simply block the move of the nearest man to the screener, or we block the one nearest to the area where an offensive player positions himself. We do this because zone defenders cover a cer- tain area of the court, and are not concer- OFFENSE by Bodizar Maljkovic HOWTO ATTACK THE ZONE DEFENSE EV\Z&%, D.1 D.2 D.3 D.4 D.5 ned with defending a particular player. Passing the ball within the free-throw area is another very important element used to at- tack the zone because from this position it is possible to pass easily in all directions, and to all positions of the court (diagr.1). In this area, we should try to exchange players quickly. To move the defense, it is also very important to quickly change the side of the ball from left to right and vice-versa (as well, as we said, passing the ball inside will also keep the de- fense moving). The next essential element in the attack against the zone is-depending on the coach's philosophy-overloading the strong side of the offense with three or four players at a time. Dribble penetration into the three-second la- ne in between two defenders will split the de- fense, and is another key attack element. In this case, the offensive player, who drives in the lane, must make a quick, two-count stop for better balance and then take a quick shot before the big man moves over to defend. The other option is to pass the ball to an open teammate. Drive penetration-and-shoot and drive-penetration-and-pass creates many problems for the zone defense. Another very crucial element, that most US college coaches demand to their players, is that the ball be passed inside a minimum of two times before a shot is taken. By moving the ball inside, the defense instinctively colla- pses towards the ball and, therefore, loses its outside aggressiveness. When the offensive player receives the ball in the right low-post position (diagr. 2), he must first see all his four teammates (for the possible swing pass), but he also has time and space for playing one- on-one. Let's now review a very important aspect concerning offensive player positioning. If they face the defenders and start to move or cut in certain directions, it is easier for the de- fenders to see them and move to guard them. However, if the offensive players stay inside the lane behind the defenders, the defenders cannot see what's happening, and they must turn their heads. The offensive player has the advantage. It is now easier to pop out. With less distance to cover, shooting position is better and a shot can quickly be taken. Many successful teams put three or four players near the basket and then have them pop out to receive a pass from the point guard, who penetrates and dishes off the ball. If the de- fender does not see where the ball is, the of- fensive player can easily make a flash cut in an open area and punish the defender for his mistake. I would like to underline an important techni- cal and tactical point against the zone defen- se, and that concerns faking passes. In Euro- pe, we should use more fakes in our game and use all kinds of them. In this aspect, Ame- rican basketball is far ahead of us. They also are more aware of the fake pass when they are on defense. You can see that when an American player is in the balanced, low de- fensive stance, his head is moving constantly, always active. By contrast, you see European players with their upper body erect, stiff and firm, and their heads are not moving as much as their American counterparts. The last element on zone offense is not a te- chnical aspect, but, rather, a psychological one. You must emphasize the psychological aspect of the game, convincing your players that a basket made against the zone is the reward, a product of the fine effort of the who- le team as a unit. The shooter must be sure that his shot will go in, while the other four players think that he will miss the shot and move very aggressively to get the offensive rebound. The early start for the offensive rebound be- gins when the ball, still in the hands of a shoo- ter, reaches the level of his chin. During the lif- ting action, and immediately before the shot is actually released, the offensive players should be moving if for a possible rebound. Statistical data and video evidence, together with other "live" observations, clearly show that 90 percent of teams and players go for a rebound when the ball is actually released from the shooter's hand and is going towards the basket. However, it is too late at this point to go for the rebound. I think you would ac- tually be better off running back to play defen- se because you will never get to the ball. FIRSTZONE OFFENSE I will now review three types of zone offenses based on the evaluation of our own team's skills and those of the opposing team. From this analysis, we can see whether we have the advantage with our big and small players. The offense that I am going to introduce is that one I started to use many years ago with Jugoplastika Split. I have continued to work on it ever since, refining it to meet the needs of my teams. If you want to execute it succes- sfully, you must have very quick players on the perimeter, where the defense is really ac- tive and aggressive. The players really like this offense, because it gives them more free- dom to decide when to play one-on-one and use their dribble penetration. In many techni- cal books, it is said that the ball should be mo- EV\Z&%- ved using the pass when playing a zone de- fense. This offense is exactly just the oppo- site: We simply leave the perimeter area empty and we don't put any high post players in. This forces the defense to start playing man-to-man. We don't use a player to jam the offense in the free-throw area, but we pass the ball to one side of the court (the right side, in this example), and quickly make a flash cut into the three-second lane (diagr. 3). The point guard asks for the ball while he is in the lane and then he pops out on the sa- me side. 2, the player, who received the entry pass, waits to see whether the first line defender of the zone comes out towards him, and if there is a chance to pass the ball to the cut- ter. If he cannot pass the ball to 1, 2 dribbles hard toward the defender, breaks into the three-second lane (diagr. 4), opens the pas- sing lines and, based on the reaction of the defenders, dishes the ball to an open team- mate. When 2 penetrates in the lane, we ha- ve a rule for the centers: if 2 penetrates dia- gonally, 4, the center opposite to the drive, cuts inside, while 5, the center on the same side of the drive, fades out (diagr. 5). If the offense is run from the other side, everything is reversed. 4, who cuts in the la- ne, could be covered, but 5, who has faded away, can be open. If nothing happens, 2 can also start the offense on the left side of the court, with a pass from 1 to 3, and then from 3 to 4 (diagr. 6). At the same time, we set a back screen on the weakside with 5, who screens X2. 4 swings the ball to 2, and 2 to 1. If X3, the defender on the back line of the zone, comes high to help, 1 passes to 3, who can shoot. When this happens, all the offensive players go hard for the offensive rebound (diagr. 7). This means we run the action on the opposite side from where we started the offense. We can also make a "decoy" play: 1 pas- ses the ball to 2, and cuts in the corner on the ball side. However, this is not where we want to shoot (diagr. 8). We want, in fact, to have 4 make a back screen on the weakside for 3, our best shooter, who is closely guarded by X1. On the pass from 1 to 2, 3 spots up, going in the opposite di- rection of the ball. He receives a back screen from 4, and 2 passes the ball to 3. When 2 passes the ball to 3, X4 comes out to guard 3. In this moment, we have crea- ted a miss-match, with a small player against the big tall player outside, away from the basket: 3 can also pass the ball to 4 (diagr. 9). To execute this play pro- perly, you need to have good inside and outside players. If the perimeter defen- ders X1, X2, and X3 are faster than my of- fensive players, I do not run this offense. Another extremely important point of emphasis on the zone offense-but for any offense, for that matter-is to always receive the ball with the hands and body in a posi- tion where you are ready to shoot: the hands are not brought down; you are looking at the basket, prepared to launch a shot. SECOND ZONE OFFENSE This zone offense is based on having good big players in different positions: a big small forward, a skilled power forward, and an ex- cellent center. We generally use this play when we think we are stronger under the D.6 D.7 D.8 D.9 D.11 D.10 D.12 D.13 D.14 FIBA EUROPE OFFENSE EV\Z&%. basket than the opposing team. Here's how we run this zone offense (diagr. 10): 1 drib- bles to the lateral wing, where we don't ha- ve a big player on the low post, and this is a signal for 4 to run quickly in the low post po- sition, attack the defender of the last line of the zone, turn and seal him off. At the same time, 3, who was near the corner of the free- throw area, jumps out to the three-point line to receive and shoot, while 5 flashes to the high-post area, outside of the lane. The ball goes from 1 to 3, and from 3 to 5. At the same time, the two small perimeter players, 2 and 1, run down to the baseline (diagr. 11). In this way we can play three-on-three: 5 can pass to 2 or 1 in the corner, or pass di- rectly to 4, who ducks in the lane, or makes an high cut, and then a cut to the basket. 5 can also pass to 2 in the corner, and then cut to the basket and receive the ball from 2, a "give-and-go" (diagr. 12). The guards, 1 and 2, can punish the defenders if they cheat on defense: if the small defensive players come high to help, 1 or 2 can have an open shot. On every reversal pass from one side to the other side of the half court, from 1 to 2 or vi- ce-versa (diagr. 13), we automatically make a double screen on the other side. As soon as the ball is in the hands of an offensive player in the corner after a reversal pass, the low post on the side of the ball comes out of the lane, and goes to the perimeter. In the meantime, the guard on the ball side spots up on the weak side of the court. 1 passes the ball to 4 and cuts on the baseli- ne. 4 passes to 3, and 3 to 1 (diagr. 14). This is how we utilize double screens and stag- gered screens against the zone defense. If this offensive action doesn't work, the ball should be reversed as quickly as possible from one side to the other of the half court. 1 passes to 3, 3 to 4 and from 4 to 2, who has cut to the opposite corner. We then play pick-and-roll, a two-on-two (diagr. 15). He- re, we simply force the defense to switch from zone to a man-to-man defense. THIRD ZONE OFFENSE The third zone offense is based on playing both an inside and outside game. Our pri- mary objective is to overload one side of the zone defense, intentionally leaving our best player on the weak side, opposite to the overload. The offensive set is a one-four spread high (diagr. 16): we have two sides where we can start the play, the right and the left side. 1 passes to the right, in this ca- se to 2, 5 goes down in the low post area and aggressively seals his defender. At the same time, 3 drops down to the baseline, cutting D.16 D.15 D.17 D.18 D.19 EV\Z&&% FIBA EUROPE OFFENSE on the baseline. 5, with his hands up and his elbows locked, asks for the ball. If he does not receive the ball, he puts his arms down low, the pre-agreed signal that he does not want the ball anymore. 5 sets the screen for 3, who goes out of the lane, and recei- ves the ball from 2 (diagr. 17). After the screen, 5 rolls quickly to the cor- ner and receives the ball-but only if he is alone. Otherwise, 1 can pass also to 4 and, in this case, 1 goes straight down in the deep corner (diagr. 18). In the right deep corner, a back screen is set on X2, a very hard play to defend. 3 makes a back- screen for 2, 2 exchanges the position hi- gh-low with 3, and cuts down outside to the deep corner (diagr. 19). If there is con- fusion between the two defenders X2 and X3, regarding who should switch, fight th- rough the screen, or help on the screen, 3 will immediately make a pass to 4. Instead, if 3 is free, he can shoot, or pass to 1 in the right, deep corner for a possible unconte- sted shot. 3 keeps the same position on the side, and 4 drops down towards the baseli- ne; 5 flashes up to the high-post position, and we have the side overload with four players, while the fifth player is on the op- posite side of the floor. We now have a second option (diagr. 20, 21 and 22). 5, after setting the screen for 3, goes to the mid-post position, receives the ball from 2, and, while 5 has the ball: we want 2 to cut to the middle, and then 3 cuts in the low-post position. The defense colla- pses, covering the two cutters with two de- fenders. The defense must change this set, if not, the center receives the ball and simply dunks or makes a lay-up. Nothing changes if the entry pass goes di- rectly to 4 (diagr. 23): 1 gives the ball to 4, 5 drops down to the right side, low-post posi- tion, and 3 attacks the baseline. 1 can cut in the lane as the third cutter. In this case, we will overload with 3 and 1, with only one player outside. This is 2, the shooting guard. D.21 D.20 D.22 D.23 EV\Z&&& FIBA EUROPE by Sergio Scariolo OFFENSE Sergio Scariolo won the World Title with the Italian Military Army National team in 1985, an Italian National Championship with Scavolini Pesaro, and the award as the Coach of the Year in 1990. He also coached Desio and Fortitudo Bologna in the Italian Division I. While coaching in Spain, he won a King's Cup with Tau Vitoria in 1999, a championship with Real Madrid in 2000, as well as the Coach of the Year and a King's Cup with Malaga in 2005. Throughout my career as an head coach at the professional level, I've always used a "3 outsi- de/2 inside" offensive set up. The main reason for playing this way came from having very perimeter-oriented guards and forwards (and most of the time a "2-3" at the "3" spot) and I felt we needed two solid inside players at the 4 and 5 positions. In the 2000-2001 season, my second with Real Madrid, we had a very powerful small forward, Marko Milic, who was very effective close to the basket. We also had two of the four big men, Jiri Zidek and Iker Iturbe. That team reached both the ACB, the Spanish First Division, and the King's Cup Finals, finally losing to F.C. Barcelona, headed by the great Pau Gasol. My feeling was that we had played a very nice game, possibly the best ever played by a team that I had coached. Landing at Mlaga, one of the things that sur- prised me the most was the poor spacing of the players in the man-to-man offense: the ten- dency of the small and big forward and the center was to play as near as they could to the basket. Unfortunately, this made it much easier for the opponent to sag, help, recover, and rota- te without giving up a big advantage to the offense. THE 3 OUTSIDE - 2 INSIDE OFFENSE D.2 D.1 EV\Z&&' FIBA EUROPE OFFENSE D.7 D.6 D.9 D.10 D.8 What the team was doing was not making use of a part of the court that is difficult for even the best defensive teams to cover: the corner. One of my first decisions, after a couple of weeks of working with the players, was to move our 4 (Larry Lewis and Germn Gabriel) farther from the basket, first to the high post area, then strai- ght out of the three-point line. My goals were three: 1. Widen distances for the defensive rota- tions. 2. Clear space for the penetrations of 1 and 3, and increase post-up plays. 3. Make dish-off passes easier for the pene- trator, and having three targets that are more visible on the perimeter instead of two (diagr. 1 and 2). A few lines above, I've underlined the word "spacing," since I consider that this is the key to the perennial war between defense and offen- D.5 D.4 D.3 EV\Z&&( se: when the "D" is able to force the "O" to use a limited part of the court (e.g.: a quarter of court), it is likely the winner of the war. However, when the offense learns how to use the whole court, going straight to the corners, odds are very high on the possibility of scoring a basket or drawing a foul. What do we need in order to play a "4 outside/1 inside" offensive system? 1. A good power forward, skilful in handling the ball while facing the basket. He needs an acceptable shooting range and, even more important, he has to be able to read the different defensive reactions and make quick appropriate decisions. 2. Two players, among the other four (1, 2, 3 and 5), who can effectively play in the low post, scoring or creating scoring opportuni- ties for teammates. 3. Patience: Everybody must know what makes a good shot. It comes from skill, the particular moment of the offensive pos- session, the particular moment of the game, and the defensive reaction. They must understand that they will need to give up good shots to generate (with a quick pass or with second and third pene- trations) a better one for a teammate. This is the unselfish, correct choice (diagr. 3, 4, 5, and 6). 4. Movement without the ball: Every ball move requires a re-adjustment of the correct spacing into the court. It is necessary to keep the same distance between the four perimeter players (diagr. 7 and 8). What are the general rules of our offensive system? 1. I want to open the court, use the entire offensive half-court, while not forgetting the corners. I also want correct spacing during the entire offensive possession, fil- ling these four spots on the court. 2. 5 must stay as close to the basket as he can: He never must go toward the ball during a penetration, keeping himself ready to finish a penetrate-and-dish play, if his man helps (diagr. 9), or neutralize the rota- tion of the defensive player with a screen (diagr. 10). If somebody else is playing in the low post, his job will be the same. 3. When a penetrator passes out, he will quickly run to a corner on the side where there is only one teammate, in case of a middle penetration (diagr. 11), always on the side where he passed the ball, in case of baseline penetration (diagr. 12). In both cases, teammates, who reacted to his penetration going below the ball line, will re-adjust their spacing, clearing the area where he will end up. A priority is to pass the ball back to him, since he will be open most of the time (diagr. 13). 4. The power forward 4, who happens to be in a perimeter position without a clear D.11 D.12 D.13 D.14 D.15 D.16 D.17 D.18 D.19 D.20 EV\Z&&) FIBA EUROPE OFFENSE advantage to shoot or penetrate, will not stop or slow down the ball circulation. Instead, he will offer a dribble hand-off to one of two teammates next to him on the perimeter, playing a kind of dynamic pick- and-roll (diagr. 14). 5. When the low post is passed the ball, the passer will choose, according to his physical and technical skills, between cutting (diagr. 15) or screening (diagr. 16). 4 will always screen and pop out, making sure he does not bring his defensive big man too close to the low post. His position, during the low post one-on-one, will be the top of the key (diagr. 17). No one is allowed to cross the free- throw line extension, with the only exception being if there is a double team on the low post (diagr. 18). 6. Either 5 or 4 can set a pick for the man with the ball (diagr. 19 and 20). If the defense wants to help from the middle or trap, the first goal of the man with the ball is to get rid of it as soon as he can. If 5 sets the pick, he'll roll to the basket as fast as he can. We'll try to hit him from 4 (diagr. 21), whose next look will be to the corners, in order to punish possible helps (diagr. 22 and 23). If 4 can't shoot or penetrate, or pass to 5 or to the corners, he won't stop the flow of the offense, continuing with a dribble hand-off to one of the closest perimeter players (diagr. 24). If 4 sets the pick, we'll clear out to allow a pick-and-pop move (diagr. 25), or to beat the X5/X4 rotation with a pass underneath to 5 (diagr. 26). If the defen- se forces a player to the baseline, and 5 sets the pick, he will change his screening angle, and roll to the basket (diagr. 27). The man with the ball could shoot, or attack X5's help with a baseline penetration (diagr. 28). If 4 sets the pick, he will pop in the backcourt to shoot, penetrate, or play a dribble hand-off (diagr. 29). Other options we've used have been the re-pick (screening the second time and popping out laterally) and the middle- pop, with a hand-off (diagr. 30) or back-door (diagr. 31). 7. In our set plays, we always want to give our 4 a double possibility. He can cut down for a post-up move, or come high to face the basket out of the three-point line, either in a shuffle cut (diagr. 32) or in a box-to-box pick (diagr. 33 and 34). In the pop-out option, it is necessary that 5 follows 4's move with a strong cut inside. This way he will punish the defense for the very common switch that the defender will presumably run (diagr. 35). Finally, we prefer to have our perimeter player 4 screening first in the low staggered screens. This will allow a quick reaction to the opposite side in case of help (diagr. 36 e 37). At the opposite, we like to have our 4 become the second screener in the high staggered screens, making 4 pop out wide open if his man helps (diagr. 38). D.21 D.23 D.26 D.27 D.22 D.28 D.25 D.29 D.24 D.30 EV\Z&&* D.31 D.33 D.35 D.36 D.32 D.37 D.38 D.34 EV\Z&&+ FIBA EUROPE Lute Olson is one of the best American university coaches. He coached at Long Beach State and Iowa, and for more than 20 years at the University of Arizona. He reached the Final Four four times and won the NCAA title in 1997. He coached the U.S. Men's National team that won the FIBA World Cham- pionship in 1986. He was inducted in the Naismith Basketball Hall of Fame in 2002. After ending his collegiate career se- ven years ago, Josh Pastner joined the University of Arizona staff as video scouting and recruiting coordinator. He has served as assistant coach sin- ce 2003. POST STEP-IN OPTION The set is a one-four, with two high po- sts, 4 and 5. 1 passes to 5 and 3, the wing on the ball side, sets his defender up, and then goes backdoor (diagr. 1). 5 first looks to pass to 3 on the back- door cut, and, if he cannot deliver the ball to 3, 5 can shoot if his defender is off him and tries to help on 3. If none of t hese t wo opt i ons are possi bl e, 5 makes a strong dribble to the center of the free-throw area. At this point, 2, the offside wing, comes toward 5 to recei- ve the ball on a dribble hand-off pass (di agr. 2). 5 can ei ther pass to 2, or looking to pass to the other post, 4, who is ducking in the lane, and sealing his defender (diagr. 3). On the initial pass to 5, 4, the other po- st, slides down to the low post position, OFFENSE by Lute Olson by Josh Pastner ARIZONA HIGH POST SERIES EV\Z&&, D.1 D.2 D.3 D.4 D.5 and sets a cross screen for the wing, 3, who had gone backdoor (see diagr. 1). 5 can also pass to 3, who came out of the screen of 4. POST WING OPEN SIDE OF THE COURT The play starts as before (diagr. 4). The only difference is that 5 takes his defender off the first pass. Once 3 goes through with the backdoor cut, the ball side of the court will be clear, and 5 can play one-on-one and go to the basket (diagr. 5). EV\Z&&- GUARD DRIBBLE HAND-OFF OPTION Once again, the start of the play is the same as before (diagr. 6). In this case, 5 completes the hand-off pass with 2, the offside guard. This action frees up the back side of the court, so 2 can drive straight to the basket or kick out the ball to 1 in the corner (diagr. 7). This type of action becomes ideal in al- lowing 2 to come free off the hand-off pass, or get swi t ched t o a bi g post player. The key to good execution is the timing of the offside guard cut. The cut should not be made until the post puts the ball on the floor. This guarantees that the back door cut and the step in have had the proper ti me to develop. If the de- fender plays for the hand-off pass and cheat s, t he guard can back cut down t he t hree-second lane (see diagr. 7). 2 can dri ve t o t he basket, cutting insi- de or outside 5, and can pass to 4, who ducked in the lane (diagr. 8). Note: Obviously all of these plays can be run on either si- de of the court, and with the posts and peri met er pl ayers moved t o mat ch your personnel strengths. OPTION FOR THE BEST SHOOTER The fi rst opti on of this play is for 2, the best shooter. If 2 is aggressively over- pl ayed, 1 dri bbl es toward him. This is a signal for 2, who brings his defender down and then goes opposi t e t he bal l and get s a f l are screen by 5 (diagr. 9) : The key i ngre- di ent for the suc- cess of this play is for 2 to bring his defender deep enough to correctly set up the flare screen. Once 2 receives the ball, he has several options: He can pass to 4, fake a cut in the th- ree-second lane, use the screen of 5, receive the ball from 4, and shoot (diagr. 10). If he cannot shoot, he can pass to 3, who took his defender under the ba- sket, and then circled back for the post up. He can pass to 1, who brought his defender down, and then received a staggered screen, the first from 4, and the second from 5 (diagr. 11). Other options for this play include: D.6 D.7 D.8 D.9 FIBA EUROPE OFFENSE If 2 passes to the post, 4, he can fake a straight cut, then go off the ball si- de, recei ve a hand-of f pass and shoot. After the hand off, if 2 cannot shoot immediately, he can go on the left wing spot to play one-on-one in the open court. While 4 clears out, and goes to the mi ddl e of the court, 1 cuts away from the ball, and recei- ves a staggered screen, the fi rst from 3, and the second from 5 (diagr. 13). If 2 cannot shoot from the wing spot, he can pass to 4, and 4 to 1, who co- mes out off the staggered screen, or to 3, who, after the screen for 1, cuts in the three-second lane, and goes in the low post position (diagr. 14). EV\Z&&. D.11 D.10 D.12 D.13 D.14 EV\Z&'% FIBA EUROPE by Roy Williams by C.B. McGrath OFFENSE Roy Williams in one of the best college coaches in the United States. He was the assistant coach of Dean Smith at the University of North Carolina from 1978 to 1988, and then head coach of the University of Kansas, where he reached the NCAA Final Four four times, moving to the NCAA final in 2003. He was named Coach of the Year four times. For the past two seasons he has coached the University of North Carolina, winning the NCAA title in the 2004-05 season. He was assistant coach of the US National Team at the University Games in Germany, and held the same post at the 2004 Olympic Games. C. B. McGrath has been with Roy Williams during his basketball career, first as a player, and then as a coach. He was assistant coach at Kansas for four years and for the past two years he has been the assistant at the University of North Carolina. THE SECONDARY FASTBREAKOF NORTH CAROLINA EV\Z&'& FIBA EUROPE OFFENSE Our team was comprised of very fast players. All of them, and that includes the big men, were able to run a fast- break. For this reason, we based our offense on the primary and secondary fastbreak. This allowed us to have the most prolific offense in the NCAA this year (89.3 points scored per game, 33 wins and 4 losses), helping us win the NCAA title. Our goal is to move the ball on offense as quickly as possible, scoring a basket with our primary fastbreak. However, if two or more defenders reco- ver, we then play a secondary fastbreak that we use with every ball possession, including after all missed shots or after a basket has been made by the opponent. There are two fastbreak situations that we are going to describe: Regular secondary fastbreak Dribbling secondary fastbreak REGULAR SECONDARY FASTBREAK After the opponent scores a basket, 4, the big forward, takes the ball out-of-bounds and passes to 1, the point guard, while 2 and 3, the guard and the small forward, run near the sidelines. 5, the post, runs on the central lane of the court and goes under the basket in the low-post position on the ball side. 4, who rebounded or made the out-of-bound pass, is the trailer. He runs the central lane and stops out near the three-point line (diagr. 1). 1 quickly goes on offense and can dribble on either side of the court (the right side in this example). If his teammate on the wing, 2 in this case, is not guarded, 1 passes the ball to him, or he can pass to 4, the trailer. 4 tries to play high-low with 5, the post. If this solution is not possible, 4 reverses the ball and passes to 3, the wing on the D.5 D.4 D.3 NAME HEIGHT POSITION Starting Five Raymond Felton m.1,85 Guard Jackie Manuel m.1,96 Guard/forward Sean May m.2,05 Center/forward Rashad McCants m.1,93 Guard/forward Jawad Williams m.2,05 Forward Top Reserves Melvin Scott m.1,85 Guard Marvin Williams m.2,04 Forward David Noel m.1,98 Guard/forward Quentin Thomas m.1,90 Guard Reyshawn Terry m.2,02 Forward D.2 D.1 D.6 EV\Z&'' D.11 D.12 D.13 D.7 D.9 D.10 D.8 EV\Z&'( FIBA EUROPE OFFENSE weakside. With the pass from 4 to 3 (diagr. 2), 5 cuts to the lane and goes in a low post position on the other side of the court: 5 is always our first option for the secondary fastbreak. When the ball arrives to 3 and 3 cannot pass it to 5, 2, the player on the wing, fakes to cut into the lane and then comes high for a back screen, out of the lane, for 4. 3 tries to make a lob pass to 4 and, if he cannot do it, 3 passes to 2, who, after the backscreen, is open (diagr. 3). If 4 does not receive the ball on the lob pass, he continues his cut to the lane and makes a screen for the low post 5. 5 uses the screen of 4 on the low side of the screen. 2 can pass to 5 or to 4, who is open, after the screen (diagr. 4). If it is not possi- ble to pass the ball into the lane, 2 passes to any of his teammates who are not guar- ded on the perimeter. This starts our motion offense (diagr. 5). DRIBBLING SECONDARY FASTBREAK The fastbreak starts after a basket is sco- red by the opponent or after a defensive rebound. 4 takes the ball to inbound it or, if he rebounds, passes to 1, 2. or 3, who run on the lanes near the sidelines. 5 runs on the central lane to go under the basket, in a low-post position on the ball side, while 4 is the trailer and sets himself up out at the three-point line, in the middle of the half court. In this fastbreak, 1 starts to dribble laterally (on the right side of the court, in this example), and then dribbles diagonally to get to the opposite side (diagr. 6 and 7). 3, this time, is at the corner, and 2 is on the wing. 1 tries to pass the ball to 4, but, in this case, the defense overplays the pass and keeps the ball from being reversed. 4 then makes a screen on the ball for 1, who drib- bles to the opposite side. At the same time, 5 cuts into the lane to go to the low post position on the other side (diagr. 8). 1 tries to pass to 5 cutting into the lane, while 3 fakes to cut into the lane and then makes a back screen for 4, who cuts to the basket and tries to receive a lob pass from 1. If 4 does not receive the pass, he goes to the low-post position on the same side of the screen (diagr. 9). After the screen, 3 pops out, receives the ball, and dribbles to the wing, while 5 comes to the high-post position in the free throw area. 3 tries to pass the ball to 4 in the low post (diagr. 10). On this movement, 1 screens for 2, who comes high (diagr. 11). If there is no solu- tion, we start our motion offense. EV\Z&') SECONDARY FASTBREAK WITH A REVERSE PASS Starting from the dribbling secondary fast- break (see diagr. 6 and 7), 1 passes to 4 and 4 tries to pass to 2. However, in this parti- cular case, 2 cannot receive the ball because he is overplayed, so 4 passes back the ball to 1 (diagr. 12). 3, who had faked a cut into the lane, comes high and makes a screen for 4, who goes in a low-post position. 5 does not fol- low the ball as he did in the previous play (diagr. 13). 1 tries to pass directly to 4 on the cut or when he is in the low-post position, while 3, after the screen, goes to the corner on the other side (diagr. 14). 5 comes high to the free-throw area, while 2 screens for 3 (diagr. 15). 1 tries to pass to 5 in the free-throw area, and 5 can pass to 4 in a low-post position, or to 3, who came out from the screen of 2 (diagr. 16). D.14 D.15 D.16 EV\Z&'* FIBA EUROPE Moncho Lopez coached Gijon (Spain) from 1998 to 2002, then he was assistant coach of the Spanish National Team at the FIBA World Championship in Indianapolis. In 2002 he beca- me head coach, winning the silver medal at the 2003 FIBAEuropean Championship. He now is the head coach of Leche Rio Breogan Lugo. The problem a coach faces is how to have the players take advantage of the offensive plays. They do not play based on the reaction of a cer- tain move of the defense, but more on a whim of the offensive player. I agree that a team should have a particular set offensive philosophy. Nonetheless, I prefer to adopt a base that uses easy or complex concepts, chosen by the coach and adapted to the individual skills of his players and the structure of the team. I call this philo- sophy "offensive basic play by concepts". When a coach chooses one, a very important factor is the team's talent level: simple concepts for players with low technical levels, higher and more structured concepts for a team with supe- rior technical-tactical skills. My experience has been to apply easy concepts. This is useful for developing individual fundamentals and game comprehension. I want this basic play to be dominant in all stages of the offensive sets: fast- break, transition, and the halfcourt game. The dif- ferent offensive plays are optimized, thanks to the use of these offensive concepts. Finally, our goal is to create different shooting possibilities, using the various offensive team movements. A) INSIDE GAME The first goal is to use a player at the medium post as the receiver. The player chosen will be an offensive point of reference and all the plays will start from him and will be developed using the game concepts previously decided upon. Free game to define the entry side of the play Pass: The side where the play starts is defi- ned by a pass. The perimeter players will be set on the court to create different options for receiving the ball, using players in a medium post position as a pick (diagr. 1). "Jam": The playmaker dribbles to one side, defining with his movement the medium post chosen as a first game option. The perimeter player on the strong side cuts to the opposite side, while another perimeter player goes to the central lane of the court to replace the playmaker. The center on the other side of the court comes to the high- post position (diagr. 2). This is the option I prefer, but 4 has to be a very good shooter. Starting option with a pass inside We put a player in the medium post position; he does not have to be the center (diagr. 3). The passer has three options: pass and cut, pass and pick, pass and go away (diagr. 4). The "pass and cut" option is maybe the worst one, because the position of the two posts creates a lack of space for the cutter to take advantage of the situation. I prefer the "pass and go away" concept. We want to clear out the lane, so the other center comes high: he can decide to play in a high- post position or go outside of the three-point line (diagr. 5). We can also use an alignment with four perimeter players and cheat with the defense for a possible pass to 5. The "pass and pick": This is used to distract the defense, but, especially, as a tactic to leave 4 unguarded, so he can be a threat under the basket. He should be positioned facing the basket (diagr. 6). Backscreen: We use this screen in all the situations when the center on the other side comes high. He does this before the move of the perimeter players in the middle of the court, even if the playmaker waits to decide where to make the entry pass (diagr. 7). B) BALLINSIDE Rules for movement without the ball Cheating on the strong side: the passer moves where he can be an offensive threat and receive a pass and shoot (diagr. 8). Cheating on the helpside: The center deci- des to go outside or to cut to the basket. If he is a shooter or not, or by the defensive reac- tion, 4 has two options: he can get outside or else make a strong cut inside the lane. If the center cuts, the outside players repla- ce him in the middle or on the side the court, depending on the position of 4 (diagr. 9). If 4 gets open, the perimeter players cut behind the defense from the helpside. The goal is to get an advantage from the cuts, or keep the defenders busy on the help side (diagr. 10). When the high post is not a threat from out- side, we use the concept of the inside cut. by Moncho Lopez OFFENSE PLAYING BYCONCEPTS D.2 D.1 D.4 D.5 D.3 EV\Z&'+ FIBA EUROP This cut can also be done, based on the help position of the high posts defender; we make a strong cut behind him to receive the ball and bring him away from the help position (diagr. 11). The passer does not cut from the strong side, with these exceptions: a) 2 cuts behind his defender; b) 2 cuts, because the center has received with his feet outside the lane and needs space for playing one-on-one (diagr. 12). The medium post goes outside to receive the ball: in this case, 2 has space to play a "pass and cut" (diagr. 13). The cut of 2 is also useful to clear out this side of the floor for the one-on-one of 4. If the passer is a power forward (3), he can cut, because it will not be easy for him to move on the strong side, and because he would jam the space of the post player, who received the ball. If 3 decides to cut, a perimeter player from the other side of the court replaces him, balancing out the offensive positions (diagr. 14). After the cut of 3, we take the advantage of having the ball in the post area, using the rever- sal of the ball and passing triangle (diagr. 15). Inside - outside play Inside-outside and cut / get open. If there is a pass in the middle lane of the court, the center tries to play a "pass and cut" inside the lane to receive the ball (diagr. 16). A center who has the skills to play in front of the basket can play a "pass and get out of the lane," against a taller and slower defender (diagr. 17). Inside - outside and repositioning The center passes outside and uses the momentary relaxation of his defender to gain space inside and receive again (diagr. 18). Inside - outside plus a direct pick: under and over the free-throw line extension Depending on the position of the perimeter player, who receives the ball outside, under or over the extension of the free-throw line, we bring a pick on the ball with a certain angle. When the perimeter player receives under the free-throw line extension, the center quickly comes out to pick the defender of the perimeter player, who is recovering on the offensive player who received the ball (diagr. 19). When the perimeter player receives the ball over the free-throw line extension, the center makes a high pick so that the dribbler can drive toward the baseline (diagr. 20). C) HIGH POSTWITH THE BALL Drive to the basket The post can receive the ball from outside or inside. If the center received in the high post position, he can go to the basket in different ways: shoo- ting from the post, shooting from the three-point line, or driving to the basket (diagr. 21). Passing triangle: short / large Short Triangle When 4 receives in the high-post position from a D.7 D.6 D.9 D.10 D.8 D.12 D.11 D.14 D.15 D.13 EV\Z&', FIBA EUROPE OFFENSE D.16 D.21 D.22 D.23 D.25 D.26 D.27 D.24 D.17 D.19 D.20 D.18 perimeter player or from the low post, this situa- tion can create a passing lane for 5 and a high- low game between the two centers (diagr. 22). Large Triangle If there is not a direct game of high-low between the two centers, 4 will read the defensive position and will make a reversal pass to the other cor- ner, creating a passing lane for 5 (diagr. 23). Reverse and three game options: cut /pick on the ball/pick away from the ball When the perimeter player receives from the high post with a skip pass, the high post has three options: 1. If he has an advantage, after a rotation or a defensive recover: he plays a "pass and cut" and goes to the medium post (diagr. 24). 2. If the center, who received the ball is not a good shooter: he can play a "pass and make a screen away from the ball," especially if the low post, who is screened, is a good shooter (diagr. 25). 3. 4, as well as 5, can directly attack the defender: by reversing the ball and coming quickly out from the lane to put a screen on the ball (diagr. 25). When 4 reverses the ball and picks on the teammate with the ball, the perimeter player on the ball side cuts to the other side of the court to clear out for 4, who can pick and fade away, or else roll to the basket. EV\Z&'- FIBA EUROPE by Gordon McLeod OFFENSE Gordon McLeod is the manager, coach, and Director of Player Development of the New Zealand Basketball Federation. He was coach of the Australian Junior Men's team and also coach of West Sydney Razorbacks, the senior professional men's team of the National Basketball League (NBL), the Au- stralian top league. OUR PHILOSOPHY Our fastbreak and transition philosophy was made up of two components: 1. Our fastbreak was triggered by our defen- sive intensity and we wanted to run the fastbreak at every opportunity. 2. Control the tempo of the game by incorpo- rating a structured offensive secondary break, which we called "transition." PERSONNEL The athleticism and mobility of our team and, especially, in the frontcourt, as well as our combined scoring ability in all positions, was an integral ingredient in evolving this transi- tion system or secondary break. THE FASTBREAK 1. There was no "magic" drills or formulas. 2. Our fastbreak was triggered by our defen- sive intensity. 3. We worked hard on developing a "fast- break mentality." 4. Our main rule: if the defense gets three or more players back, then we would go into our secondary break (transition). 5. Basic core of drills used: One-on-one, full court. Two-on-one, full court; two-on-one, plus one. Two-on-one, full court. Three-on-one, full court; three-on-two plus one. 6. The basic fundamental fastbreak princi- ples were emphasized in these drills. 7. The following drills shown have evolved with the program. DRILL ONE Two-on-one, half court Teaching points: two offensive players play against one defender (diagr. 1). One-on-one, full court Defensive pressure: the defender goes on offense versus the two former offensi- ve players (diagr. 2). Two-on-one, full court Fastbreak: then the offensi ve pl ayer goes on defense and plays two-on-one (diagr. 3). DRILL TWO Same procedure as before, but now three- on-one, half court Teaching points (diagr. 4). Two-on-one, full court Offensive versus defensive pressure (diagr. 5). Three-on-one, full court Fastbreak (diagr. 6). THE TRANSITION (SECONDARY BREAK) The secondary break was in three phases: Early - power the post. Middle - flex cut and shuffle cut. Late - staggered screens into motion. The following plays were used in the secon- dary break: Post-up flex cut. Post-up shuffle cut. Pressure releases - dribble "push 2", drib- ble "push 4" and backdoors. Delay. I will only detail the first two points in this ar- ticle. When teaching, we used the whole- part-whole method. To convert our players from defense to of- fense, we used a "numbered full court transi- tion": 1 advances the ball down either side, preferably with a pass; 2 and 3 fill the outside lanes (2 is usually on the right); 5 sprints from the middle of the court to the basket, and then to the block; 4 is the trailer and the safety player. 1, 2, and 3 are interchangea- ble, as are 4 and 5 (diagr. 7). EARLY TRANSITION - POWER THE POST 1 passes to 5, if the defense is behind or 2 and 4 are overplayed. TRANSITION GAME D.2 D.3 D.1 EV\Z&'. 2 passes to 5, if the defense is behind or 4 and 1 are overplayed (diagr. 8). 2 passes to 5 or 1 passes to 5, if 5 beats his man down the court (diagr. 9). 2 skip passes to 3, if 5, 1, and 4 are all over- played. 5 seals his man and receives a pass from 3. 1 skip passes to 3, if 5, 2, and 4 are all overplayed. 5 seals his man and receives a pass from 3 (diagr. 10). MIDDLE TRANSITION - FLEX CUT 1 passes to 4 and 2 sets his man up for a flex cut, or to receive a pass from 4 (diagr. 11). 4 passes to 3, and 2 cuts over the top of 5. 5 cuts off the back of 2 for a possible pass from 3 or 4 (diagr. 12). 4 passes to 3 and 4 holds the cut to see if 5 re- ceives a pass from 3. If not, he cuts or exchan- ges with 1 (diagr. 13). MIDDLE TRANSITION - SHUFFLE CUT 3 passes to 1 and 4 sets his man up to receive a pass from 1. 3 sets his man up for a shuffle cut or an L-cut (diagr. 14). 1 passes to 4 and 3, shuffle or L-cuts off 5. 5 reads the defense and looks for a possible pass from 4. If 5 is not open, he and 1 go down and set a staggered screen for 2, who has set his man up for a cut (diagr. 15). 4 looks for 2, who is coming off the screens. 3 is in the block or in the corner. 1 on skip for a post up for 5. There is a drive to the basket possibility if the passing lanes are overplayed (diagr. 16). LATE TRANSITION 4 passes to 2, who looks for a shot or a pass to 3 or 5 inside. 4, after passing, goes after 3's de- fense (diagr. 17). 2 passes to 1 and goes for 3's defense. 1 looks inside to 5 and then to 3, who is coming off the screens, and then back into 5 for late post up (diagr. 18). 1 passes to 3. Now we are balanced into our "motion," or we can continue our late stagge- red screening action (diagr. 19). POST UP - FLEX CUT 3 looks to post up 2 or 5 off 2's back (diagr. 20). 4 reads 5's defense, cheating off, he fakes a pass to 3 and kicks it back to 1 for post up for 5 (diagr. 21). 3 down screens for 2, then returns to the peri- meter. 4 down screens for 2, then opens to the ball and busts to block. 1 looks inside to 5 early, then to 2 coming off the screens set by 3 and 4; D.4 D.7 D.5 D.6 D.9 D.10 D.8 EV\Z&(% then back inside to 5 late (diagr. 22). 1 passes to 2, and 2 looks for: a shot, for 5, who is sealing inside, for 4, who is ducking in, for 3 or 1 on the perimeter, or to post up 4 or 5 again (diagr. 23). POST UP - SHUFFLE CUT 4 looks to post up 3 or hit 5 for a jumper, if the defense cheats off (diagr. 24). 1 keys on 5's defense cheating off on cut, fakes a pass to 4 and kicks the ball back to 2, to post up 5 (diagr. 25). 4 down screens for 3, then opens to the ball. 1 down screens for 3, then pops out to the perimeter. 2 looks inside to 5 early, then to 3 coming off the screens made by 4 and 1, and then back into 5 late (diagr. 26). 2 passes to 3, and 3 looks for: a shot, for 5 sealing inside, for 4 who is ducking in, for 1 or 2 on the perimeter, or to post up 4 or 5 again (diagr. 27). BREAKDOWN RECOGNITION DRILL We also liked to use a breakdown drill, whi- ch focused on mismatches in different posi- tions on the court. The players are required to use our transition offense or secondary break to go at these mismatches. Drill: Three-on-two fastbreak, to five-on-th- ree transition, to three-on-two fastbreak continuous. FASTBREAK CONTINUOUS Three-on-two fastbreak Players on the same team A play against ea- ch other three-on-two (diagr. 28). Five-on-three: transition 5 players on team A fastbreak three-on-two dri l l . Are now on offense as a team and break into transition at the other end versus three defensive players, who have come in as team B from the halfway line, and are matched up on three nominated offensive players and they only defend those three players. Team A must go at one of those mi- smatched players (diagr. 29). Three-on-two: fastbreak When team B gets the ball, the three players on defense then break three-on-two versus the other two players from their team B, who have come in on defense from the halfway li- ne (diagr. 30). Both teams are now in continuous fastbreak and transition. Only the offense being defended can score. Offense not being defended works on recei- ving, positioning, timing, spacing and pas- sing angles to mismatched players. D.11 D.12 D.13 D.14 D.15 D.16 D.17 D.18 D.19 D.20 FIBA EUROPE OFFENSE EV\Z&(& D.21 D.22 D.25 D.29 D.30 D.23 D.24 D.26 D.27 D.28 EV\Z&(' FIBA EUROPE by Gregg Popovich OFFENSE Gregg Popovich was an assistant coach of the San Antonio Spurs for four years, before he went to the Golden State Warriors in 1992 as an assistant coach. He was named general manager of the San Antonio Spurs in 1994 and became the head coach in 1996. His teams have won three NBA championships (1999, 2003, and 2005), and he was named "NBA Coach of the Year" for his efforts in the 2002-2003 season. Popovich was an assistant coach on the bronze-medal winning U.S. basketball team at the 2004 Olympic Games in Athens. The San Antonio Spurs, the most "inter- national" of the NBA teams, beat the Detroit Pistons in seven games, winning the NBA Championship for the third time in seven years. Tim Duncan won his third MVP title in three different finals, proving that he is the successful leader of the team. Manu Ginobli played a key role for the team, especially helping the team in Game 1 and Game 2. The Argentinean player had lots of offensive punch and a highly effective defense during the Finals, lessening the pressure brought to Duncan and Tony Parker by the Detroit defense. The offensive plays we use have been mostly built on the perimeter and they exploit the skills of Tim Duncan, an all- around player, who is able to play close to the basket, as well as shoot from medium distance. In addition to Duncan, the team is dangerous to our opponents because of the offensive penetrations of Parker and Ginobili, and the precise shooting of Bruce Bowen and Robert Horry. Horry is a special player, extremely lethal during the crucial moments, espe- cially in the Game Five, when he scored the decisive three-point shot that won THE OFFENSIVE SETS OF THE SAN ANTONIO SPURS, NBA CHAMPIONS 2005 the game for us. The three-point shot has been one of the most effective weapons we had against the Pistons, alllowing us to dominate Rasheed Wallace and Ben Wallace, the Detroit Piston players that worked the defensive lanes. Note: In the following diagrams, players are identified by the first letter of their last name. TRANSITION OFFENSE Parker dribbles in the middle zone of the court and passes the ball to Duncan, while Ginobili runs to the right corner and Bowen to the left corner. Parker then sets a pick for Ginobili, who goes to the free- throw line and receives the ball from Duncan to shoot (diagr. 1). Nazr Mohammed, who is the trailer, occu- EV\Z&(( D.2 D.1 pies the left corner of the free-throw line. If Ginobili cannot receive a pass from Duncan, he cuts around Mohammed and gets the ball from Duncan and then they play pick-and-roll (diagr. 2). A second transition attack begins when Parker dribbles to the left corner, where Ginobili is located; this is a sign for Ginobili to go and make a backscreen for Duncan, while Mohammed, sets a pick for Bowen. Duncan receives the ball from Parker (diagr. 3). If Duncan cannot get the ball, Parker passes it to Ginobili, who is out at the three-point line. Ginobili passes the ball to Bowen, while Mohammed, around the baseline, makes a pick for Duncan, who cuts and receives the ball from Bowen (diagr. 4). MAIN SET AGAINST A MAN-TO-MAN DEFENSE Parker dribbles on the left side to Ginobili, who cuts from the lane and goes under the basket; then he comes out to the free- throw line, exploiting a vertical screen from Duncan. At the same time, Bowen makes a double screen with Mohammed on the right side. Parker can then pass the ball to Ginobili (diagr. 5). EV\Z&() FIBA EUROPE OFFENSE If Ginobili can't shoot, Parker cuts to the lane, exploiting the double screen of Bowen and Mohammed. Bowen cuts well around the baseline and goes to the other side of the court. Parker receives from Ginobili and shoots, or he can pass the ball to Mohammed, who's in the low- post position (diagr. 6). If no shot is possible, Ginobili receives a high pick from Duncan and receives the ball from Parker to shoot close to the basket (diagr. 7). OPTION Ginobili, after the pick from Duncan, drib- bles to the right side and passes the ball to Bowen, who had cut on the baseline to go to the corner. He can also play pick- and-roll with Duncan, who had rolled to the basket after the pick (diagr. 8). Another possibility with the starting line- up is that Parker can receive a pick from Duncan out of the lane, while Ginobili cuts on the baseline and exploits the dou- ble screen of Mohammed and Bowen, who, after the pick, cuts and goes to the opposite corner. Parker has two choices: he can exploit the pick of Duncan by drib- bling to the right line and then pass the ball to Ginobili (who can shoot or pass the ball to Mohammed in the low-post posi- tion), or he can dribble to the left side and pass the ball to Bowen. Parker can also pass the ball directly to Duncan, who rol- led to the basket after the pick-and-roll. Whomever receives the ball from Parker (Ginobili or Bowen) can pass the ball to Duncan, who is open to the ball (diagr. 9). LOOP 4 ICE The ball is in Parker's hands and he is on the right side of the court: Bowen comes from the low-post position and exploits the pick from Mohammed, who is in the high-post position on the corner of the free-throw line. He comes out to the three-point line to get the ball and shoot. While Bowen cuts, Ginobili receives a backscreen from Duncan on the other side of the court: Bowen can pass to Ginobili or Duncan, who is ready to receive the ball under the basket after the pick for Ginobili (diagr. 10). If these choices aren't possible, Bowen passes the ball again to Parker, and Parker to Ginobili, who has cut, going to the right corner. He has a large portion of the court open to him to now play one-on-one (diagr. 11). WEDGE ROLL Parker has the ball, Duncan fakes to cut in the lane first, and then he makes a D.4 D.5 D.6 D.3 EV\Z&(* lateral pick to Parker. In the meantime, Ginobili fakes to screen the screener and then he cuts to the lane to receive the ball from Parker (diagr. 12). 15 (RUB TOP HEAD) This is a play that offers the possibility of a three-point shot for three players. We use it when Robert Horry, our three- point specialist, is on the court. Parker receives a high pick in the cen- tral lane of the court from Duncan, while Ginobili, Bowen and Horry are out at the three-point line. Parker exploits the pick of Duncan and can pass the ball to Bowen or to Ginobili in the corners, or to Horry who has come to the middle of the court. Parker can also pass to Duncan, who is ready to receive the ball after the pick (diagr. 13). DOUBLE FIST Also in this play, Parker has the ball during the attack, while Duncan and Horry are in high-post positions on the corner of the free-throw line. Ginobili and Bowen are on the low corners, out at the free-throw line. Duncan, in this case (or Horry), makes a pick for Parker, who exploits the pick and can pass to Ginobili in the corner, to Duncan, who is open to the ball and turns to the basket, or to Horry, who came out to the free- throw line to get the ball. Horry passes to Bowen, who came up to receive the ball (diagr. 14). FLOPPY Parker passes the ball to Duncan, who is on the free-throw line, as Bowen cuts backdoor and goes to the right corner. After the pass, Parker makes a pick for Ginobili, who receives the ball from Duncan to drive to the basket, exploiting the empty space left by Bowen, who has been followed by his direct defender, leaving the left corner of the court free (diagr. 15). STRONG Parker, who is in the left wing, passes the ball to Mohammed, who came up to go to the central position. Mohammed passes the ball to Bowen on the right wing. Ginobili receives two staggered screens, the first one from Parker, the second one from Mohammed, while Duncan cuts to the lane and goes to low-post position in the right corner: Bowen can pass the ball to Ginobili or to Duncan (diagr. 16). D.7 D.11 D.12 D.9 D.10 D.8 D.16 D.14 D.15 D.13 EV\Z&(+ FIBA EUROPE by Zeljko Obradovic OFFENSE Zeljko Obradovic coached Partizan Belgrade (Yugoslavia) in 1991, and then moved on to Badalona and Real Madrid (Spain), and Benetton Treviso (Italy). He has been the head coach of Panathinaikos (Greece) since 1999. Obradovic has also been coach of the Yugoslavian National Team from 1996 to 2000 and, of Serbia and Montenegro, until 2005. With national team, he won two gold medals, the first at the 1998 FIBA World Championship and the second at the 1997 FIBA European Championship. His team won a silver medal at the 1996 Olympic Games and a bronze medal at the 1999 FIBA European Championship. His clubs have won five Euroleague titles, two with Panathinaikos in 2000 and 2002 (and also four Greek Championships), one with Real Madrid in 1995, one with Joventut Badalona in 1994, and one with Partizan Belgrade in 1992. I always try to choose players, who can play one-on-one. The more you have of this type of player on your team, the easier it is to create a variety of offenses. The essence of the offensive game is based on three basic elements: 1. ONE-ON-ONE PLAY If you have a good low post, player who is ready to accept a physical game, then you have the key to success. In the first phase of offense, the ball should be passed to him as soon as possible. It is very important to give him the ball because it will force the defense to work extra hard to keep it away from him, using rotations, switches, and double-tea- ming to prevent this. The defense will then hardly protect: The area around the 45 degrees to the basket. The area around the top of the key, a cen- tral position where offense begins. 2. PICK-AND-ROLL The whole world plays pick-and-roll basket- Half court man-to-man offense EV\Z&(, FIBA EUROPE OFFENSE guards often try hard to receive the ball in the low position, near the base or side line (deep corner) or under the basket, but I think there is nothing worse than this. I ask my players to create an open area or to leave an area as wide as possible in front of them (diagr. 1). Now everything depends on the reaction of the defense, whether it denies the pass to the point guard or it double-teams or overplays on certain spots. To really help your offense, it all starts in the practice sessions that you organize. While you are practicing on offense, your team on defense must play real game-like defense so the players can improve on offense and on defense, and the coach can have proper feedback. In my practice sessions, if I am dealing with offense, my assistant coach is working on the defense and he can stop the action whenever he thinks the defense is making a mistake. I am not interested the name of the player. If he is a superstar or the last of the reserves, they are all the same, all equal. I do expect that they play as hard as possible in practice and do things the way that I want them to be done. If the defense double-teams, 5 goes opposite to 1 to receive the ball. In this option-when you are sure through scouting that the oppo- nent frequently double teams- you can always have your playmaker inbound the ball and have him receive the pass back in the middle of the court (diagr. 2). We spread out our players in a set, so that, after the screen, it results in an easy basket. However, if it comes to switching, 2 or 3 moves to the opposite side, 5 drops down and 4 stays on high post area. The two other shoo- ters stay on the same side (diagr. 3). This is the most frequent case, when our player is clo- sely guarded. Hence, the important thing in this situation is that our offensive shooters must not stay too close to each other, so one defender can easily guard both of them. Instead, they should set a screen (high to low), so the player on the low position is open to receive the pass in the most of the cases. One great play for the shooters can be arran- ged with two centers on the mid (or high) post position. The guards pin screens inside and pop out (diagr. 4). The most common mistake in this situation is that they don't know how to use their feet. Too many times, they are una- ble to sprint out to get open. The player should utilize the set screen, and when approaching it, wait a second, bringing the defender into the screen. The success of the screen itself doesn't depend on the scree- ner, but, really, by the screened. Before he starts to run out, the player must make a short D.5 D.6 D.4 D.3 D.2 D.1 ball, especially when there are few seconds left on the 24-second clock. For me, it is important where the pick-and-roll is run. The best place is at the top of the key or on the side. 3. THE PLAYS FOR SHOOTERS There are many different plays, including the double high post at the foul line, one of the most simplest that everybody plays in Europe on the club level. From this set, there are many possible single and double screens. However, your shooter must be able to set the screen and then to pop out or curl around the screen. You can create a million plays, but everything is based on having players on your team, who know how to move and read the defense, players, who are able to recognize all diffe- rent situations and are able to beat any mismatches that develop. In this play, you will notice that we started from transition and then run a set offense against pressure defense. The ball is in-bounded by the small forward, 3, while 5, the big man and 2, the shooting guard, come across the court. In these situations, the EV\Z&(- step, then fake to catch the ball by showing the "target" hand. After these fakes, the defen- der often reacts by bringing his body up and turning his head towards the ball. At this time, the offensive player will be free and comes out to receive the ball. Depending on how quick the reaction of defense is, whether it follows him or goes under the screen, the offense must read all these reactions becau- se the defense can cheat. This would be the offense to use if the defense presses on the perimeter. The second offense can be the simplest one to use in transition, utilizing the same opening when players reach the perimeter area (diagr. 5). If 5 is guarded in front, 1 will pass and not stay on that spot, but quickly move somewhe- re else. When the ball is passed, the player goes to the other side of the lane, setting the screen on the opposite side. Here is a simple offense where two players are wide, outside the three-point line, and two centers are on the mid/high post, where they should set screens for their teammates (diagr. 6). In this situation, you ought to have a player who is capable to shoot a three pointer or play around the perimeter and thus read the defense all the time, finding the occasion for this shot. In this situation, it is better that a big, tall player makes the initial move to the basket before making the pick-and-roll. Then he should quickly run out and set a proper screen. If he stands in one spot and then makes the pick-and-roll, the defense has enough time to read the offense and react. So it is a good option if centers make a split cut and exchange positions (diagr. 7) and, afterwards, go to set screen. In this play, 5 is probably the player you want to put in the three-second area and 4 is the designated outside shooter, or vice versa. With this set-up, we have reduced our play to three-on-three, but the other two players, possibly good, sharp shooters, are spotted up in the deep corners, ready to shoot (diagr. 8). To keep the defense honest, we will set a screen for an offensive player, whose defen- der is in the helping position (diagr. 9). In this specific situation, when the defense plays really aggressively, I ask my playmaker to run very few simple things, or to overthrow the feed pass down to the low post man, or utilize the pick-and-roll with 5. Why pick-and-roll with 5? Well, there is an immense difference between 1 and 5, speaking of the size of the players, and it pro- bably will not lead to switch. STATIONARYOFFENSE The entry pass is made laterally from 1 to 2. After the pass, 1 is back screened by 5, and goes to the low post (diagr. 10). 2 passes the ball to 5 and runs a hand-off with 5. Simultaneously, 4 screens on 1's defender and 3 back screens for 4, who, after using the screen, returns and opens to the ball (diagr. 11). 5, after the hand-off, stays all the time outside the area. Typically, it happens that a straight pass is made from 2 to the low post 4 after he rolls to the basket. Obviously, this offense is designed for the dominant center, who is strong enough to finish the play. Sometimes, when he cannot receive the ball, we have a very similar situation as before, but the entry pass goes to 1, while 4 has made a preliminary "blind" screen for 5, a move made only to keep the defense honest (diagr. 12). As an option, when 3 sets the screen for 4 and when the defense applies a little bit of help inside, 3 runs out around 5, who is positioned on the high post, ready to shoot for three or two points (diagr.13). Even in this situation, the screen is usually set for the player, who is guarding the first screener. In these situa- tions, it often happens that the screener stays in the screen too long, pushing the defender, instead of trying to do basic things, such as ducking under or going low down in front of the defender for the inside rebounding posi- tion. All the other players must also try, when the shot is released, to fight for the inside position or to duck in, placing themselves in front of the defenders ready for a rebound. The main thing is that the player, who is set- ting the screen for a big man should also be a good shooter. I had an excellent experience recently when many of my shooters scored many baskets using this offensive play. D.11 D.12 D.13 D.9 D.10 D.8 D.7 EV\Z&(. FIBA EUROPE OFFENSE D.14 D.15 D.16 D.17 D.18 Here I would still like to underline one more detail on the hand-off pass, depending on how the defense is set. If the defense is coming out under the hand off, the next option is the open shot, and, if the defense is playing aggressively, following the player over the hand off pass, the other option is to drive hard to the basket for an easy lay-up, while the other players are engaged with setting screens. If the ball cannot be passed to 5 and make the hand off pass, 5 sets a screen on 2's defender and they then play pick-and-roll. If 1 cannot pass laterally, due to a great aggressiveness of the defenders, 5 runs up and receives the ball, and the teammate on his side quickly changes pace and direction and then cuts backdoor (diagr. 14). When an offensive player punishes the defender with two easy baskets, the defense will not be as aggressive anymore. In these situations, there is no need for a coach to react or to advise because intelligent players make their own decisions. If the backdoor does not succeed and the defense still plays aggressively, 1 dribbles to the side towards 2, who drops down to the low post position (diagr. 15) and then our offense is continued, but with the exchanged roles. 1, with the ball on the side, should not use those dangerous crossover dribbles or through the legs dribbling. Teach your point guards and perimeter players that when they want to play pick-and-roll, the distance between them and defense shouldn't be very wide, but if the defense sags towards the basket, you come closer, and run him into the screen. When the screen is successfully done and the defender of the screener pops out in front of the player with the ball, this player makes an hesitation dribble backwards, changes pace quickly, and drives to the basket. Remember that to dribble backwards safely is one of the most difficult and hardest dribbles to perform correctly in basketball, and the footwork should be perfect. One more detail: when the defense makes adjustments to defend the screen under the basket for 4, 4 can then make an inside fake move and come out around the other center 5, to shoot the ball, and run his defender into the screen. Again, 5 sets the screen on his own defender. After 4 coming in a curl around 5, 3, who was setting the actual screen, makes a quick return, asking for the ball in the middle of the three-second area because he is open for an uncontested shot and completely unguarded (diagr. 16). I have had numerous good shooters on the 4 position on my teams, as well as sharpshoo- ters on the 5 position. If 4 receives the ball outside the three-second area, the other two guards quickly make a short screen. This offense is run on the both sides of the floor, depending on your wish or demand, whether you want 4 or 5 to receive the ball for a score. If 5 receives the ball on the low post position (diagr. 17), 4 is moving up to the high post posi- tion, but he will not stay there for a long time. Instead, he simply changes the rhythm, fla- shing towards the basket and keeping the defense honest with this move, while at the same time, 5 plays one-on-one close to the basket. After the hand-off, the player with the ball has at least three options (diagr. 18): pass to the side, pass inside the three-second lane, and pass to the opposite side to a player coming out and open in the middle of the court. The second option to counter the aggressive defense is the straight pass to 5 and the con- tinuation move with cut to the basket around 4 or high post player (diagr. 19) Very often, the ball can easily reach the cutter because the defense is playing aggressively to the outside and there is no help inside. After this initial move, we come into the same wide positio- ning for our regular offensive set. One more good option: 1 passes the ball late- rally and cuts down towards the baseline using the blind screen of 4, who, in a split second, later receives the ball from 2. In a synchronized fashion, 1 sets a back pick for 2 on the opposite side, 5 sets the down screen for 3, who has stepped into the paint to run his man straight into the screen (diagr. 20). The next option following the same offensive sequence is that instead of setting the back pick, we use the simple down screen or exchange of positions between 1 and 2. We then continue our offense as previously described. Here, I want to present one more detail. If 5 cannot receive the ball, due to the aggressi- veness of the defense, 1, who has moved down to the low post position, returns and sets blind screen for 5 (diagr. 21). If the ball is not passed down to center, but instead is pas- sed to 1, the other center first makes a short move away and then towards 1. They then play pick-and-roll (diagr. 22). The player with the ball in the pick-and-roll situation must have some patience to read the defense. In these types of situations, usually, after a pick-and-roll, centers playing defense exchange their men to guard and in doing this they get help from their guards or make cer- tain fakes as if they are closing out and con- EV\Z&)% D.19 D.20 D.21 D.22 D.23 testing the players with a ball. In these situa- tions, offensive players whose defenders are helping out must be ready to take the back door cut. In the meantime, players with the ball should give them a good feed pass. In this offense, there are too many details and possibilities to benefit by simply changing them accordingly. This is an option with a double screen of 4 and 5 on the foul line. The ball is on the side with 2, while 1 sets a screen opposite 3. Afterwards, he comes around the double screen (diagr. 23). The defense is often fighting against this and trying to defend a double screen by popping out as an early help. The center will often position himself near the potential passing lane with the intention of intercepting or slowing down the pass. In this situation, 4 screens 5 and enters into the lane. EV\Z&)& FIBA EUROPE by Aito Garcia Reneses OFFENSE Aito Garcia Reneses was head coach (and also general manager) of Barcelo- na (Spain) for many years, where he won three Division I championships, three Spanish Cups, one Cup of Kings, two Cu- ps of Europe, and two Korac Cups. He has been head coach of Badalona (Spain) since 2003. When we tell a player that he can play freely, he will typically do what he does best, and only that. The player who can shoot three pointers only wants to shoot three pointers, and will not try to pass or drive. The player with the quick first step, who drives from the right side, wants to drive only from the right side when he gets the ball. This way of play is certainly free play, but it's misunderstood by the players. Everyone thinks he can do whatever he wants when he's told to do what he wants. Unfortunately, what players end up doing is only what they do best. They never try new moves or refinements of the fundamental offensive moves. And that is a shame. I tried to give my teams a lot of offensive freedom, but, in the end, I could not. What I do now is teach my players a combina- tion between free play and organized play. I introduce this style of play at pre-season practice, but, after a while, I understood I needed more time to develop this play. Many of our plays did not last long becau- se they had options of 8 and 12 seconds, and when these options ended, if we didn't make a good shot, we continued with this free play that we learned at the beginning of season. We never allow to THE IMPORTANCE OF A FREE ATTACK D.1 D.2 D.3 EV\Z&)' our players to do whatever they want, without rules and without the comprehen- sion of the play. So, when you plan your play, understand that every player cannot do whatever he wants. Instead, you should think about your global idea of basketball, which rules you want to establish in organized play and what you would like to do. Establishing these rules, you should think about the following points: 1) Are you working with a team "in evolu- tion" or with a competitive team; 2) What is the nature and skills of your players (are they are strong or not, short or tall, good or so-so players, fast or slow?). We will have different ways of free play, de- pending if we play with 5 players out, 4 players out and 1 in, 3 out and 1 in, or with 2 out and 3 in. As our philosophy of play, we try to obtain an easy basket in every offense. As a definition, the easiest basket is that one scored under the basket, but we have players that can easily score from 4 or 6,25 metres, so, when we talk about easy ba- skets, we cannot just mean only the ones un- der the basket, but those ones scored without the pressure of the defense, also outside of the lane. The first seconds of ball possession, during the phase called "offensi- ve transition," we try to get an easy basket, thereby forcing the defense to work and put- ting foul pressue on the opponents. We can achieve our aim of scoring an easy basket with a drive, a cut, or by getting the ball in the lane. Let me now explain a common free play: 3 players out and 2 in. STARTING LINE UP1-2-2 The goal is playing with three players on the perimeter (diagr. 1). These are the rules for the inside players: 1) They cannot receive the ball unless they go to basket. 2) They must help their teammates: Making picks Cutting away from the ball Going for offensive rebounds. These are the rules for the player who has the ball: He must recognize if he has a shot option He must see the entire floor and recogni- ze if one of his teammates has a better shot option. Here are the options for the position of the centers: 1) One is on one side and the other on the opposite side of the low-post position at the starting line up. 2) Two on the same side of the low-post po- sition (diagr. 2) D.4 D.7 D.5 D.6 D.9 D.10 D.8 D.11 D.12 D.13 EV\Z&)( 3) Two in high-post position (diagr. 3). 4) One in low-post position and the other one in high-post position (diagr. 4). The task of the perimeter offensive player on the defensive help side-aside from the movement that we want to make-is to make it difficult for the defender to see "the man-and-ball" at the same time. For this reason, we make a move (diagr. 5): a) Around the baseline; b) Getting closer to the defender. Wemust try to make it as difficult as possi- ble, which then helps the player with the ball. The task of the center is to help the perimeter players. In diagr. 6, we have a si- tuation where the center clears out when the perimeter player starts to drive toward the baseline. In diagr. 7, we see a pick of the center and the cut of the screened player in the lane and the help side. In diagr. 8, a pick is made on the player with the ball, and the cut in the corner by the offensive player on the help side is ma- de to keep defensive help away. These are the rules that I give my centers so they can help their teammates. The mo- tions of the players away from the ball are made in the following way: a) Diagr. 9: We pass the ball on one side and we make a pick away on the help side. The player, who receives the pick tries to cut to basket; the picker comes back on the perimeter. b) Diagr. 10: We pass the ball on one side, then we make a pick away from the ball on the help side. The player, who received the pick, tries to shoot from the perimeter, while the picker rolls to the basket. c) Diagr. 11: Passing and cutting. The player passes the ball to one side, then he cuts to basket. After that, he can come out to the strong or go to the help side. d) Diag. 12: Clear out on the help side We can use this to play one-on-one. Spa- cing is important: don't forget that the distance between the players must be at least 4 meters. Beginning from here, we create play situations for five-on-fi- ve. If, for example, there's a drive of one perimeter player and defensive help from the defender of the low post (diagr. 13), the offensive center can: 1. Open himself to the corner. 2. Obtain a good position in the lane. If the other inside defender provides the second help, we pass the ball to the other post, who gets position in the lane. We never make a lob pass to the opposite side of the court (diagr. 14). FIBA EUROPE OFFENSE D.14 D.17 D.15 D.16 D.19 D.20 D.18 D.21 D.22 D.23 EV\Z&)) But, there is this exception (see diagr. 8). If the away-from-the ball-defender is helping and close to the ball, and he is then picked by a center, there is a big risk of losing the ball because the defense is packed. In this case we can make a lob pass. Wemust work on faking to receive the ball. a) Play without the ball, using the "V" cut (diagr. 15). Out/in. OGoing away/getting closer. b) Using the center, cutting on him and co- ming out (diagr. 16). We practice these aspects of play with the three perimeters players, working with th- ree-on-three drills. In diagr. 17, we play the screen away from the ball with the player, who receives the screen and cuts to basket, while the screener comes back to the perimeter for a shot. The player with the ball will pass the ball to him. Details: a) It's important that the player, who recei- ves the pick, goes away from his defen- der. b) The picker, who comes back to the peri- meter, must shoot if he receives the ball. c) Make a quick cut to the basket. In diagr. 18, we continue with the pick away from the ball: the player, who receives the pick moves around the perimeter to receive and shoot, while the picker rolls to the ba- sket. Details: Importance of the timing of the pick: the of- fensive player brings his defender to the pick, and then changes his direction to basket when the pick is coming. In diagr. 19, we pass and cut. The player, who passes, cuts to basket. We must finish with a strong layup, taking only one step. Details: Bring the defender away from the ball, befo- re the cut. More details to work on: The players, who should receive the pass, must fake to receive the ball. Facing the basket. On the left side everyone must pass with the right hand. It is very important to work in a methodical way on the back door cut. The perimeter player moves to receive a pass, and, when he gets to the three-point line, quickly chan- ges direction to the basket and make a back door cut. The passer dribbles to improve the angle of passing (diagr. 20). THE TASKS OF THE CENTER Let's come back to the free play. At the be- ginning, we played for the three perimeter players, but now, we will use the centers for the free play. The center will not ask to have the ball, if he doesn't have perfect position in the lane (dia- gr. 21). If there's a good defense on the post (guar- ded in a three/quarters stance), we can use the high post to get the ball to the low post: we pass the ball to the high post, and from him to the low post (diagr. 22). If the defender tries to recover his position on the low post, he must pivot to have a good position on the baseline (diagr. 23). The ball is passed out from the high post to the wing, who dribbles to the corner to get a better passing angle. The wing passes to the low post, who is keeping his position. In the final part of the practice, we change the goal of five-on-five: we put the perimeter players to the service of the inside players, who work to obtain the position. When the low-post player finally receives the ball, he must immediately play one-on- one. The perimeter player, 2, after having passed the ball to the low-post player, will not stay in the same position where his de- fender can help and recover. In that case, he can (diagr. 24): a) Go away from the ball in the middle of the court. b) Go to the corner near the baseline. c) Cut to the basket. This is a good two-on-two drill to improve the coordination and timing between the two centers (diagr. 25). One center receives the ball and plays one- on-one. The other offensive player, observing his teammate's move, looks for a passing line if the defender helps out. If he can shoot, the teammate works to get a possible offensive rebound. Again, one basic rule for the free play with in- side players is that when the high post has the ball, none of the perimeter players can stay behind. Moreover, if, after the passing, 1 moves in a different position (diagr. 26) and his defender helps on the center, the perimeter player will be free to receive the pass back and shoot. Anyways, at the end of these details, we want to underline that the most important goal is to improve the fundamentals. We can- not do that with organized play, nor with free play. We need to impress the players on how im- portant it is to be consistent. However, our words must be confirmed by the facts. We cannot pretend to have a de- fensive team if we have better offensive than defensive players. D.24 D.25 D.26 Practice on free play is made during the pre- season; with the competitive teams, I need it to face up the final seconds of ball posses- sion, when we don't obtain a clear option with the two systems. Another important key: the defense must work hard in practice in order for the offense to improve. Before beginning, you have to remember to: 1) Respect the spaces: The least distance between the perimeter players is 4 metres. Shorter distances mean a limitation of ac- tion space in the drives of the players with the ball without provoking the defensive helps. 2) The use of the dribble: A player must dribble to penetrate. If he doe- sn't, I only want that he dribbles to improve the passing angles. Two dribbles in the same position are useless. 3) Shooting if the defenders float. When the ball is kicked out after a drive or a player receives the ball on a cut, he must shoot if the defender is floating. We don't ha- ve to drive against a player who's floating. EV\Z&)* FIBA EUROPE by Panagiotis Giannakis OFFENSE Panagiotis Giannakis is the head coach of the Greek National team, which won the 2005 EuroBasket. He is one of the most popular Greek basketball players of all times. He played for Aris Thessaloniki, Panionios Athens, and Panathinaikos Athens, winning numerous awards, inclu- ding a FIBA European Championship with the Greek National Team in 1987. He began coaching Panionios Athens in 2001, and moved to Maroussi Athens in December 2003, reaching the Greek League Final. We, the technical staff of the Greek men's national team, have based our offensive tactics at the 2005 EuroBasket on the indivi- dual characteristics of the players on our twelve-member squad. The key-elements we viewed for success: a) We counted on all twelve players on an equal basis (no one was underestima- ted, nor overestimated). We tried to iso- late and make use of each player's indi- vidual strengths and weaknesses in light of certain offensive and defensive situations, and the next opponent we were to play. b) Luckily enough, we had the chance to pick our twelve players from a quality sample. Several players had the ability to play more than one position (at least two or even three). This made us flexi- ble in our tactics on both offense and defense, creating trouble for our oppo- nents, when they scouted our games. c) Our low post game was based on our center, Papadopoulos, as well as on our small forwards and point guards (usual- ly Papaloukas and Diamantidis), who were taller than their defenders, crea- ting mismatch situations. In this article, I would like to present two of our basic plays that were used in crucial games and "showed us the way" to the top of the 2005 EuroBasket. Please, bear in mind that the five players listed on these two plays changed during the course of the Eurobasket competition. Eurobasket CHAMPION OFFENSE PLAYONE: 1-3-1 SET Option A We used the following players: 1- Papaloukas 2- Zisis 3- Kakiouzis 4- Dikoudis 5- Papadopoulos The players start in a 1-3-1 formation (diagr. 1). The point guard 1 makes the entry pass to 5, who steps up outside the three-point line to receive the ball, while, at the same time, 4 cuts to the basket. After the pass, 1 cuts to the deep corner, outside of the three-point line (diagr. 2). When the ball is in the hands of 5, 2 makes a down screen for 4, who changes pace and direction, and pops out on the perimeter, out- side of the three-point line (diagr. 3). When 4 receives the ball from 5, he can try to shoot or play one-on-one. After screening 4, 2 goes to make a back screen on 3. At the EV\Z&)+ D.2 D.1 D.3 D.5 D.4 EV\Z&), FIBA EUROPE OFFENSE same time, 5 makes a down screen, parallel to 2, again for 3. In this option, 3 receives the screen from 2, and cuts to the low post posi- tion, trying to receive the ball from 4 (diagr. 4). If 3 does not receive the ball, he pops outside the three-point line, in the deep corner. At the same time, 5 screens down for 2 (screen the screener action), who pops out to the three- point line, receives the ball from 4, and shots (diagr. 5). If 2 cannot shoot, then 5 ducks in the lane after the screen, and can receive the ball from 2, while the teammates on the perimeters create spaces to receive a possible kick pass from 5, if the defense collapses inside the three- second lane (diagr. 6). With this play, we try to take advantage of the mismatch created when 3 receives the screen and also on 5's screen. Option B The play is run as described previously (see diagr. 1, 2 and 3). In this option, 3 reads the defensive situation and he does not use the screen of 2, but that of 5, curling around him (diagr. 7). 3 continues his cut until the low post area and tries to receive the ball, while 2 receives a screen from 5 and pops out to the three-point line. 4 has two options: pass to 2 on the peri- meter for a three-point shot, or to 3 in the low post (diagr. 8). If 3 does not receive the ball, he pops out to the three-point line, in the deep corner, and 4 pas- ses the ball to 2 (diagr. 9). When the ball is in 2's hands, 5 makes a pick- and-roll play with 2, while the players on the perimeter spot up, ready to receive a possible kick-out pass, if the defense helps, and take a three-point shot (diagr. 10). PLAY3 We used these players for this play: 1- Diamantidis 2- Xatzivrettas 3- Kakoiuzis 4- Fotsis 5- Papadopoulos The players start with a one-four formation, with the power forward and center at the elbow of the free-throw area (diagr. 11). D.7 D.6 D.9 D.10 D.8 EV\Z&)- The point guard starts the play on a side of the entry pass (in this example, it's the right side of the court). 2 makes a "V" cut to recei- ve the ball from 1 (diagr. 12). Right after 2 receives the ball from 1, 1 makes a UCLA cut, using the back screen of 4 to go in the low-post position on the same side of the ball. Also, 3 goes to the low post position on the other side of the court (diagr. 13). If 2 cannot give the ball to 1, he passes to 4, who popped out of the screen, outside of the three-point line. 4 can shoot or play one-on-one. As soon as 4 receives the ball, 5 will make a diagonal down screen for 1, who comes high, outside of the three-point, line parallel to 4. He receives the ball from 4 and reads the defense to see if there is the possibility of a shot or a mismatch play (diagr. 14). When the ball is on the hands of 1 and nothing happens, 3 makes a cross screen for 5, creating a one-on-one situation on the low post area on the ball side. It is important that 1-if he cannot shoot or pass to 5 on the screen and roll-dribbles to the side to impro- ve his passing angle to 5 in the low post (diagr. 15). If there is no solution at this point in the play, 4 makes a "V" turn. This means that he fakes to go in one direction and then screens away from the ball for 2, who pops out beyond the three-point line, and close to the elbow of the free-throw area on the ball side. He is ready to receive the ball from 1 for a shot or a one-on-one situation (diagr. 16). If nothing happens, with the ball in 2's hands, 4 then makes a down screen for 3, and then pops out in the corner. 3 comes high and can shoot or play one-on-one (diagr. 17). At the end of every play, and when the ball is on the low post side, the strong side player, 4, in this case, stays in the corner. He is one pass away from the ball. 3 in this example, makes a strong cut in the lane, and comes out on the other side of the court, while the other two perimeter players spot up outside of the three-point line, ready to receive a kick pass and shoot (diagr. 18). D.11 D.12 D.16 D.14 D.15 D.18 D.17 D.13 EV\Z&). FIBA EUROPE by Dirk Bauermann OFFENSE Dirk Bauermann, a former assistant coach at Fresno State University (US), was the head coach of Bayer Leverkusen, where he guided his teams to six German titles and three German Cups. He also coached the German National team from 1994 to 1998. In addition, Bauermann also coached Sunair Ostende (Belgium) and Apollon Patras (Greece). He pre- sently is the head coach of Bamberg (Germany) and of the German Men's National team. His team won the sil- ver medal at the 2005 EuroBasket in Belgrade. Winning the silver medal in Belgrade at the 2005 EuroBasket was a tremendous achievement, made possible thanks to great team chemistry, a total commit- ment to defense, an offense that stres- sed discipline and ball movement of the players, and... a certain, incredible player named Dirk Nowitzki, who, for his superior basketball skills, total team commitment, and mental tough- ness was the point of reference for our team. Dirk was elected Most Valuable Player of the 2005 EuroBasket. OFFENSIVE STRATEGY Having a player like Nowitzki made it natural and easy to build everything around him. We wanted to take advantage of his tremen- dous versatility by put- ting him in various situa- tions such as: Post-ups, to exploit smaller defenders; Isolations, to exploit slower defenders; Pick-and-rolls, or pick-and-pop out, either with him, or with the ballhandler as a picker. We wanted Nowitzki to be able to make the decision in terms of how to attack his defender, as opposed to having the coach or a point guard making that decision for him. In order to allow him to make that decision himself, we devised the fol- lowing options (in the diagrams, Nowitzki is indicated with the No. 4): Everything starts with a UCLA cut, which means the ball handler 1 passes the ball to 2, at the wing position, and cuts on 4, set on the high post, at the corner of the free-throw area. After the cut, 1 posts up in the low-post position (diagr. 1). Option one: If Dirk wanted to run a lateral pick-and-roll, he stepped out to pick 2. Everyone else had to read his move, and react according to what he did after the point guard runs the UCLA cut. After the cut and post up, 1 cuts in the three- second area, receives a staggered screen by 3 and 5 and comes up high outside of the three-point lane (diagr. 2); Option two: two different solutions. Low post: If Dirk wanted to post his defender up, he would make a ver- tical screen on 1 (which is also cal- led "pin down") and bring 1, the point guard back up, outside the three-second lane, which gives him the possibility to play in a post- up situation (diagr. 3). One-on-one on the perimeter: If he was not aggressively posting-up, we went to phase two of the play, which would put him in a situation of isolation on the top of the free- throw area. After having received the ball from 1, 2 passes the ball to 3, who recei- ved a screen from 5, and popped out. 4 comes high and screens for 1, who, after the screen, rolls to the wing position (diagr. 4). 4 receives the ball from 3 and can play one-on-one on the perimeter (diagr. 5). GERMANY'S GAME PLAN EV\Z&*% FIBA EUROPE OFFENSE Option three: If he wanted to come off a baseline pick to free himself up for a shot, he would make a diagonal screen ("pin down" diagonally) and then come off a single screen, made by either our center, 5, or our point guard 1. Since most power forwards are not used to defending a shooter coming off a pick (usually, the perime- ter players, guards and small forward, must chase shooters around screens and the power forwards defend the screener), it's rather difficult to swit- ch (Dirk went by a center on a switch and shot over the point guard). This option was very good for us (diagr. 6 and 7). Option four: We also wanted to put him in a high pick-and-roll, because: 1) He had successfully done this in the NBA; 2) With his size and vision, he is a great passer; 3) Most power forwards are not used to guarding a ballhandler in a pick-and- roll situation (diagr. 8 and 9). We were confident that even against a very strong Greek defense we would D.4 D.5 D.3 D.2 D.1 EV\Z&*& D.8 D.9 D.7 D.6 EV\Z&*' FIBA EUROPE OFFENSE score enough points to have a chance to win the championship game. We did not feel that a lot of offensive adjustments would be necessary or helpful. First, because we only had 24 hours to prepare the game, and, secondly, because I did not want our players to think too much and worry about the strength of the Greek defense. We wanted them to play with tons of confidence, be aggressive offensively, and stay with what had gotten us this far. DEFENSIVE STRATEGY Defensively, we felt that we needed to come up with a solid game, and if we had to do some things that we had not done much before, we were willing to do that. Our basic premises were to make them beat us from the outside, but not give up easy basket inside. In the two games we had played against them before the 2005 EuroBasket final, they took our guards inside and either scored on them at will, or else they got them into foul trouble. We also were not been able to control their big center, Papadopoulos, in the three-second lane. Even though, we were well aware of their tremendous passing ability (for example, Diamantidis is one of the best passers out of the post that I have seen in a long time), we felt that, because of the big pressure they were under to beat us, the fact that they had a relatively young team, and because of the fatigue factor, they right struggle from the outside. Consequently, we decided to trap any post-up off the nearest perimeter defen- der (usually the passer), as soon as they put the ball on the floor. In other words, we trapped on the first dribble and not when the player recei- ved the ball. We also hoped to create some turnovers and score in transition that way, knowing how difficult it would be to score against their half-court defense. Lastly, we wanted to be the most aggressive team in the first five minutes and were hoping to surprise them with this a sound, but risky strategy. The Greeks beat us by playing a great game and by utilizing their biggest asset, which was their defense. However, I was and still am extremely proud of how all my players performed in that game, especially Dirk Nowitzki, one of the best basketball players in the world. EV\Z&*( EV\Z&*) FIBA EUROPE by Lon Kruger OFFENSE For the past two seasons, Lon Kruger has been coach at the University of Nevada-Las Vegas. Previously, he had had been the head coach of the NBA Atlanta Hawks and an assistant coach of the New York Knicks. At the college level he was on the bench of Pan American University, Kansas State, Florida, and Illinois. He won the gold medal with the U.S. Junior National team at the FIBA Junior World Championship in 1991, as well as the gold medal when he coached the U.S. University National team at the University Games in 1995. As an assi- stant coach, he won the bronze medal with the U.S. Men's national team at the FIBA Men's World Championship in 1998 and at the FIBA Pan American Games in 1983. We have done a very good job executing our baseline out-of-bounds series in the past. We must continue to improve in this area and introduce new looks that will increase the effectiveness of our series. The series is designated by a number and an action. The first number designa- tes the receiver of the inbounds pass. The second number designates the receiver of the guard-to-guard pass. The action is designated by the second part of the call, which will be described in a moment. It is imperative that we get to the proper spots on the court to receive the inbounds pass and execute the action. The first number (receiver of the inbounds area) must catch the pass in the catch area. This is an area around the elbow extended on the side of the inbounder. The second number (receiver of the guard-to-guard pass) must catch the swing pass, even with the catch area on the opposite side of the free- throw lane. It is very important that the proper recei- ver makes himself available to catch the ball in the proper area at the time the passer is ready to make the pass. We should also understand that the pass does not have to go directly to the catch area from the out-of-bounds pass. If the defense takes this possible pass away, the ball can go through the corner to the catch area and we still have the same action. ACTIONS 1. Strong. The big man not involved in the call comes off a shuffle cut set by the point guard stepping inbounds. The receiver of the inbounds pass screens down on the point guard. 2. Weak. As the ball is swung, the receiver of the inbounds pass recei- ves a flair screen from the big man not involved in the call. 3. Counter. If the swing pass is over- played, the receiver of the guard-to- guard pass steps his man up the floor and cuts backdoor for the lay- up or the lob. Players not involved in the back cut must get their defen- ders up the floor. 4. Triple. The smallest player not invol- ved in the call runs a baseline chase off three screens for a shot (probably a 3-pointer). The shooter will start in the widest position opposite the inbounder. BASELINE OUT-OF-BOUNDS SERIES EV\Z&** D.2 D.1 D.3 D.5 D.4 EV\Z&*+ FIBA EUROPE OFFENSE D.7 D.6 D.9 D.10 D.8 EV\Z&*, 5. Weak Dive. In the weak action, after the ball has been thrown over the top of the flair screen, the passer dives to the open area of the lane. 42 STRONG 4 is the receiver in the catch area. 2 is the receiver of the guard-to- guard pass. 5 and 3 are out of the three-point line. 1 passes to 4 and goes to the low- post position, while 2 fakes to cut into the lane and comes out of the three-point line (diagr. 1). 4 swings the ball to 2, while 5 comes off a shuffle screen from 1 and goes to low post on the other side of the area. After the cut of 5, 4 screens down on 1 (screen the screener). 2 can pass to 5, to 1, or to 4 (diagr. 2). It is important that we catch the ball in the catch areas. It is also important for the receivers to get free when the passer is in a posi- tion to pass the ball. 24 WEAK 2 receives the pass in the catch area. 4 receives the guard-to-guard pass. 3 and 5 are out at the three-point line. After the pass, 1 goes to the opposite side, in the low-post position (diagr. 3). 2 swings the ball to 4. 5 sets a flair screen for 2. 5 reads the defense: if his defen- der jumps out, 5 slips the screen to the basket. 2 can pass to 1, to 5, or to 3, and 3 can pass to 1 in low post (diagr. 4). 43 COUNTER 4 receives in the catch area. After the pass, 1 goes out to the three-point line. 3 pops to swing area, taking his defender high. 2 steps his man up the lane. 5 is out at the three-point line (diagr. 5). 3 takes his man up the court and cuts for a lob pass (diagr. 6). 43 TRIPLE 4 catches the ball in the catch area. After the out-of-bounds pass, 1 steps across the lane to begin a triple screen. 3 pops to catch the guard-to- guard pass. 5 and 2 are out at the three-point line (diagr. 7). 1 screens for 2. 5 screens for 2 in the lane. 4 swings the ball to 3. 4 sets the third screen for 2 for a triple chase. 3 dribbles to the side where he received the ball and passes to 2. He can also pass to 4 or 5, who are open after the screen (diagr. 8). The play will be run for the smallest player not included in the call. 24 WEAK DIVE 2 receives the pass in the catch lane. 4 receives the guard-to-guard pass. 3 and 5 are out at the three-point line (diagr. 9). 2 swings the ball to 4. 5 sets a flair screen for 2. On the pass over the top to 2, 4 dives to the basket (diagr. 10). EV\Z&*- FIBA EUROPE by Dusan Ivkovic OFFENSE Dusan Ivkovic started his coaching career in 1978 with Partizan Belgrade. He then coached Radnicki Belgrade, Sibenka Sibenik, Vojvodina Novi Sad (Yugoslavia), Aris Thessaloniki, PAOK Thessaloniki, Panionios Athens, Olympiacos Athens and AEK Athens (Greece) and CSKA Moscow. He is currently the head coach of Dynamo Moscow. During his career he won one Yugoslavian National Championship, two Greek National Championships, and three Russian National Championships; one Yugoslavian National Cup, three Greek National Cups, and one Russian National Cup; one Euroleague, two Saporta Cups, and one Korac Cup. He also coached the Yugoslavian National Team, winning three gold medals at the 1989, 1991 and 1995 FIBA European Championship, a gold medal at the 1990 FIBA World Championship, and two silver medals at the 1988 and 1996 Olympic Games. What is the best way to approach a decisi- ve game, a game that puts coach and players under great psychological and com- petitive pressure? Many of these games decide the ultimate destiny of a coach. Preparing for an important game that has to be won is extremely difficult. How do you gain the advantage over an opponent when the game is played on their home court? How do you beat a team that has players, who are equally talented to your own, who match up in size and speed? Here are some of my thoughts on what can be done, star- ting right at the beginning of the game. Although it's hard to resist, I've never looked forward to a quick and easy lead of ten or more points at the beginning of the game. As a rule, there is a drop in concentration of your players and it's only a matter of time before the opponent starts to score baskets and ties the game. I never use a newly desi- gned offense or defense at the beginning of the game. That's because I know that my opposing coach will read my strategy and quickly make changes in his offense or defense. The easily achieved points from the new offenses or defenses are ones that I want to save for key game moments, when HOWTO START THE GAME EV\Z&*. FIBA EUROPE OFFENSE the game has slowed down, for example. In this way I have a new solution when a basket is desperately needed. One should patiently wait until the second half, giving the opponents little time to adapt to your changes. Key mismatch situations should be exploited at this time. The introduction of the 8-second and 24-second rules into the FIBA competitions has been a positive move, making the game more aggressi- ve, increasing the number of stolen balls. Offensive output has increased (12.5 points per game in women's competitions and 14 points per game in men's competitions), and shooting percent has not fallen. We now have fewer games with low scores. In the past, many obser- vers considered low-scoring games the conse- quence of good defense. However, what turned out to be the case was that there were too few opportunities for well-executed offensive plays! The 8-second and 24-second rule hasn't affec- ted my coaching philosophy a great deal. Aggressive defense from baseline to baseline has always been my desire. My offensive stra- tegies have remained the same. My objective has always been to score more than 50 percent of our points from the fastbreak and secondary offense. This will bring us the highest shooting percentage as well. That said, choosing the right offense is a decisive factor for game con- trol and a successful score. The half-court offense should be balanced. I will tell my players, jokingly, that at least at the beginning of the game they all have the possibi- lity to touch the ball. Cutting without ball should be executed by all players in order to provide continuity and passing flow. My initial setting must impose its own style of playing: 1) On offense, have a "post up" game with a strong rebounding triangle and good balan- ce, which will lead to 2) A well organized defense transition that, at least until the foul bonus, will limit the oppo- nent's fastbreak points. This is the offense set that I most often use to start the game. The initial set has to be the one that players use while in a fastbreak (diagr. 1). The playmaker, 1, is at the elbow position, 5, a dominant center, is in the low post, with 2, the shooting guard, at the same side, placed in the triangle with 1 and 5. 4, the power forward, is at the high post and he has to receive the ball after an aggressive cut within four or five seconds of starting the offense. 3, the other forward on the help side, should be active and ready if the defense tries to deny the first pass to 4 and work with him. After the pass by 1 to 4, 2 running at full speed, uses the screens of 5 and 3 and changes his position from one to the other side. In this introductory offensive setting, a coach should not look for solutions at the left offensive side if the opposing team aggressively contests there and doesn't let a pass go to 3 in the low- post position (diagr. 2) or if ball is passed to 2 in the corner (diagr. 3 and 4). If the ball is not pas- sed to the left side, and 4 has the ball, then there is a down screen for 1 and a pass to 5, while 4 immediately attacks the basket with a backdoor cut, using the back screen of 3. In the meantime, 1 goes in the corner to create more space (diagr. 5). When 1 sets the second screen for 4 to recei- ve the ball in the low-post area, 5 passes to 4, 3 screens 2, and immediately after the pass, 5 screens for 2 (diagr. 6). I believe that this deser- ves further analysis. In modern basketball, where vertical cutting towards the basket and screens dominate, we have three horizontal screens. 4 has the option to shoot from the cor- ner; he may pass to 2, so he can shoot; or he can make a "U" cut around the screener or 1, after D.4 D.5 D.3 D.2 D.1 EV\Z&+% the screen is made for 4, makes a back screen for 5 and 5 receives the ball under the basket (diagr. 7). In early 1990s, when coaching PAOK Thessaloniki (Greece), I had a player at the 4 position, who was excellent at reading the offensive situations. After the shot from the corner by 5, Fassoulas, the famous Greek cen- ter, often used the back screen of 1, Korfas, the playmaker, and went aggressively to the basket to rebound. He was a master at reading the defense and he knew that after a fake pass towards 2, Prelevic, the guard, would receive a back screen from Korfas to play one-on-one, with the possibility of an easy dunk on the other side of basket. 2 and 3, along with 4 and 5, must be always aggressive rebounders, while 1, with 2 or 3, should be ready to run back on defense and prevent the fast break. It is often possible in this set offense to change some, sometimes even all, playing positions. If the opponent has extremely tall players (over 7 feet tall) or talented shot blockers, then the post 4 and 5 should exchange their positions. If you have a good shooter in the 5 position, someone like Victor Alexander, then he could go in the corner, which would force the shot blocker to follow him to the corner as well, taking his defensive presence out of the three-second lane. This creates space under the basket and opportunities to score inside. ANOTHEROFFENSIVE SET 1 is positioned at the left elbow; the power forward 4 is on the low post on the left; the shooting guard 2 is on the left side; 5, the cen- ter, is in the middle post, on the right side; and the forward 3 is at the high post on the right side. 3 makes a screen for 5, who receives the ball at the high post. 3 opens up at a 45-degree angle. 2, 4, and 1 run into "flex" movement on the left side of the court (diagr. 8). 5 passes the ball to 4 at the high post, and 4 then passes to 1 at the left side of the court. In the continuation D.8 D.9 D.10 D.7 D.6 EV\Z&+& FIBA EUROPE OFFENSE D.13 D.14 D.15 D.12 D.11 EV\Z&+' D.18 D.17 D.16 of the offense, 2 makes a back screen for 3 (diagr. 9). If 3 has not gone under the basket, then 1 and 4 play pick-and-pop. 2 sets the back screen for 5 and 3 sets a back screen for 4 (diagr. 10). In this situation 1, the player with the ball, has the possibility to shoot from a pick-and-roll. He also has four pass options. If none of these options work, the ball is passed to the post side (diagr. 11). If the ball goes to 3 and the defenders switch (after the back screen), there is a 1-on-1 possibility (diagr. 12). Please note that I prefer that pick-and-roll plays not be the chosen offen- se at the beginning of the match. The early offense is flowing on the offensive position directly from the primary break: after the pass to 5 in the low post, 3 cuts around 5 with the possibility of a hand-off pass and an easy shot under the basket. 1 replaces 3, and the second big player 4 makes a screen for the guard 2 (diagr. 13). If, when 5 receives the ball in the low-post position and plays 1-on-1, he then drives hard to the middle of the three-second lane. The players move as shown in diagr. 14. However, if 5 drives hard to the baseline, the cuts and moves of the rest of his teammates are shown in diagr. 15. When the 5 is guarded in front and he cannot receive the ball from 1, or when the power forward 4 is aggressively con- tested at the top of the key, we teach 4 to make a backdoor cut or a quick exchange of position with 2. He will receive the ball, as shown in diagr. 16. Another option: After the clear out of 3, who goes to the opposite corner, and the pene- tration of 1, kick off pass can be made to 2 or 3 (diagram 17 and 18). While finishing up this arti- cle on a Sunday in January, I have the statistics from yesterdays game in front of me. In this years Russian Super League, my team (Dynamo Moscow) had a bad start and after the first part of the season (13 rounds) we had lost 4 times. If we had lost a fifth game, we would cer- tainly not have any chance for achieving a good position in the play-offs, and this means in the first four places. We have lost the game versus Khimki in the first part of the championship with 5 points of difference. We should win the game away, beating the team that in a game of the FIBA Euroleague beat Juventud Badalona with 24 points of difference. We won the game 87 to 71 and our defense functioned perfectly. In all categories of the shoot we achieved better per- centage, we controlled defense, and in the offense details we had almost 100% of success. Most points we scored from the fast break, 37 points, and in the early fast break 13 points, so in total 50 points, ie. 57% of all points scored. These are just a few of my thoughts. Remember that the game is a live creature and things chan- ge quickly on the court, often in the blink of an eye. The role of the coach is to set the structure of the game right at the beginning, leaving the many options to the great players on the court. EV\Z&+( FIBA EUROPE by Stevan Karadzic OFFENSE Stevan Karadzic, assistant coach of the Division I Serbia and Montenegro Red Star team of Belgra- de since 1995, became the selector of all the Ser- bian and Montenegro Youth national teams in 2001. As head coach of the Under 18 national team, he won the 2005 FIBA European Champion- ship. He was also head coach of the Under 20 Na- tional team, and was assistant coach of the Men's National team at the FIBA 2002 World and 2003 European Championships. We established a special program for selecting the best youth players in 2001, and since then we have had excellent results. In fact, we won the gold medals at the 2001 FIBA European Under 14, 2003 Under 16, and 2005 Under 18 Championships. Weremained undefeated in these three events. To prepare for the 2005 FIBA European Under 18 Championship, we trained for about 100 days and played 20 exhibition tournaments. The practice period, specifically aimed at the European Cham- pionships, was made up for a total of 54 practices with 10 exhibition games. All these great results were possible thanks to the mental, physical, and technical skills of my players, and the offensive game was tailored to their skills and attitudes. I will now describe the four plays we used as our foundation and used successfully du- ring the course of the championship. SECONDARYBREAK We used this play on the secondary break, when the defense was not yet set. 1 passes the ball to 4, who immediately reverses the ball and passes to 2, while 5 steps out and SERBIAN UNDER 18 NATIONAL TEAM OFFENSE D.2 D.3 D.1 EV\Z&+) FIBA EUROPE OFFENSE screens for 3, who cuts in the three-second la- ne and goes to the low-post position on the ball side (diagr. 1). 3 screens for 5, then cuts high, receives a verti- cal screen from 4 and pops out at the three- point line (diagr. 2). 2 can pass to 3 for a three-point shot, or to 5 in the low-post area (diagr. 3). If 3 receives the ball, but he cannot shoot, he plays pick-and-roll with 4, while 5 cuts in the la- ne and goes to the low-post area on the other side of the court (diagr. 4). 3 dribbles around the screen, and can pass to 5 or to 4, who rolls to the basket after the screen (diagr.5). BASIC OFFENSE: LOWPOST The primary option is to pass the ball to the low post. 4 is in the low-post area, while 5 is outside of the lane, on the opposite side of the court, and 2 and 3 are outside the three-point line. 1, the point guard, passes the ball to 2, and then clears out, going on the low-post position, oppo- site of 4. At the same time, 5 screens for 3. The first option for 2 is to pass the ball to 4. (diagr. 6). If 2 cannot pass the ball to 4, he reverses the ball, passing to 3, while 5 screens down for 1, who pops outside the three-point line (diagr. 7). 3 passes to 1, then cuts in the lane and goes out in the corner opposite to the pass, and 2 spots up. The first option for 1 is to pass the ball to 5 in the low-post (diagr. 8). If this is not possible, 5 comes out of the lane, and plays pick-and-roll with 1, while 4 comes to the high-post position on the corner of the free-throw area (diagr. 9). Again, 1 tries to pass to 5, or he can also pass to 4 for a high-low play: in this case, 4 passes the ball to 5 (diagr. 10). PLAYFORTHE OUTSIDE SHOOTERS This play is designed for the outside shooters. We start with a one-two-two set, with two hi- gh posts at the corners of the free-throw area, D.4 D.5 D.8 D.7 D.6 EV\Z&+* and the two shooters in the corners. 3 fakes a cut in the three-second lane, and then comes high and receives a screen from 5, while 1 dribbles in the wing area to improve his pas- sing angle (diagr. 11). 1 passes the ball to 3 for a jump shot, while 4 screens down for 2 (diagr. 12). If 3 cannot shoot, he passes the ball to 2, while 1 cuts along the baseline, and, using the screen of 4, goes out in the corner (diagr. 13). Right after the pass to 2, 3 fakes to go toward the ball and then cuts on the flare screen of 5, fades away and receives the ball from 2 (diagr. 14). 3 can take a jump shot or pass the ball to 5, who, after the flare screen, cuts and goes on the low post on the ball side (diagr. 15). PLAYFORTHE SMALL AND POWER FORWARDS We use this play to exploit the skills of our small and power forwards, as well as to beat a poor defense with the backdoor cuts. On this play, 5 is at the high post and the other four players are on the perimeter. 1 passes to 4 and then clears out on the weak side of the court, while 3 fakes to cut in the lane, makes a backdoor cut and then replaces 1 in the middle of the court (diagr. 16). 4 passes to 3, 1 makes a backdoor cut, and, if he does not receive the ball, comes back to the ori- ginal 45-degree position (diagr. 17). 3 passes the ball to 1, and using the screen from 5, cuts in the three-second lane. If he does not receive the ball, he goes out of the la- ne and makes a back pick for 4, who cuts insi- de and goes to the low-post area on the ball si- de (diagr. 18). 3 and 5 set a staggered screen for 2, who co- mes high. 1 has three passing options: he can give the ball to 4 in the low post, to 2 in the middle of the court, and to 5, who, after the screen for 2, rolls to the basket (diagr. 19). D.9 D.10 D.13 D.12 D.11 D.15 D.14 D.16 D.19 D.18 D.17 EV\Z&++ FIBA EUROPE Steve Smith, head coach of the Oak Hill Academy (644 wins, 39 losses), was named National Coach of the Year by USA Today three times. His teams have been crowned National High School Champions six times. Many of his players went to play in the NBA, and among them Stephen Jackson, Josh Smith, Ron Mercer, Carmelo Anthony, Jerry Stackhouse, Steve Blake, DeSagana Diop, and many others are playing professionally in countries around the world. PRACTICE DRILLS Ask yourself occasionally Why do we do this drill? How often do we do this drill? Am I receiving the desired results? Every drill should have a name. Each drill should be multi-purpose. Perform drills at the full court level, third-quarter court and half court level. Stress the importance of transferring the correct execution of drills to game situations. Drills require imagination and concentration. Most do not like drill, and you must sell the value of drill work. All drills must be competitive. Teaching a Drill 1. Explain why drill is being performed. 2. Demonstrate the drill (slowly). 3. Ask for feedback. 4. Have players run the drill (half speed). 5. Make necessary corrections. 6. Allow players to perform the drill at game speed. Creating Competition 1. Compete against clock. 2. Compete against opponent. 3. Compete against self. Drills should be timed (use score clock). Build a portfolio of drills that specially relate to your system of play and fundamental concepts. Vary the use of drills (protect against boredom). Stress enthusiasmbe a vocal coachlet them know you are watching. Hold each player to your highest performance standards. Coachs Responsibilities During Drill Work 1. Teach. 2. Motivate. 3. Discipline (not punish, stressing correctness, more a mental discipline than physical) Each drill should relate to the coaches system of play. Two of the most abused aspects of drill work are passing and cutting. THE PHILOSOPHY OF PRACTICE DRILLS and offensive post play by Steve Smith OFFENSE EV\Z&+, Players tend to view drills as a conditioning exer- cise. The biggest challenge for a player during drill work is to concentrate on performance. Every drill must be placed at the most advanta- geous time during the practice period. New drills should always be introduced early in the practice period while the players concentra- tion level is still high. Physically difficult drills should be followed by more pleasurable (fun) drills and vice-versa. Drill Stations 1. Allow for more variety while maintaining empha- sis on the same subject manner (i. e. offense, defense, rebounding). 2. Protects against monotony. 3. Fewer players standing around. 4. Give assistant coaches the opportunity to teach. Combine as many fundamentals as possible into the drills even though emphasis may be on one only. Use small carefully organized groups of three to five players for teaching purposes. Each player will not require the same amount of work (or attention) on each fundamental. Be demanding! Demand correct execution of basic skills. When the coach steps into the practice area, he must know: 1. What he is going to teach. 2. How he is going to teach. 3. Why he is going to teach it. Express your expectations of each drill at the start, set the tone, dont compromise your stan- dards. Be certain to balance criticism with praise. (Ratio 2 to 1-Praise) Explain how the drill relates to the offense, defen- se, etc Help each player understand the bigger picture. Coaches are teachers. Drill work requires con- stant teaching. Guard against ending practice with an activity which causes the players to feel they are being punished. Conclude the practice with a drill that the players enjoy. Whenever possible, coaches and players should exit practice with a positive feeling. OFFENSIVE POSTPLAYDRILLS Lets now talk of the drills we use at Oak Hill Academy for teaching the offensive post play. Mikan Drill 1. Start on the left side of the rim facing the back- board. 2. Step with the left foot and shoot a hook shot with the right hand. 3. Grab the ball out of the net. 4. Step with the right foot and shoot a hook shot with the left hand. 5. Work to make 25 in a row (diagr. 1). Note: Do not bring the ball below your head and dont let the ball touch the floor. Reverse Mikan Drill 1. Start with your heels on the baseline facing the opposite basket. 2. Step with the left foot and shoot a rever- se lay-up with the right hand. 3. Grab the ball out of the net. 4. Step with the right foot and shoot a reverse lay-up with the left hand. 5. Work to make 25 in a row (diagr. 2). Backboard Taps 1. Begin on the right side of the backboard. 2. Throw the ball off the backboard and tap the ball with the right hand. 3. Bounce off your toes and tap the ball off the backboard 10 times. On the final tap put the ball in the hoop. 4. Repeat with the left hand (diagr. 3). Explosion Lay-Ups 1. Start underneath the goal with a basketball. 2. Dribble with your right hand past the three-point line to the elbow, turn and use one dribble with the same hand, striding out all the way to the rim, making a lay-up with the right hand. 3. Grab your own rebound and repeat the pro- cess to the other side using the left hand (diagr. 4). Add a coach/manager/teammate with a pad to try to affect the shot after the drill has been com- pleted a couple of times. Do drill for 35 seconds or until you make 10 lay- ups. D.4 D.7 D.2 D.3 D.5 D.6 D.1 EV\Z&+- Lynums 1. Line up below the low block 2 ft. (50 cm) outsi- de the lane with your back to the baseline. 2. Place a coach/manager/teammate with a ball at the elbow. 3. The coach/manager/teammate fires the basketball to you. 4. Pivot around the foot closest to the rim, squa- re your body to the baseline and jump off both feet shooting a lay-up off the glass (diagr. 5). Once you have successfully completed this drill, move further outside the lane and use a power dribble between your legs after you pivot. Finish the same way. Make 10 lay-ups each with a dribble and without a dribble, and then repeat the drill on the left side. On all of the chair drills remem- ber the points mentioned on with regards to the low post moves. To complete the chair drills successfully it is necessary to have two other people, whether it be a coach/mana- ger/teammate, involved in the drill at all times. One person needs to rebound and the other person needs to replace the basketbal- ls on the chair. Low Block Chair Drills 1. Place 1 chair slightly outside the lane directly above each of the low blocks. 2. Place a basketball in each of the chairs. 3. Start the player in the drill in the middle of the lane (diagr. 6). Drop-Step Baseline Power Lay-up 1. Sprint to the chair on the right side of the floor with a wide base. 2. Make sure the players do not bend their back to pick up the basketball, but that they bend their legs and get low. 3. Once they have picked up the basketball, aggressively have them drop their right foot towards the rim and shoot a left-handed lay- up off the glass. 4. Immediately sprint to the opposite chair, repeating the same steps as before, except this time instead of dropping the right foot, have them aggressively drop their left foot towards the rim and then shoot a right-han- ded lay-up off the glass (diagr. 7). Drop-Step Middle Jump Hook 1. Sprint to the chair on the right side of the floor with a wide base. 2. Make sure the players do not bend their back to pick up the basketball, but that they bend their legs and get low. 3. Once they have picked up the basketball, aggressively have them drop their left foot towards the rim and shoot a right handed jump hook. 4. Immediately sprint to the opposite chair, repeating the same steps as before, except this time, instead of dropping the left foot, have them drop their right foot aggressively towards the rim and then shoot a left-handed jump hook (diagr. 8). Inside Pivot 1. Sprint to the chair on the right side of the floor with a wide base. 2. Make sure the players do not bend their back to pick up the basketball, but that they bend their legs and get low. 3. Once the players have picked up the ball, have them pivot off their right foot and squa- re their body to the basket and make these different types of shots: a) Jump Shot Once the player is square and balanced, have them rise up and shoot a jump shot; b) Jab Baseline 1 Dribble Jump Hook Middle With their non pivot foot (left foot on right side of the floor) have them make an aggressive jab baseline as if they were going to drive baseline. After they jab, have them take one dribble with their right hand into the paint and off both feet rise up and shoot a jump hook; c) Rip Through Baseline Instead of jabbing with their left foot, this time they will (in a continuous motion) step with there left foot, taking a dribble so they do not travel, and off one dribble finish on the other side of the rim. 4. Immediately sprint to the opposite chair after each move and repeat the same steps with the opposite hands (diagr. 9). Off The Block Chair Drills Once the player has mastered the technique of the above chair drills, move the chairs above the low block to the first marker and have them add a power dribble with each move (diagr. 10). Dribble Jump Hook Baseline 1. Sprint to the chair on the right side of the floor with a wide base. 2. Make sure the players do not bend their back to pick up the basketball, but that they bend their legs and get low. 3. Once the players have picked up the ball, have them aggressively drop their right foot towards the rim, while, at the same time, taking a power dribble with both hands in between their legs. 4. Gather the basketball and go up off two feet and shoot a left-handed jump hook off the glass. 5. Sprint to the opposite chair and repeat the same steps with the other hand (diagr. 11). Dribble Jump Hook Middle 1. Sprint to the chair on the right side of the floor with a wide base. 2. Make sure the players do not bend their back to pick up the basketball, but that they bend their legs and get low. 3. Once the player has picked up the ball, have them aggressively drop their left foot towards the rim, while, at the same time, taking a power dribble with both hands in between their legs. 4. Gather the basketball and go up off two feet and shoot a right-handed jump hook. 5. Sprint to the opposite chair and repeat the same steps with the other hand (diagr. 12). FIBA EUROPE OFFENSE D.11 D.12 D.9 D.10 D.8 EV\Z&+. FIBA EUROPE by Geno Auriemma OFFENSE Geno Auriemma, 2006 inductee in the Basketball Hall of Fame, was women's team assistant coach at the University of St. Joseph's, and then at the University of Virginia. As head coach of the University of Connecticut, he won five NCAA women's titles. This Italian- American coach was chosen as Women's National Coach of the Year five times by diffe- rent organizations, and coached six collegiate Women's National Players of the Year. He also won a gold medal as assistant coach of the U.S. Women's National team at the Sydney Olympic Games, and a bronze medal as the head coach of the women's team at the 2001 FIBA Junior World Championship. The basic move from which we start to teach this offense is the split cut, which is a cut of two players around the high post. The first one, who passed the ball, cuts first (diagr. 1). The center can pass the ball to one of the two cutters, or she can turn, face the basket, and shoot the ball herself. When I was young, the players were not indi- cated as 1, 2, 3, 4 and 5, but simply as two guards, two forwards, and one center. So many times I will mention the two guards, who cross the mid-court line practically at the same time, and one center, who goes in the high-post posi- tion whenever it's possible. The reason we cross the mid-court line with two guards is that it's difficult for the defense to double team when the offense moves this way. After the ball is passed to 1, 2 makes a cross cut and, if she is free, receives the ball from 1 (diagr. 2). If not, 1 goes to the middle of the court. She cannot be trapped here, because there is always a teammate near her, who will punish the trap. If 1 is overplayed, she makes a backdoor cut going towards the mid-court line, or, if she receives the ball, she can pass to 2 or dribble, crossing towards the mid-court line (diagr. 3). THE HIGH-POST AND THE TRIANGLE OFFENSEs EV\Z&,% FIBA EUROPE OFFENSE 2's defender cannot trap, because there is immediately a pass back or 2 can easily go behind the ball line and help the dribbler. Besides, we can send the center away from the ball, after the inbound pass, because we do not need her as a safety. In this way, we can avoid to have the cen- ter dribbling the ball. A basic detail: the guard without the ball does not cross the mid-court line until the dribbler herself: she can be a safety valve and receive a pass from 1 (diagr. 4), when the defen- se gets tight. When we dribble over the mid-court line and are able to pass the ball to the post, we make the split action with the first passer, who cuts first. Here are the various options: Pass and cut. Pass and make a screen. Pass, fake a cut, and come back. The center can pass to one of the cutters, or else fake a pass, and then play one-on-one. The key point of this action is that we want the defenders of the two guards to turn their heads and watch the ball as it reaches the high post. It's difficult to play good defense in this situation because the defenders do not know where the offensive players will go. I would like to underline that the success of this play does not depend on the quickness of the two guards, because they can beat the defenders even if they are slower: they can count on reading the defense on different options and on the two different cuts. THREE PLAYER SET We start to build the split simulating a situation of a rebound, baseline out-of-bound, and then the split at the beginning a 3 vs 0 and then a 3-on-2 (diagr. 5). We set the players in three lines, with a guard, who brings the ball on offense starting from over the mid- court. There is also one mid post player and one at the free-throw line extension. 1 crosses the mid-court line and then changes direction. She must pass the ball to the forward before going out with both feet from the center court circle: this is the time for deciding where to pass the ball (diagr. 6). We set the players in three lines: 1 passes the ball (again, before going out with the feet of the center court circle), and then cuts and goes in the corner on the ball side (diagr. 7). 2 passes the ball to the mid post and then 1 and 2 make the split cut (diagr. 8). The center must be active and smart to read the defenders' moves and capitalize on their mistakes. It's a must to read the defense, both for the cut- ters, as well as for the center with the ball. It's also very important to have a good alignment between the forward and the center (diagr. 9): The forward must be outside the three-point line, at the free-throw line extension. D.4 D.5 D.3 D.2 D.1 D.6 EV\Z&,& The center must be at the mid post position, with enough space between her and the baseline for the cut of a teammate. There should also be enou- gh room to let her play one-on-one as a final option. We say to the players that no move is prearranged, but, again, they must read the defense and let that set up determine what will work best. Here, for example, are two other options after the pass to the mid post: 1 can anticipate the cut (diagr. 10) or Makes a curl cut around 5, without going in the corner (diagr. 11). Let's now assume that the forward 2 is overplayed: here are the different solutions: a. Backdoor. 5 comes high at the corner of the free- throw area, facing the midcourt line, and automa- tically 2 will make a backdoor cut to receive the ball (diagr. 12). In short, when the ball crosses the mid-court line, the play becomes a three-player collaboration: 5 must read the defense and see if her teammate is over- played. Then she must offer the choice of the entry pass to 1. b. Hand off. If 2 goes backdoor, 1 can receive a hand off pass and shoots, or drives to the basket, or 5 can always play one-on-one (diagr. 13). c. UCLA cut. 1 passes to 2, makes a cut on 5, and then goes on the opposite corner. 5 then does a pick-and-roll with 2: 2 can shoot, pass to 5 on the roll, or make a skip pass to 1 for a three-point shot (diagr. 14). d. Post up. After the pass to 2 and the UCLA cut, 1 can also stop at the low post position (diagr. 15). 2 goes down to pick 1, after the pass to 5 (diagr. 16). 2 then comes high to back screen 5, after 5 has passed the ball to 1 (diagr. 17). FOUR PLAYER SET Let's now add another player, playing with three guards and a center. The beginning of the play is the same, with the ball passed from 1 to 3, and from 3 to 5, with 1 going to the corner on the ball side. 2 replaces 1 in the middle of the court, after faking a cut in the other direction (diagr. 18). If 5 is aggressively guarded, 3 passes the ball to 1, and 1 passes to 5, who has faked a high cut (diagr. 19). If 1 cannot pass to 5, 5 comes out, makes a back screen for 3, and then plays pick-and-roll with 1 in the corner (diagr. 20). Spacing is always very important, staying especially outside of the three-point line. FIVE PLAYER SET We start with two guards on the line, one forward at D.8 D.9 D.10 D.7 D.11 D.13 D.14 D.15 D.12 D.16 EV\Z&,' FIBA EUROPE OFFENSE D.18 D.19 D.17 D.21 D.20 D.23 D.24 D.22 D.26 D.25 the free-throw line extension, one mid-post on the forward side and the other forward at the mid-post position on the other side of the court (diagr. 21). The play starts when the two guards cross the mid- court line, and the players move based on the defenders' reactions. When there is an offensive overload in the corner, 2 must always come in the middle of the court. They can now play three-on-three on one side, and two- on-two on the other side of the court (diagr. 22). If 3 has the ball and cannot pass to 1 or 5, 3 makes a dribble weave, difficult to defend, going towards 1 and then passes to 1. 1 passes to 5, while 2 recei- ves a back screen from 4, and then flares out (diagr. 23). Then, 1 and 3 make a split cut on 5 (diagr. 24). If we cannot pass directly to 5, we reverse the ball from 3 to 2, who is set in the middle of the court and outside of the three-point line. 2 can pass inside to 5 (diagr. 25). If nothing happens, 4 and 2 play two-on-two on the other side of the court. 2 passes to 4, who comes high, and then 2 moves, based on the reactions of the defense, making a hand off, or a pick-and-roll, using different fakes (diagr. 26). If 2 is overplayed, 4 comes high, 3 passes the ball to 4, 2 makes a backdoor cut and receives the ball from 4 (diagr. 27). DIFFERENT OPTIONS Based on the previous premises, we can build any play. For example, if 3 is overplayed, 5 comes up to the elbow, and receives the ball from 1, who, after the pass, screens for 2, who goes on the forward spot. At the same time, 3 cuts in the lane and goes to the opposite corner (diagr. 28). 5 can make a pass to 2 or 1. We now form a new triangle on the other side of the court, the left side (diagr. 29). On this side we can create a new three-on-three play, with 1, who passes to 3 in the corner, and then receives a back screen from 4, who then plays pick-and-roll with 3. In the meantime, 5 screens for 2 (diagr. 30). Another option is the entry pass to 4 on the weak side post, with 2, who immediately makes a back- door cut to receive the ball and goes to the basket (diagr. 31). It's important to underline that 1, the ball handler, must make the entry pass right away, when she crosses the mid-court line. If 1 does not have any entry pass options to 3, to 5, or 4, she will pass to 2. 4 will pop out at the forward position, and 5 will come out for a back pick for 3, who will cut in the lane, heading in the opposite corner (diagr. 32). We can also form a triangle with 3, 4 and 5, who, EV\Z&,( D.28 D.29 D.27 D.33 D.31 D.30 after the pick, opens up. 4 can pass to 3, or to 5, who can pass to 1 on an automatic back-door cut, right after 5 receives the ball (diagr. 33). In short, this play can have many options, always has a triangle on one side, and a two-on-two play on the other side. The keys are: Read the defense. Proper spacing. Patience. D.32 EV\Z&,) FIBA EUROPE by Brenda Frese OFFENSE Brenda Frese started her coaching career as an assistant coach at Kent State, followed by positions at Iowa State and Ball State. She became head coach at the University of Minnesota in 1998, where she earned National Coach of the Year honors, and two years later became head coach at the University of Maryland. In 2006, she guided her team to the NCAA Women's Championship and she again won the Coach of the Year award. I would like to share with you some of our offensive sets that helped Maryland win the 2006 NCAA Women's national title. MAN-TO-MAN OFFENSE SET UP We initially line up in a three perimeter and two inside player set. The three perimeter players stay outside the three-point line, while the two inside players are set up with one at the corner of the free-throw area and the other opposite to her in the low post position. CREATING A TRIANGLE 1, the point guard, has two choices for starting this play: If she dribbles towards 2, it means that 2 must go to the deep corner (diagr. 1). If she can pass to 2, 1 will cut and go in the deep corner (diagr. 2). In this way we start to form a triangle on one side of the court. ENTRY PASS Once the triangle is loaded, we are looking for a quick pass to THE MARYLAND OFFENSE EV\Z&,* D.3 the low post 5, from 1, in this case, or from 2, if 1 is able to pass the ball to 2 on the wing. On this pass, 4 will dive hard down to the low post, on the same side of the court, while 3 will slide up (diagr. 3). If we cannot pass the ball to 5, because she is over- played on the side, 1 will pass to 2 and 2 will pass the ball to 5. If 1 passes to 2 and 2 cannot pass to 5, 1 will cut in the lane and will go on to the opposite side of the court, outside of the three-point line to clear out the ball side side of the court. 5 will come out and screen on the ball D.1 D.2 D.5 D.4 EV\Z&,+ for 2. 2 will attack the defender and 5 will roll to the basket. As this action is taking place, 4 will screen for 3 (diagr. 4). If there is no chance of shooting, 2 can come off the screen, dribble towards 3 and pass her the ball, while 5 goes to the low post position (diagr. 5). 3 will now be able to set a new triangle on the other side of the court: she will dribble the ball to the wing position, 4 will go in the low post area, while 5 will come up in the high post position, opposite of 4 (diagr. 6). If 3 passes the ball to 5, 5 can look to pass to 4, who has cut inside the three-second lane. As an option, we can also do a hand-off pass between 5 and 2 (who must set up her defender before going towards 5 to receive the ball). This offensive play is very hard to guard against and gives a chance to 2 to get open for a shot (diagr. 7). ZONE OFFENSE With this offense we want to create maximum players movement that will enable us to use the same basic attack versus various zones and match-ups. I want our team to be able to use dribble penetrations, posts-ups, screens, over- load, and slides into the open areas. You can initiate the offense from various sets, such as the 1-4, the 1-3-1 or 2-1-2 set, or out of the tran- sition, with the guards at about 4 meters apart to ensure easy passes between them, if neces- sary. ENTRY PASS On the entry pass, from 1 to 2, in this case, the weak side post 4 cuts to the ball on the short side corner, in an open area on the baseline in the gap of the zone (diagr. 8). The other post, 5, hunts the ball and is in line with the ball and the basket (diagr. 9). RULE 1 On any point guard to wing pass, the offside post curls to the ball side short corner. The strong side post gets in line with the ball and the basket (diagr. 10). On a pass to the weak side (diagr. 11 and 12), 5 fla- shes hard to the ball side and 4 loops to the strong side short corner (it's also possible to start with one of the post players in the short corner). RULE 2 On any pass from the wing back to the point guard, or from a wing to a wing, the passer makes a skip pass and cuts to the basket, becoming the next short corner player on whichever side the ball is passed. The short corner player replaces the wing that cut, and 5 continues to stay in line with the ball and the basket (diagr. 13). FIBA EUROPE OFFENSE D.10 D.11 D.9 D.8 D.6 D.7 D.15 D.14 D.13 D.12 EV\Z&,, From here, if 1 swings the ball to 3, then 2 beco- mes the short corner player on the ball side. 5 stays in line with the ball and the basket (diagr. 14). If 1 had passed the ball back to 4, 2 would be the short corner player on 4's side, and again 5 would be in line with the ball and the basket (diagr. 15). BASIC MOVEMENT RULES When a wing passes to the point guard, or to another wing with a skip pass, that wing first cuts to the basket and becomes the next short corner on the ball side. The short corner player replaces the wing, while the post stays in line with the ball and the basket (diagr. 16 and 17). RULE 3 On any pass to the short corner, the wing that made the pass cuts to the middle of the lane and becomes the next short corner player on the ball side (diagr. 18). Rule 4 The short corner player must catch the pass, face up to the basket, shoot, drive, or drag the ball back out to the wing. If a player is double teamed, she should look for the diagonal pass to the point guard or across the baseline to the wing, who has dropped (diagr. 19, 20, and 21). SCREENING THE ZONE OR MATCH-UPS Anytime the wing passes to the point, she may screen the strong side back line player in the zone, or match-up. After the screen, 2 slides into the short corner and 4 replaces 2 at the wing (diagr. 22). Or, the short corner player can back screen the back line of the zone for the alley-hoop pass to 2, cutting to the basket. If the pass is not thrown, then 4 slides out to the wing to replace 2, and 2 slides to the short corner on the ball side (diagr. 23 and 24). RULE 5 When a pass is made into the post, everyone spots up to shoot. The short corner player changes sides of the floor, looking for the ball (diagr. 25). OFFENSIVE REBOUNDING Offensive rebounding is quite effective because the cutters are in excellent position to "get to the glass." In addition, the short corner players have good angles for sneaking in for rebounds. Obviously, we always rebound with both the wings and the posts, while the point guard goes back defensively to prevent the fastbreak. Against the odd front zones, simply tilt the offen- se by dribbling the ball off the center court, while everyone keeps the proper spacing. D.20 D.21 D.19 D.18 D.16 D.17 D.25 D.24 D.23 D.22 EV\Z&,- FIBA EUROPE by Tamas Sterbenz OFFENSE Tamas Sterbenz is a former player of the Hungarian National Team. He was appointed head coach of the Hungarian Womens National Team in 2004. He tea- ches economics and management at the Hungarian University of Physical Education. His Ph.D. topic was Bounded Rationality in Decision Making in Sports Management. Smart play is a goal of coaches and players in every sport. The winner is always proud of his strategy and emphasi- zes the correct execution. The loser criti- cizes the game plan or blames the coach or players for neglecting that. Indeed, do the sportspeople know what should they have done? Do they know how rational strategy should be built the next time? Unfortunately, in most cases they do not know. In this short article, I will analyze the rationality of basketball and describe some strategic principles. RATIONALITY A behavior is considered rational if it helps achieve a definite goal. So, first we need to determine the goals in basketball. For example, the goal can be to win a championship, to beat a specific oppo- nent, or in the short term, to score a basket. These goals are simple but they are not the same. Therefore, we need to select one unit to analyze the rationality. In competitive basketball this unit should be the game because performance can be best compared at the game level. During the game the teams alternate possession of the ball. Both teams have equal oppor- tunity to score points and the team that scores more will win the game. We can see the better performance within a game, but if we want to compare several games we need to look at the ratio between points made and number of pos- sessions. To analyze the performance, final score itself is not good indicator. The score should be weighted by the total number of attempts, which also shows the rhythm of the game. EFFICIENCY To measure efficiency of defense and offense, methods have been created and used for several decades. Histo- rically, famous coaches such as Dean Smith and Frank McGuire and analysts like Dean Oliver and John Hollinger have worked on developing a measure of offensive rating: Offensive Rating = Score Points / Possession Current statistics do not keep count of the number of pos- sessions, but this can easily be counted or estimated. Offense ends with either a field goal or a free-throw attempt or turnover. Obviously, a free-throw will not count for 1 possession. According to the NBAs estimation, a free-throw should be multiplied by 0.44 to get the cor- rect number of possessions for a whole season (for fast post game analysis 0.5 can be used). Possession = Field Goal + (Free-Throw 0.44) + Turnover - Offensive Rebound Offensive rebounds have to be deducted from the equation, because they are still part of the same possession; only the offensive time starts over. This ensures that both teams have equal number of opportunities to score. This does not mean that offensive rebounds are not important, as is described in the next sec- tion. CRUCIAL FACTORS That team that wins is one whose offensi- ve rating is higher than its own defensive rating, which is equal to the opponents offensive rating. Both offensive and defensive ratings are good tools for analy- sis by the coach. Yet, to make the best rational strategic decision, the coach needs to find which elements are the most critical to increase the offensive rating and decrease the defensive rating. According to Dean Oliver, the four basic aspects of a game include: 1. Shooting percentage from the field. 2. Offensive rebounding. 3. Committing turnovers. 4. Going to the foul line a lot and making the shots. To better understand these crucial aspects, a good guide is that in professio- nal mens basketball the offensive rating is around 1, so a team usually makes 1 point in average per possession (in 1991-92, the NBAs Chicago Bulls reached the highest seasonal offensive score of 1.155 in). 1. If the team finishes all its offenses with a 2-point shot, a 50% shooting percen- tage ensures an offensive score that is higher than 1. In case of 3-point shots, the team has to have a 33% shooting percentage to reach the same. 2. Increasing the number of free-throws helps the team reach an offensive THE RATIONAL GAME EV\Z&,. score higher than 1. Other than extre- me cases, all players make free- throws above 50% success rate. 3. High number of field scoring attempts shows that the team does not commit turnovers. Also, low number of turno- vers decreases the defensive rating, because the opponent could not make many easy baskets. 4. Increase in offensive rebounds will lead to more chances to make a close attempt or to get to the free- throw line. Often at the end of the game, following an offensive rebound, the team will get a new 24- seconds on the shot clock, which can lead to winning the game. Offensive rebounds would also increase the offensive rating, and save the game. If the free throws were missed on purpose, the team would have a chance to make a 2- or 3-point shot. BOUNDARIES IN BASKETBALL Every sport is surrounded by rules to make the game more difficult and intere- sting. These rules, or boundaries, impact the strategies and the decisions in the execution. The following boundaries exist in basketball. Opponent: in basketball, the goal is not to make many baskets, but to make more baskets than the opponent. The moves dont have to be fast, but faster than the opponent. In decision making, cant neglect the opponent. Success doesnt only depend on a teams deci- sion, but also on the opponents choice. Time: there are 24 seconds to finish the possession, and the quarters are 10 minutes long. The remaining time left in the 24-second period or the quarter will always influence the decisions. Rational behavior must take this into considera- tion. The same shot in the beginning of the possession is irrational compared to the shot at the end of the period, which is necessary. Space: moves are differentiated by where they take place on the court. Shooting percentage depends on how far the player is from the basket. Rational strategy should increase the expected value of the shooting. The opponents position on defense affects what the offense should do (rational strategy must differ when playing against press or zone defense). Personal fouls: the offense must be aware of how the defense can stop the team from scoring. If the defensive team has less than 4 personal fouls, the offen- sive team should know that rational deci- sion might be to commit a foul. Result: at all times the actual score will influence tactical decision. Rationality of all tactical decision depends on how it impacts the final score. Decisions throu- ghout the game can be evaluated based on time and score, and risk taking must consider the same factors. RISK AND UNCERTAINTY All decision contains risk and uncer- tainty. Nothing is certain, situations are ambiguous, decisions depend on multiple criteria, and execution depends on the whole team. Even though all these are rational factors, there will be the oppo- nent that will impact the outcome. In basketball, there are only rational deci- sions, but not optimal decisions. One must know that success is relative, and it is often affected by good fortune. Rational strategy ensures only long-term efficiency but single actions depend on intuition and anticipation. In a game, both teams have 80 to 90 possessions and sometimes even irrational behavior can lead to success. During practices, coaches should build boundaries into the drills to teach players to be rational. If both teams play smart and use correct strategy, there still will be a winner and a loser, but basketball will advance! EV\Z&-%