Release yourself with the over/under: using this method to shoot the gap takes the gambling out of your game by giving you a smooth laydown … and more pins - The Coach's Corner - Column

Bowling Digest, August, 2003 by John Jowdy

SPORTS FANS--PARTICULARLY those who enjoy wagering on football, baseball, and basketball--are well acquainted with over/under odds. But for those unfamiliar with an over/under, it's the number posted before a game is played representing the total points the two teams will score. You have the option to choose whether the two teams will combine for more or fewer points than the oddsmakers have posted.

While it's not a numbers strategy, I have developed an over/under method of my own for bowling, which takes the gambling out of your game and helps you become more consistent.

In the last issue, I underscored the advantages and benefits of a free arm-swing and outlined techniques that simplify its employment. My over/under theory extends out of that discussion. The theory, when applied, requires little or no mental strain. It is a simplification of bowling principles that greatly enhance the fundamentals to induce free arm-swings and combine to create rhythmic approaches.

The foundation of the over/under system is two imaginary bars. Both bars are approximately four feet wide, extended parallel to the foul line, and must be cleared cleanly.

In previous issues, I've discussed the proper stance--one that is completely devoid of muscle tension--as well as the variety of positions of ball placement. In discussing the physical structure of a bowler, the length of arms and legs has given birth to numerous theories.

Some theories espoused by experts center on the timing cycles of individuals with longer limbs and those of shorter proportions. Although a valid supposition may exist in this "limb length" ideology, it is theoretical. Once on the lanes, it's hard to put into practice.

Precise timing isn't a scientific proposition, but an exercise in common sense. You simply devise a walking pattern that coordinates your arms and legs in rhythmic fashion, similar to the smooth motions of pistons in a well-oiled engine.

The primary purpose for utilizing an imaginary bar at the stance is to develop a free armswing. I always have stressed the significance of the ball controlling the swing rather than the other way around, where the arm dominates the weight and motion of the ball.

While this concept may seem simple, it may be difficult for some bowlers to master without a prescribed method for creating gravitational force.

In my over/under theory, the bowler visualizes an imaginary bar that sits approximately six inches above the starting hand position. In order to create gravitational force, simply push the ball over the bar, disengage all muscles in the forearm, and let the ball fall from its own force. If you find it cumbersome to raise the ball to this extent, you can cut down the "over" motion a bit. Never, however, push the ball downward. Let the ball fall and swing using its own force.

Pushing the ball down not only will prevent gravity from taking its full effect, but it also will force you into a muscled swing that causes you to pull the ball into the backswing. The result? A swing that's muscle, muscle, and more muscle. Also, a downward pushaway, in which a bowler fails to arc the ball over the imaginary bar, inevitably results in an early swing, one that places the release point beyond the sliding toe.

An early swing is detrimental to good rhythm and, more often than not, will result in releasing the ball on the upswing (known in professional circles as "hitting up on the ball"). Releasing the ball on the upswing is the principal culprit for ball overreaction. This type of release suppresses accuracy and is a major obstacle for generating maximum power.

How so? Well, balls released on the upswing have lost their maximum leverage point. Leverage is generated from the shoulder joint parallel to the ankle. If you were to place a double-ball bag directly below the swing point of the shoulder to the ankle, there would be far greater leverage in the arm when lifting two balls from this position than beyond the toe. Balls released beyond the toe tend to pull the body down, decrease power, and lead to imbalance.

The second imaginary bar is visualized approximately 12 inches above and parallel to the foul line and becomes the "under" target. All shots must be thrown into the lanes rather than released on the upward movement of the hand.

Imagine landing a plane or skimming a flat rock across a body of water. The smoother the laydown, the less bounce--and the less risk you run of throwing an errant shot.

Proof of the soundness of this philosophy is the enormous success of Walter Ray Williams Jr. The only sound heard after Walter Ray's release is the crash of the pins when the ball hits he pocket. His delivery is low and laid smoothly into the lane.

It is almost impossible to hear Walter Ray's release, except on rare occasions when he is confronted with extremely dry heads and hooking back ends. If Williams chooses to abandon his normal end-over-end game, cups the ball, lofts it out eight to 10 feet on the lane, and attempts to arc the ball into the pocket, he'll struggle. Suffice to say, this is 180 degrees away from Williams' A-game and places him at a great disadvantage for competing with the big hookers on this type of condition.