Playing Style
Sampras was an all-court player who would often serve and volley. Possessing an all-around skill, in the early years of his career, when not serving, his strategy was to be offensive from the baseline, put opponents in a defensive position, and finish points at the net. In his later years, he became even more offensive and would either employ a chip-and-charge strategy or try to hit an offensive shot on the return and follow his return to the net.
He was known for producing aces on critical points, even with his second serves. He had an accurate and powerful first serve, one of the best of all time. His second serve was nearly as powerful as his first, possibly his most dangerous weapon. He had great disguise on both his first and second serves.
Sampras was able to hit winners from both his forehand and backhand wings from all over the court. He was also especially known for having arguably the best "running forehand" of all time. He was able to catch attacks wide to his forehand using his speed and hitting a forehand shot on the run. When successfully executed, he won many points outright or put opponents immediately on the defensive, due to the extreme pace and flat nature of the shot. He also popularized the jump smash, or "slam dunk", where he jumps and then hits the smash in mid-air.
Many players tried (especially late in his career) to serve a high "kicker" out to the Sampras backhand in an attempt to draw a weak return. A similar tactic was employed by many players in rallying Sampras; they would play shot after shot to the Sampras backhand, hoping to wear him down. Still, most of the time, he will handle them with either topspin or slice backhand deep to his opponent's court to change defense to attack.
Read more about this topic: Pete Sampras
Famous quotes containing the words playing and/or style:
“Oh, somewhere in this favored land the sun is shining bright,
The band is playing somewhere, and somewhere hearts are light;
And somewhere men are laughing, and somewhere children shout,
But there is no joy in MudvilleMighty Casey has struck
out.”
—Ernest Lawrence Thayer (18631940)
“The flattering, if arbitrary, label, First Lady of the Theatre, takes its toll. The demands are great, not only in energy but eventually in dramatic focus. It is difficult, if not impossible, for a star to occupy an inch of space without bursting seams, cramping everyone elses style and unbalancing a play. No matter how self-effacing a famous player may be, he makes an entrance as a casual neighbor and the audience interest shifts to the house next door.”
—Helen Hayes (19001993)