Welby Van Horn
Active
Coach
Video Library (63 videos)
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FPS |
Duration |
Balance Checkpoints: The Forehand
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Learning and Perfecting the Serve: Part 1 (10 of 14)
Welby Van Horn teaching serve toss height from the center of the baseline, filmed from a rear court-level angle. After release, his tossing arm stays extended upward as his weight begins to shift forward into the court, helping set up a balanced follow-through and recovery into a ready stance.
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6.4s |
Learning and Perfecting the Serve: Part 1 (11 of 14)
Welby Van Horn’s serve from the center baseline, filmed from a rear court-level angle. His hips stay coiled with a deep knee bend during the loading phase, then drive upward with an evident leg push that straightens both knees into contact.
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4.4s |
Learning and Perfecting the Serve: Part 1 (12 of 14)
Welby Van Horn’s serve pronation animation from the center baseline, filmed from a side CourtLevel angle. The contact point is shown with the racket face slightly edge-on to the ball as the forearm pronates through impact, emphasizing a high contact just above head level with rapid racket head acceleration.
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9.8s |
Learning and Perfecting the Serve: Part 1 (13 of 14)
Welby Van Horn’s serve from the center baseline, filmed from a side CourtLevel angle. His knees bend deeply before leg drive, with the hips staying loaded and then extending upward in a coordinated jump to transfer energy into the serve.
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5s |
Learning and Perfecting the Serve: Part 1 (14 of 14)
Welby Van Horn’s serve teaching sequence from a central baseline position, filmed from a rear court-level angle. His footwork emphasizes a measured platform stance with minimal leg drive, making it easy to see the weight transfer from back foot to front foot before and during the upward swing.
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7.4s |
Balance Checkpoints: The Forehand
A generic forehand groundstroke from the center of the baseline, filmed from a side angle. After contact the player’s racquet wraps across the body with the non-hitting hand extending back for counterbalance before both hands return to a neutral ready position.
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Balance Checkpoints: The Forehand
Paul Hamori's stroke animation is shown from a neutral court position, filmed from a side CourtLevel angle. His follow-through carries the racquet high across his body while his weight clearly transfers onto his front foot before he returns toward a ready stance.
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9s |
Balance Checkpoints: The Forehand
Generic player’s stroke animation from a central position, filmed from a side angle. The follow-through brings the racquet up over the opposite shoulder while the player’s weight transfers onto the front foot into a neutral ready stance.
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Balance Checkpoints: The Forehand (2 of 25)
Welby Van Horn’s forehand balance animation from a central court position, filmed from a side view. The sequence emphasizes the player’s weight transfer onto the front foot and a stable, upright follow-through that returns the body to a neutral, ready stance.
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5.7s |
Balance Checkpoints: The Two-Handed Backhand (2 of 9)
Student's two-handed BH from the center of the court, filmed from a rear angle. The contact is made slightly in front of the lead hip with the racket face square to the ball and the racket head accelerating on an upward path through contact.
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5.1s |
Learning and Perfecting the Serve: Part 1 (1 of 14)
Welby Van Horn’s basic serve from a central baseline position, filmed from a CourtLevel angle. The server’s continental grip is evident in the slightly angled racquet face, and there is a clear, early wrist pronation as the arm extends upward toward contact.
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3.1s |
The One-Handed Backhand: Balance Checkpoints (1 of 8)
Federer's one-handed BH from a neutral baseline position, filmed from a side CourtLevel angle. His follow-through finishes high with the hitting arm extending out and up while his weight transfers onto the front leg, quickly bringing the racquet back to a neutral ready position.
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8s |
The Volleys in My Teaching System (1 of 8)
Welby Van Horn’s demonstration volleys from the net area, filmed from a side court-level angle. His knees stay flexed through the hitting phase and his hips move forward with a short, controlled step toward the ball rather than rotating aggressively.
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8.1s |
Balance Checkpoints: The Two-Handed Backhand (1 of 9)
Welby Van Horn’s two-handed backhand instruction from a neutral court position, filmed from a court-level side angle. The side view makes it easy to see the relatively firm, stable wrists with minimal wrist roll, emphasizing grip security over wrist snap at contact.
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39.5s |
Balance Checkpoints: The Forehand (1 of 25)
Welby Van Horn's forehand technique explanation from the center of the baseline, filmed from a side CourtLevel angle. His footwork emphasizes a clear neutral stance with a defined plant of the front foot before swing initiation, making it easy to see how he sequences the weight transfer through the legs.
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33.9s |
The Volleys in My Teaching System (2 of 8)
Roger Federer's forehand volley from the net, filmed from a side court-level angle. His continental grip is firm but relaxed, with a stable wrist that stays slightly laid back through contact rather than snapping or rolling.
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7.2s |
The One-Handed Backhand: Balance Checkpoints (2 of 8)
AnimationJoe’s one-handed backhand from a neutral baseline position, filmed from a side CourtLevel angle. The side view makes it easy to see the eastern backhand grip staying stable while the hitting wrist maintains a laid-back position through the loop and then straightens through contact.
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5.8s |
Learning and Perfecting the Serve: Part 1 (2 of 14)
Pete’s serve toss drill from the center baseline, filmed from a court-level rear angle. His legs stay relatively straight with only a slight knee bend, emphasizing minimal lower-body drive and a stable hip position during the ball toss.
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11.2s |
Balance Checkpoints: The Forehand (3 of 25)
Welby Van Horn’s forehand swing shadow from the center of the court, filmed from a side angle. His hips stay centered over a wide, stable base as his knees flex and extend rhythmically to teach proper leg loading and weight transfer through the stroke.
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8.9s |
Balance Checkpoints: The Two-Handed Backhand (3 of 9)
Welby Van Horn's two-handed backhand swing without the ball from a central baseline position, filmed from a side angle. The video makes it easy to see the deep knee flex and strong hip hinge at the loading phase before the legs extend through the mock contact.
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4.1s |
Balance Checkpoints: The Two-Handed Backhand (4 of 9)
Welby Van Horn’s two-handed backhand from the center of the baseline, filmed from a side CourtLevel angle. His early unit turn is paired with a small adjustment hop into a neutral stance, followed by a controlled pivot on the front foot that keeps his head and upper body steady through the stroke.
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3.7s |
The One-Handed Backhand: Balance Checkpoints (3 of 8)
Welby Van Horn student’s one-handed backhand from a neutral baseline position, filmed from a court-level side angle. The hips stay closed through the unit turn with a pronounced knee bend on the back leg, then extend upward as the front hip opens into contact to drive the legs through the shot.
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4.3s |
Learning and Perfecting the Serve: Part 1 (3 of 14)
Server's first serve from the center of the baseline, filmed from a rear court-level angle. The shoulder and trunk coil are clearly visible as the hitting shoulder drops and rotates behind the body before uncoiling upward in sequence from hips to shoulders.
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4.5s |
Balance Checkpoints: The Forehand (4 of 25)
Welby Van Horn’s forehand preparation from a central baseline position, filmed from a side angle. His early unit turn is paired with a clear adjustment of the stance into a stable, slightly open base, with small corrective steps used to fine-tune balance before the forward swing.
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4.2s |
The Volleys in My Teaching System (4 of 8)
Welby Van Horn’s volley backswing demonstration from the center of the court, filmed from a side angle. The limited shoulder turn with a compact trunk coil into the volley emphasizes a short unit turn where the shoulders move as one piece with minimal independent arm swing.
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7.7s |
Learning and Perfecting the Serve: Part 1 (4 of 14)
Welby Van Horn's serve ball toss demonstration from the center baseline, filmed from a rear angle. After the toss, his arm extends fully upward and remains up briefly, helping maintain posture and weight under the ball before he returns to a neutral ready position.
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3.7s |
Balance Checkpoints: The Forehand (5 of 25)
Welby Van Horn’s forehand from the center of the court, filmed from a side angle. The contact point is clearly in front of the body with the racket face slightly closed and the racket head accelerating upward through the ball.
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3.8s |
Balance Checkpoints: The Two-Handed Backhand (5 of 9)
Welby Van Horn’s two-handed backhand from a central baseline position, filmed from a side court-level angle. The follow-through finishes high with both hands on the racquet while his weight transfers onto the front foot, and he quickly relaxes the arms to return to a balanced ready position.
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3.7s |
The One-Handed Backhand: Balance Checkpoints (4 of 8)
Welby Van Horn student’s one-handed backhand from the center of the baseline, filmed from a side court-level angle. His balanced stance is clear as he loads on the outside leg in a neutral stance before driving through and finishing with an early recovery step back toward the ready position.
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3s |
Balance Checkpoints: The Two-Handed Backhand (6 of 9)
Welby Van Horn’s two-handed backhand balance drill from a central court position, filmed from a court-level side angle. The video emphasizes a firm, even two-handed grip with minimal wrist break, keeping the wrists quiet and aligned through contact to promote stability.
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3.1s |
The One-Handed Backhand: Balance Checkpoints (5 of 8)
Welby Van Horn teaching animation of a one-handed backhand from a neutral baseline position, filmed from a side court-level angle. The racket face stays slightly closed with contact made just in front of the lead hip at roughly waist to mid-torso height, and the swing path extends forward through the ball with controlled racket head acceleration.
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3.2s |
Learning and Perfecting the Serve: Part 1 (5 of 14)
Welby Van Horn’s serve backswing teaching animation from the center baseline, filmed from a rear angle. The animation stresses a rhythmic weight transfer with a controlled knee bend and an early shoulder turn that sets up a stable, balanced stance before the upward motion.
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6.8s |
The Volleys in My Teaching System (5 of 8)
Welby Van Horn’s volley demonstration at net from the center of the court, filmed from a side CourtLevel angle. The side view makes the early shoulder turn and controlled trunk rotation easy to see as the torso coils slightly on the unit turn, then uncoils forward in sync with the arm to set the volley position.
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7.5s |
Balance Checkpoints: The Forehand (6 of 25)
Welby Van Horn’s forehand footwork step to the ball from the center of the court, filmed from a side CourtLevel angle. After contact he transfers weight fully onto the front foot and quickly re-centers his stance, with the non-hitting hand helping to square the shoulders back into a ready position.
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5.9s |
The Volleys in My Teaching System (6 of 8)
Welby Van Horn's volley drill from the center of the court, filmed from a side angle. His feet stay in a compact, slightly staggered neutral stance with a small forward step into contact, emphasizing minimal pivot and short recovery steps back to ready position.
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3.5s |
Learning and Perfecting the Serve: Part 1 (6 of 14)
Welby Van Horn’s serve demonstration from a central baseline position, filmed from a side angle. His continental grip is clearly visible with a relaxed hand, and the wrist moves from a laid-back position into pronounced pronation just after contact.
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6.8s |
Balance Checkpoints: The Forehand (7 of 25)
Welby Van Horn’s forehand from a neutral hitting position, filmed from a front teaching angle. The grip is a relaxed eastern forehand with a laid-back wrist that stays stable through contact before a controlled, compact release.
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7.1s |
The One-Handed Backhand: Balance Checkpoints (6 of 8)
Welby Van Horn student's one-handed backhand from the center of the baseline, filmed from a side CourtLevel angle. After contact the player’s racket finishes high with the non-hitting hand staying back for balance, and the feet recover quickly into a neutral ready position.
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5.3s |
Balance Checkpoints: The Two-Handed Backhand (7 of 9)
Welby Van Horn’s two-handed backhand contact-position animation from a neutral baseline position, filmed from a side CourtLevel angle. The racket face is nearly square to the ball at contact, with the contact point slightly in front of the lead hip and the racket head accelerating on a low-to-high path.
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4.9s |
The Volleys in My Teaching System (7 of 8)
Welby Van Horn’s volley contact point from the net area, filmed from a side CourtLevel angle. The racket face is slightly open at contact with the ball meeting the strings just in front of the lead hip and below shoulder height, with a compact forward punch and minimal backswing.
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5.5s |
Balance Checkpoints: The Two-Handed Backhand (8 of 9)
Welby Van Horn’s two-handed backhand teaching example from a central baseline position, filmed from a side CourtLevel angle. The side view makes the progressive shoulder turn and trunk rotation especially clear, with the hips initiating the uncoil before the upper torso and shoulders complete the continuation of rotation through contact.
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4.2s |
Balance Checkpoints: The Forehand (8 of 25)
Welby Van Horn's forehand from the center of the baseline, filmed from a side CourtLevel angle. The contact point is slightly in front of the lead hip with the racket face nearly vertical, and you can see the racket head accelerating forward on a low-to-high path through the ball.
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2.9s |
The One-Handed Backhand: Balance Checkpoints (7 of 8)
Joe’s one-handed backhand from a neutral central position, filmed from a side court-level angle. His eastern backhand grip is easy to see in profile, with a laid-back wrist creating clear racket lag that straightens through contact into a firm, stable hitting structure.
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5.1s |
Learning and Perfecting the Serve: Part 1 (7 of 14)
Welby Van Horn’s serve from a central baseline position, filmed from a side CourtLevel angle. The side view makes the opposite (non‑hitting) arm’s upward extension and its role in deep shoulder turn and trunk coil before uncoiling into contact very clear.
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10.4s |
Balance Checkpoints: The Two-Handed Backhand (9 of 9)
Welby Van Horn’s two-handed backhand from a central teaching position, filmed from a side court-level angle. After contact he completes his rotation with his shoulders fully turned toward the target and both hands finishing high, then quickly settles his weight onto his front foot in a balanced stance ready for the next shot.
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4.2s |
Balance Checkpoints: The Forehand (9 of 25)
Welby Van Horn’s forehand from the center of the baseline, filmed from a side CourtLevel angle. His hips and legs clearly show a deep knee bend into the load position followed by a full uncoiling of the hips, with the rear leg driving forward to complete the rotation.
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4.9s |
The Volleys in My Teaching System (8 of 8)
Welby Van Horn’s volley finish from the center of the court, filmed from a side angle. His weight transfers forward onto the front foot as the racquet finishes in front of his body and he quickly recovers the racquet back toward a neutral ready position.
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4.4s |
The One-Handed Backhand: Balance Checkpoints (8 of 8)
Joe's one-handed backhand from a neutral baseline position, filmed from a side angle. You can clearly see the early shoulder turn creating a strong trunk coil, followed by a sequential uncoiling where the shoulders lead the torso rotation through contact.
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6.1s |
Learning and Perfecting the Serve: Part 1 (8 of 14)
Pete Sampras’s serve from a stationary teaching position, filmed from a side CourtLevel angle. The racket arm is shown in a strong upward throwing position with the racket face slightly closed at contact, meeting the ball just above head height for optimal extension.
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4.2s |
Learning and Perfecting the Serve: Part 1 (9 of 14)
Welby Van Horn’s serve from a central baseline position, filmed from a side CourtLevel angle. His feet stay grounded in a platform stance with a noticeable knee bend before driving upward, and his front foot pivots slightly toward the court as he uncoils into the contact point.
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5.3s |
Welby Van Horn: Secrets of a True Master (5 of 5)
Welby Van Horn’s adjustment foot concept is explained from a central court position, filmed from a side angle. The video clearly illustrates how the contact point stays slightly in front of the body as the racket face stays square to the target line while the adjustment step is made.
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1.7s |
Secrets of a True Master: Introduction to My System (4 of 7)
Welby Van Horn's teaching segment on balance and stroke fundamentals from center court, filmed from a side angle. His follow-through is emphasized with weight transferring fully onto the front foot and both hands settling in a controlled, ready position to recover for the next ball.
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4.1s |
Secrets of a True Master: Introduction to My System (6 of 7)
Welby Van Horn’s teaching system segment on basic stroke mechanics is filmed from a CourtLevel side angle. The coach emphasizes a relaxed eastern grip with minimal wrist break, keeping the wrist quiet through contact to build a stable, repeatable foundation for beginners.
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9.7s |
Welby Van Horn: Secrets of a True Master (3 of 5)
Welby Van Horn’s footwork step after the bounce is shown from a side court position, filmed from a court-level angle. His hips stay relatively closed as the ball rises while his knees flex and then drive upward into a decisive step forward timed exactly with the bounce.
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6.9s |
Secrets of a True Master: Introduction to My System (5 of 7)
Todd Martin's entire point-play sequence from a central baseline position, filmed from a high rear CourtLevel angle. His shoulders load with a pronounced coil relative to the hips on both FH and BH patterns, then uncoil in sync with trunk rotation so the torso leads the arm swing through contact.
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6.2s |
Secrets of a True Master: Introduction to My System (3 of 7)
Welby's neutral-stance groundstroke from the center of the court, filmed from a court-level side angle. His hips stay relatively quiet while the knees maintain a consistent flex, emphasizing lower-body stability over aggressive leg drive.
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57.7s |
Secrets of a True Master: Introduction to My System (7 of 7)
Welby Van Horn explains his teaching system concepts from a stationary position at the baseline, filmed from a court-level front angle. His instruction emphasizes a relaxed, semi-continental hand position with a loose wrist that firms only at contact to guide beginners toward consistent, controlled strokes.
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16.6s |
Welby Van Horn: Secrets of a True Master (2 of 5)
Welby Van Horn’s balance-focused instructional segment on overall stroke fundamentals is presented with audio-only coaching, without a visible court angle. From his verbal cues, he emphasizes keeping a relaxed, neutral hand on the grip and avoiding excessive wrist flicking so the racquet face stays stable through contact.
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52.4s |
Secrets of a True Master: Introduction to My System (2 of 7)
Welby Van Horn's instructional forehand from the center of the court, filmed from a court-level side angle. His footwork emphasizes an early unit turn into a neutral stance with small adjustment steps before contact and a clear recovery step back toward the ready position.
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3.7s |
Secrets of a True Master: Introduction to My System (1 of 7)
Welby Van Horn's forehand from the center of the court, filmed from a rear angle. The racket face is slightly closed at a contact point just in front of his lead hip, with a low-to-high swing path that accelerates the racket head through the ball.
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4.6s |
Welby Van Horn: Secrets of a True Master (4 of 5)
Player's open-stance forehand from a neutral court position, filmed from a court-level side angle. The shoulder turn is moderate with the hitting-side shoulder clearly rotating under the chin on the unit turn, followed by a pronounced trunk uncoil that brings the chest square to the net at contact, illustrating clear sequential rotation from hips to shoulders.
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2.8s |
The Volleys in My Teaching System (3 of 8)
Christine's forehand volley from a neutral net position, filmed from a side court-level angle. Her hips stay relatively square to the net while a slight knee flex and forward leg drive support a stable base through contact.
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3.4s |
