The 4-Out One-In Continuity.With all the myriad Myriad is a classical Greek name for the number 104 = 10 000. In modern English the word refers to an unspecified large quantity. The term myriad is a progression in the commonly used system of describing numbers using tens and hundreds. skill levels in basketball, it has become fairly simple to design an offense that will create opportunities for the multifaceted mul·ti·fac·et·ed adj. Having many facets or aspects. See Synonyms at versatile. Adj. 1. multifaceted - having many aspects; "a many-sided subject"; "a multifaceted undertaking"; "multifarious interests"; "the multifarious players. [ILLUSTRATION OMITTED] The 4-Out One-In Continuity is that kind of offense. Whatever level you play on, the continuity will produce the maximum effectiveness for every player on the court. Players entering our program from the junior high team know that our objective is to develop well-rounded players who can handle, pass, and shoot the basketball from any open spot on the floor. Very rarely will they achieve anything less than solid and consistent offensive production. Our basketball philosophy is predicated on six concepts: No. 1, Spacing: This is essential in continuities and must be maintained at all times. At the high school level, it will be the hardest thing to teach and will have to be practiced every day. No. 2, Player Movement: Any lapse (language) LAPSE - A single assignment language for the Manchester dataflow machine. ["A Single Assignment Language for Data Flow Computing", J.R.W. Glauert, M.Sc Diss, Victoria U Manchester, 1978]. by a player will hurt your spacing and stagnate stag·nate intr.v. stag·nat·ed, stag·nat·ing, stag·nates To be or become stagnant. [Latin st the offense. Continue to teach the concept of "keep moving" with and without the ball. No. 3, Solid Screens: Head hunt whenever possible, but always remember to keep the opportunity going and stay spaced. No. 4, Teach the Backdoor See trapdoor. Cut: Important for first options and quick hits at the basket. No. 5, Ball Movement: Incorporated with player movement. No. 6, Team Play & Trust: Reinforce the idea of continuity to emphasize team play. Teach the players to rely on and trust each other within the offense. THE CONTINUITY IN DIAGRAMS Diag. 1: #5 begins on the low block, while the other four players set up on the perimeter The boundary of a system or network, which defines the inside and outside. It is typically determined by firewalls and addresses. See DMZ. . These positions can be determined out of transition or set positions. [GRAPHIC OMITTED] [GRAPHIC OMITTED] [GRAPHIC OMITTED] [GRAPHIC OMITTED] [GRAPHIC OMITTED] [GRAPHIC OMITTED] Players #1 and #2 set up on either side of the lane, but with #1 staying to the left of #2. He is coming out of transition to keep the floor balanced. He begins movement with a pass to #2 on the weak side (away from #5). Player #5's movement is predicated on that pass to #2. While #2 checks out the defense, #5 moves up the floor to set a back-screen for #3, who looks through the paint and then chooses to cut across the lane and go either above or below #4, screening for him. The diagram diagram /di·a·gram/ (di´ah-gram) a graphic representation, in simplest form, of an object or concept, made up of lines and lacking pictorial elements. shows him going below #4 (from where he will replace #4). Diag. 2, Back-Screen: #5's assignment is to come up from the free-throw line free-throw line n. See foul line. extended and set a back-screen for #1--who will come over the screen and cut to the strong-side block. #5 will then replace #1 at the top. Diag. 3, Ball Reversal: The continuity begins with the ball-handler (#2) passing across to #5, as #1 comes up from the block to screen for #3 on the wing and then for #2 at the top. #3 then drives across the lane to replace #4. #2 passes the ball to #5 and then cuts through the lane to the strong-side block--using any of the moving screens. Diag. 4: Again we have #1 driving up from a low block to set a screen for a man on the perimeter (#2), who cuts over the screen and veers over into the near corner. Meanwhile, #2 slides to the middle of the free-throw line to set a screen. Diag. 5: #2 hits #4 in the near corner and then goes opposite to screen for #1, who comes over the screen to replace #2. Meanwhile, #5 is cutting across the lane to set a back-screen for #3, who cuts over the screen and then opens up as #3 comes around the screen and makes the return trip to #5 territory. Diag. 6: Once the floor is balanced, you can start the offense from its initial point--with #3 on the left block coming up to back-screen for #2, the ball-handler. The latter passes to #1 at the point and then comes over the screen (#3) and across the lane to the high post. #1 passes to #4 and shoots across the lane to the low block. I would like to re-emphasize Verb 1. re-emphasize - emphasize anew; "The director re-emphasized the need for greater productivity" re-emphasise accent, accentuate, emphasize, stress, punctuate, emphasise - to stress, single out as important; "Dr. the importance of spacing in the event that you have to move your center to another position. Players should know not to stand around and watch but to continue with their offensive responsibilities, regardless of where the post players are moving. Once the post has moved, the continuity will continue from that point. By Charles Charles, archduke of Austria Charles, 1771–1847, archduke of Austria; brother of Holy Roman Emperor Francis II. Despite his epilepsy, he was the ablest Austrian commander in the French Revolutionary and Napoleonic wars; however, he was handicapped by A. Brown, Basketball Coach, North Hunterdon H.S h.s., n Latin phrase for “at bedtime”; used in writing prescriptions. . Annandale An·nan·dale A city of northeast Virginia, a suburb of Alexandria and Washington, D.C. Population: 57,600. , NJ |
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