Page 1

DOCUMENT RESUME

ED 217.005

SP 020 174

AUTHOR

Healey, William A.; Hartley, Joseph W.

TITLE

Twelve Great Basketball Offenses.

INSTITUTION

American Alliance for Health, Physical Education,

Recreation and Dance, Reston, VA. National

Association for Sport and Physical Education.

PUB DATE

82

NOTE

306p.

AVAILABLE FROM American Alliance for Health, Physical Education,

Recreation and Dance, 1900 Association Drive, Reston,

VA 22091 (Stock Number: 245-27032; $10.95).

EDRS PRICE

MF01 Plus Postage. PC Not Available from EDRS.

DESCRIPTORS

*Athletes; Athletic Coaches; *Basketball;

Competition

IDENTIFIERS

*Basketball Offense

ABSTRACT

Features and merits of twelve offensive basketball

patterns are presented in this volume. Plays described are: (1)

single pivot-post offense; (2) double pivot-post offense; (3)

weak-side cutter series (reverse action offense); (4) 1-3-1 offense

(hi-lo offense); (5) Illinois continuity offense; (6) rotation

offense; (7) shuffle offense; (8) pick and roll offense; (9) fast

break; (10) zone offense; (11) deep screen motion offense; and (12)

triangle-4 offense. A summary of the origin and development of each

play is given, followed by a discussion of basic moves, patterns, and

details of step-by-step and phase movements. Diagrams illustrate

options and variations discussed in the teat. (FG)

***********************************************************************

*

Reproductions supplied by EDRS are the best that can be made

*

*

from the original document.

*

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0

0

Twelve Great

Basketball Offenses

Dr. William A. Healey

and

Joseph W. Hartley

with a foreword by

Norman Sloan

Sponsored by the National Association

for Sport and Physical Education

an association of

The American Alliance for

Health, Physical Education,

Recreation and Dance

U ti DEPAISMIENT OF EDUCATION

NATIONAL INSTITUTE OF EDUCATION

EDUCATIONAL RESOURCES

INFORMATION

CENTER (ERIC)

0 This document has

been recroduesd as

orirAdinating

from Me person or or

Minor

senfsation

Minor damps hove boon made to imam,

sProduction quaky, -

Points of We* or opinions stated in Ns docu

mons do not nactsarif represent

offielel NIE

position of poky.

2

"PERMISSION TO REPRODUCE THIS

MATERIAL IN MICROFICHE ONLY

HAS SEEN GRANTED BY

W. L. Core

TO THE EDUCATIONAL RESOURCES

INFORMATION CENTER (ERIC)."

Significant portions of Chapters 1-10 were originally published by Parker

Publishing Company, Inc., West Nyack, NY, 1970.

Copyright © 1982

The American Alliance for

Health', Physical Education,

Recreation and Dance

1900 Association Drive

Reston, VA 22091

Stock Number: 245-27032

3

Purposes of the American Alliance

For Health, Physical Education,

Recreation and Dance

The American Alliance is an educational organization, structured for

the purposes of supporting, encouraging:and providing assistance to

member groups and their personnel throughout the nation as they seek

to initiate, develop, and conduct programs in health, leisure, and

movement-related activities for the enrichment of human life.

Alliance objectives include:

1. Professional growth and developmentto support, encourage,

and provide guidance in the development and conduct of programs in

health, leisure, and movement-related activities which are based on the

needs, interests, and inherent capacities of the individual in today's

society.

2. Communicationto facilitate public and professional under-

standing and appreciation of the importance and value of health, lei-

sure, and movement-related activities as they contribute toward human

well-being.

3. Researchto encourage and facilitate research which will enrich

the depth and scope of health, leisure, and movement-related activities;

and to disseminate the findings to the profession and other interested

and concerned publics.

4. Standards and guidelinesto further the continuous develop-

ment and evaluation of standards within the profession for personnel

and programs in health, leisure, and movement-related activities.

5. Public affairsto coordinate and administer a planned program

of professional, public, and governmental relations that will improve

education in areas of health, leisure, and movement-related activities.

6. To conduct such other activities as shall be approved by the Board

of Governors and the Alliance Assembly, provided that the Alliance

shall not engage in any activity which would be inconsistent with the

status of an educational and charitable organization as defined in Sec-

tion 501(c) (3) of the Internal Revenue Code of 1954 or any successor

provision thereto, and none of the said purposes shall at any time be

deemed or construed to be purposes other than the public benefit

purposes and objectives consistent with such educational and charitable

status.

I.

4

Bylaws, Article III

4 ' ..

Dedication

To two girls .

. .

for Billit is Ruth,

for Joeit is Beryl.

liable of Contents

FOREWORD

9

WHY WE WROTE THIS BOOK

AND WHAT IT-WILL DO FOR YOU

11

KEY TO THE DIAGRAMS

13

Chapter 1: THE SINGLE PIVOT-POST OFFENSE

17

The most-used offense. Origin and development. Effect

upon rules changes. Advantages of the single pivot-post

offense. Standard set-up and operational areas for the

players. Requirements for the positions in the offense Op-

erational movements of the pivot-post player. Operational

movements of the forwards. Operational movements of the

guards. Basic play patterns.

Chapter 2: THE DOUBLE PIVOT-POST OFFENSE

39

Brief development and history of this offense. Advantages

and disadvantages of the offense. Requirements for the

positions of play in the offense. Operational movements of

the guards. Operational movements of the two pivot-post

men. Basic offensive plays for the offense.

Chapter 3: THE WEAK-SIDE CUTTER SERIES

(REVERSE ACTION OFFENSE)

61

Basic ideas of the offense. Deployment of the players and

their responsibilities in the offense. The continuity pattern

__and development of 'the-offense: Options -available:- Basic

play diagrams and patterns for the offense.

6

6

TABLE OF CONTENTS

Chapter 4: THE 1-3-1 OFFENSE

(THE HI-LO OFFENSE)

83

Many names and variations of the offense. Purposes of

using the offense, and advantages derived from its use.

Disadvantages of the offense. Bask patterns and play

options that can be used.

Chapter 5: THE ILLINOIS CONTINUITY OFFENSE

103

Origins of the offense. Advantages and disadvantages,

strengths and weaknesses. The continuity pattern. Opera-

tions available and freelance opportunities that present

themselves. Bask play patterns and diagrams of the of-

fense.

Chapter 6: THE ROTATION OFFENSE

121

Origin of the offense and its use. Theory behind the rota-

tion. Advantages of the rotation. Player position and

movement. Continuity of play. Establishing proper floor

balance. Importance of shooting. Play of the guards and

forwards. Play of the center.- The screen. Basic positions.

Bask play patterns and options that can be run from the

offense.

Chapter 7: THE SHUFFLE OFFENSE

145

History, origin and popularity of the shuffle. Advantages

and disadvantages, strengths and weaknesses. Possible

variations and uses of the offense. Presentation of basic

pattern ideas, and options. Adjustments that may be made

to meet the various situations in defenses. Adjustments that

may be made to fit personnel on squad.

Chapter 8: THE PICK AND ROLL OFFENSE

167

Origin, history, and uses by teams. Advantages, disadvan-

tages, weaknesses and strengths. Deployment of patterns

possible. Basic ideas and fundamental principles involved.

-Presentation of basic patterns and options.

7

TABLE OF CONTENTS

7

Chapter 9: THE FAST BREAK

193

The purpose of the fast break. Employment and advantages

of the fast break as an offense. Patterns used. Transition

from defense to offense in the fast break. Fast break oppor-

tunities. Parts of the fast break. Keys to a successful fast

break.- Typei offast 6reaks. Bask patterns.

Chapter 10: THE ZONE OFFENSE

223

Offenses against the 1- 3-1, 2-2-1, 2-1-2, and other zone

defenses. Offensive theories for use against the zone. Basic

principles of breaking the zone defense. Continuity of play

to beat the zone. Basic plays and patterns.

Chapter 11: THE DEEP

MOTION OFFENSE

249

Origin and history of the offense. Reason for the resurgence

of the offense. The theory behind the offense. The purpose of

the offense. Advantages of the offense. Disadvantages of

the offense. Offense personnel. The ideal material for the

offense. Guiding rules for the offense. Basics of the offense.

Basic positions., Play of the three deep men or the forwards

and the center. Play of the guards in the offense. Basic

offensive plays for the offense. Summary.

Chapter 12: THE TRIANGLE-4 OFFENSE

277

Features of the offense that functions by principles and

rules. Offensive positions of the players. Advantages of the

offense. Disadvantages of the offense. The passing game.

The clear series. The rolling game. The shuffle cut. The

backdoor option. The double low post motion game. The

triangle-4 offense against zone defenses. The delayed or

semi-delayed game.

INDEX

305

Foreword

In Twelve Great Basketball Offenses

Coaches Bill Healey and Joe

Hartley have made great strides toward solving the age-old problem of

finding the best offense for the material

that is available to you. They

have coalesced the experiences of their successful

productive bas-

ketball careers into this in-depth study of offensive basketball, and help

you to pick the most effective winning offense.

With an outstanding coaching career at both the high school and

college levels, Bill Healey's coachingrecord includes six college cham-

pionships, two National Association of Intercollegiate Athletic Holiday

Tournaments, and 388 winning efforts in

576 games. Bill has teamed

with Joe Hartley, a respected andinnovative veteran of 24 years of

coaching at the high school level. Joe has some 18 championships under

9

10

roA.

FOREWORD

his belt and has specialized in getting the most out of the talent available

to him.

The re-emergence of this book with the ten offenses that were so

clearly and effectively explained and illustrated in its predecessor, 10

Great Basketball Offenses, and the addition of two newly &fined and

equally well-illustrated offenses, will serve as a valuable resource. Both

the new and the more experienced coaches should gain from the appli-

cation of principles depicted here. Also coaches of girls' and women's

basketball will find that the offenses are of equal value to their rapidly

growing segment of the basketball world.

The approach used in describing the 12 great basketball offenses is

thorough and written in a clear, understandable style. First, a brief

origin and development of each offense is givenso you know net only

how, but also why each one was developed. Then, the offense is further

elaborated with basic moves, patterns, and details of step-by-step and

phase movements. This is followed by a fuller description that explains

options and possibilities from each phase of the offense and includes various

teaching drills.

This practical guide of basketball offenses is of enormous value to

every coach. Even a coach who has used one or more of these offenses

cannot afford to overlook the new possibilities available to him. Thus,

any coach can take an offense and, from the information given him by

Coaches Healey and Hartley, adapt it to the needs of any situation!

What's more, over 258 continuous-action diagrams show you plays

from start to finish. Each offense is diagramed: the basics, the details

of step-by-step and phase movements, the options and possibilities to

the many phases and movements, the continuity patternseverything

necessary for a rapid and efficient use of any of these offenses!

Coaches Healey and Hanky are to be congratulated on updating

this offensive coaching classic and sharing it with all members of the

coaching community.

Norman Sloan

10

Why We Wrote This Book

and What It Will Do for You

Today in basketball there are almost as many offenses in use as

there are coaches. Each coach has his own offense, and of course it varies

and differs from year to year to fit and adjust to the talent at hand. Yet in

spite of this, many offenses are similar, and in most instances are

patterned after one of the "Great Offenses" that has been used by a

great team or a great coach who devised a "system" or an "offense" that

has been in use for a period of time and has proven successful.

The problem of selecting the proper offense for the material at

hand is an age-old coaching problem, both for the experienced and

young beginning coach. Most coaches in beginning their career select a

basic type pattern or style of play, usually determined by the experiences

they have had and the coaches they have played under and been associ-

ated with. As their career develops they become more individualistic

and develop their own ideas, depending on the matelial they have, and

the existing conditions under which they coach. Development of the

game and changes in the rules also affect the development of offenses

and styles developed by coaches.

To our knowledge no book has ever been written which has been

devoted entirely to the "Great Offenses" that have been used and have

proven to be successful. For this reason the authors have decided to give

the basics of at least "Twelve Great Offenses," or what we believe to be

the "Twelve Great Offenses." In giving the basics of these offenses, we

also will give some detail and options to each, and enough information

that any coach could take the offense and from the basics given, adapt

the offense to fit his needs in a given situation. For this reason we believe

11

this book will be valuable to all coaches and students of the game of

basketball.

In selecting an offense every coach should bear in mind that the

selected offense should be one that will permit players of outstanding

ability to use that ability and not be confined to a system of play that will

jeopardize or prevent this use. Present-day basketball demands a free

wheeling, wide-open style of play that emphasizes high scoring, free

shooting, and individualized play. No offense should stress pattern play

to the extent that it stymies good scoring opportunities presented be-

cause of player abilities alone. However, basketball has been and still is a

team game with all players contributing to team success. To accomplish

this, it is necessary for all members of the Lam to cooperate so that the

high percentage shot may be obtained. This means that the chosen

pattern of play or offense should be one that requires all players to be

continually in motion and that these movements be guided by certain

rules and principles. All players must continually execute moves and

screens which will help free a teammate for a high percentage shot.

Another purpose the authors have in mind in presenting this book

is to give the basketball coaching piofession a book that presents in one

compact package at least "Twelve Great Basketball Offenses" in such a

form as to be helpful should a coach want to know more details of one of

these offenses that is commonly in use. It is also hoped that this book will

be a help to other coaches in developing their own offenses which may

be a variation of, or a combination of, some of the "Great Basketball

Offenses."

BILL HEALEY AND JOE HARTLEY

Editor's note: The use of

masculine pronoun throughout this publication is a carry-over from a

previous edition and is not the policy of the AAHPERD editorial staff. AAHPERD's present policy

is not to refer to a specific gender except when applicable.

12

12

Key to the Diagrams

0

)1101

41.111,

,01

Offensive Player

Defensive Player

Path of Player

Offensive Player Breaks to Here

Defensive Player Breaks to Here

Ball Starts Here

Path of Pass

> Shot or Rebound

OM 4=10 , 41111110 111,

Screen or Rebound Position

Dribble

Pivot or Roll

Staccato Steps

13

13

Twelve Great

Basketball Offenses

14

1

The Single

Pivot-Post j

Offense

I

z

The most universally used offense in the game of basketball through-

out its history has been the Single Pivot-Post offense, or some variation

of it. For a period of time during the development of the game, so uni-

versal was the use of this offense that the e may have been doubts about

the existence of any other type of offense. Even today with the develop-

ment of many offensive innovations, styles, and patterns, the Single Pivot-

Post offense is still used by more teams than any other offense. Thus it is

that the authors feel that this book should begin with the Single Pivot-

Post offense. So many teams have become famous using this offense that

they are too numerous to mention, and it would be unfair to mention

only a few.

Many stories are told about the origin of the Pivot-Post offense. The

most celebrated story is the one told about its origin with the New York

Celtics. This version says it was early in the basketball season of 1924 and

the Celtics were playing in Rochester, New York. Dutch Dehnert was

overweight and not conditioned to the pace of the weaving Celtic offense.

After a time he became so tired that he moved down court and stationed

himself in an area near the foul line with his back to the basket. Nat

Holman flipped the ball to Dutch and Johnny Beckman cut over the top

and in front of Dehnert so close that he bumped his tight defensive man

into him. Beckman wa: in the clear and Dutch threw him the ball for

an easy layup shot. This story says that at that moment the Pivot-Post

offense was born.

17

15

18

THE SINGLE PIVOT-POST OFFENSE

Another version centering around the Celtics comes from Cy Miller,

a former player on a team called-the Tennessee Rail Lites (the Rail Lites

were famous in themselves, and oftenAoured. with the Celtics), and Cy in

giving a similar version to the one just mentioned, says it all happened

in Chattanooga.

No doubt the people of Kentucky think that Adolph Rupp invented

it. Then there is the story told down in Missouri, that the offense orig-

inated one night in, of all places, the small town of Lathrop. From a game

being played there one night in the 1920's comes the story that the gym

was small and that thLe was a concrete pillar in the middle of the floor.

Quite by accident one player dribbled around this post and lost his defen-

sive man as he bumped into the post, He continued to use the post for

this purpose very effectively the rest of the game. In thinking this situation

over after the game and wondering how he would lose this defensive man

when they were to play a return match with no post obstruction on the

floor, he struck upon the idea of stationing the largest and least mobile

teammate on a spot near the foul line and with his back to the basket.

This was done, and with so much effectiveness that here the Pivot-Post

play was born, so this story goes. Soon the idea developed of passing the

ball to the post man with teammates cutting by him for a return pass.

Too, very soon, the more agile pivot-post men began to fake passes, turn

and maneuver for shots off the play themselves.

Long before either of these commonly told stories fell upon familiar

ears, many other stories had been told about the origin of the Pivot-Post

offense. Probably each community, state, or region has similar stories

about the origin of this play, and this offense. Regardless, in 1925 the

original New York Celtics had developed the offense into a very effective

scoring weapon, and as they traveled throughout the country, the idea

caught on rapidly. Soon the offense was being used everywhere. It became

so commonly used, that one can't help but wonder what basketball offenses

must have been like from 1891 until 1925.

The Pivot-Post play and the offense has had a profound affect upon

rule changes that have been made in the game. In the early days of the

game, tall players and big players were not as plentiful as they are today.

In fact, in those days a 6'3" player was a prize, and lucky was the team

that had one such player. Always the tallest and most robust player was

used as the Pivot-Post player. Competition became keen to secure taller

and bigger players. As they increased in stature, they were stationed nearer

the basket, and finally right in front of it. Play in front of the basket

became rough as physical contact developed resulting from the defensive

player's efforts to dislodge the Pivot-Post players out of their favored

THE SINGLE PIVOT -POST OFFENSE

19

scoring positions in front of the basket. Something had to be done about

this rough play, and in 1932 the rules makers passed the three-second lane

rule. The rule was passed with the idea of not allowing the big Pivot-Post

player to station himself right in front of the basket with the thought

that this would eliminate much of the rough play around the basket area.

At that time the free throw lane was only six feet wide. In 1955 the free

throw lane was widened to 12 feet for college and A.A.U. courts and in

1957 the rule was applied to all courts as a further effort to legislate on

the developments that came from the Pivot-Post play.

Today the International Rules have further widened the lane, and

there is always the possibility that our National Alliance Rules Com-

mittee might someday adopt this widened free throw lane area as it is

now played under the International Rules in Olympic Competition.

While it is possible that such rules legislation can change the style and

type of play around the basket area, it is doubtful that the Pivot-Post

offense can ever be entirely eliminated. There will always be some frag-

ments of the offense left, regardless of rule legislation.

ADVANTAGES OF THE SINGLE PIVOT-POST OFFENSE

The Single Pivot-Post offense has many advantages and these advan-

tages no doubt account for its popularity and wide use since the origin

of the offense. Here are some advantages that can be given:

1. In most situations the talent of the players available can best be adapted

and used in some phase of this offense.

2. The offense can easily be adjusted to fit the talent available.

3. It is an offense in which individual freedom can be developed and

.

encouraged.

4. It can also be a disciplined offense.

5. It has good offensive balance with the pivot-post man and two forwards

in good position to score and in good position for offensive rebounding.

6. It has good defensive balance with two guards in position to make quick

offensive thrusts and still be in position to get back on defense quickly.

7. The guards and forwards can be easily adjusted iti their play to give

more defensive or offensive thrust as the situation may demand.

8. It has much flexibility in styling, patterns, and options available.

Diagram 1-1 is a standard set-up for the Single Pivot-Post offense.

The guards bring the ball down the floor about 12 to 15 feet apart. The

forwards set up on a line about even with the free throw line extended,

and back of it, in about 5 or 6 feet from the side line. The Pivot-Post

player operates up and down the lane, his nearness to the basket being

17

20

THE SINGLE PIVOT -POST OFFENSE

r

DIAGRAM 1-1

determined by his ability to score, hook shoot, and play as a feeder. The

dotted line areas give the beginning operational areas of each position.

From these positions the players begin moves that will lead to scoring

opportunities. In all the diagrams for this offense the guards are num-

bered 1 and 2, the forwards are numbered 3 and 4, while the pivot-post

player is numbered 5.

Diagram 1-2 shows the operational areas of No. 5the pivot-post

playergiving the positions to which he may maneuver to receive passes,

and to screen (post) for teammates. No. 5 must time his maneuvers and

movements so that they coincide with the moves and passes of his team-

mates. He must maneuver his defensive man behind him so that he can

receive passes as he moves to the spots shown. He must also learn to take

advantage of the defensive. player who aggressively plays in front of him

by reversing and taking a pass over the defensive player. No. 5 is the hub

of the offense, and passes to him are very necessary for the offense to

function as a Pivot-Post offense.

DIAGRAM 1-2

18

4R1

THE SINGLE PIVOT -POST OFFENSE

21

DIAGRAM 1-3

Diagram 1-3 illustrates that there is a definite circulation pattern

for the guards and the foutards in the Single Pivot-Post offense. The

guards No. 1 and No. 2 break and circulate in two general patternsa

deep circle and a flat circle as'ahown by the dotted circle patterns. The

forwards break and circulate from their operational areas in a pattern

similar to the figure 8 as shown by the solid lines for the general move-

ments for No. 3 and No. 4. The pivot-post player No. 5 breaks and cuts

for openings in his operational area as shown here which is in the area

of the free throw lane.

REQUIREMENTS FOR THE POSITIONS IN THE OFFENSE

The ideal requirements for the positions in the Single Pivot-Post

offense will be given here.

Guards

1. Must have speed.

2. The guards must be the quarterback type because they run the offense.

3. They must be allele to drive.

4. They must be good passers.

5. They should be good shots 18 to 25 feet from the basket.

6. They must have a sense of defensive balance and defensive ability.

Forwards

1. Speed is desirable.

2. They must be good rebounders.

3. They should be good shots from the side areas and around 18 feet from

the basket.

19

22

THE SINGLE PIVOT -POST OFFENSE

4. They must be very good at feeding the pivot-post players since their

passing lanes to this player are -the most advantageous, and most passes

to him will come from the forwarcroperational areas.

5. They must be able to drive the baseline area.

6. Their first requirement when they get the ball is to turn and face the

basket and the pivot-post operational area.

7. To meet these requirements the forwards will usually be taller than

the guards, and not as tall as the pivot-post player, but there can be

exceptions to this.

The Pivot-Post Player

L This player must be mentally tough and have a "mental set" required

for the position.

2. He should be physically strong and be able to take physical punishment

in his work around the backboards and the pivot-post position.

3. He must have the ability to come out with the ball in tough situations.

4. He should be the best rebounder.

5. If he is tall and bigit helps and the more the better.

6. He must be a good feeder to cutting teammates.

7. If he has a good hook shot, it helps. The more potent his scoring ability,

the more versatile the attack can become.

OPERATIONAL MOVEMENTS OF THE PIVOT-POST PLAYER

The fundamental principle of the Pivot-Post offense is that one

player will be stationed near the basket and free throw lane area and be

operational in this area. This player will be the focal point of the offense.

The extent to which he is the focal point will be determined by his

abilities, versatility, and the talents of his teammates in their ability to

use him as the wheel of the offense. Generally speaking this player is the

tallest and largest player on the team, although there have been successful

pivot-post players from 5'8" on up to the tallest in the game. He must be

able to handle the physical wear and tear of close contact work that will

ensue around the basket area and that will result from his being the center

point of the offense. He must crash the backboards for rebounding work,

be able to catch the ball and pass off under difficult conditions and at least

be a scoring threat. The more he can score, the more versatile his position

can become. He must have good judgment in when to pass to a cutting

__teammate, when_to_feint,_3vhen to withhold a pass, when to turn and

shoot, or throw the ball back out to the mid-court area to open up the

offense and start over again. There is no limit to what you can say the

talents for this player should be. Most coaches have to settle for less than

20

THE SINGLE PIVOT-POST OFFENSE

23

the maximum talents that could be used by a player in this position. Of

course, if he is a good jumper, quick reacting, and a superb defensive

player, it all adds to the utilization that can be made of him.

As the name of the position indicates, the pivot-post player in this

offense can be used in a dual purpose capacity. The player will maneuver

in the pivot-post operational area as shown in Diagrams 1-1, 1-2, and 1-3.

He may operate as a pivot player and in this capacity as the focal point

of the offense, the ball is passed to him ahead of cutting teammates who

cut by him to free themselves of their defensive opponent and to gain a

much needed one-step or a half-step advantage to receive a return pass

for a scoring opportunity. This is often referred to as "ball-ahead-of-the-

man" technique. The cutting teammate may also cut to areas other than

by the pivot-post player as he finds opportunities to score by breaking to

other areas (as will be shown by the diagraming of various options that

may be run from the offense). Players cutting by the pivot-post player are

not limited just to the passer. Most offenses using this style of play will

cut two players by the pivot-post in what is called a "split-the-post"

maneuver and some offenses will even break a third player by him. The

offenses that cut two players by the pivot-post usually follow the pattern

of requiring the player who passes the ball to the pivot-post player be

the first cutter by following his pass, ant.' that his teammate in the cutting

play will be the player who had passed to him just before he forwarded

the ball on to the pivot-post. In this type of play the pivot-post player

operates chiefly as a pivot player.

In his second function as a pivot-post player the nu 1 in this position

can operate as a post player. In this capacity he acts as a screener for cut-

ting and dribbling teammates'in order to free them for scoring oppor-

tunities around the free throw lane. This type of play is used more when

the pivot-post player is less a scoring threat himself, when he cannot get

open to receive passes for cutting teammates, and when the teammates are

lessiskilled at passing him the ball in the area to set up the cutting play.

Maneuvering to get free for a pass in the free throw lane area and

to time this maneuvering so as to coordinate with the moves of teammates

and their passing efforts becomes a very necessary skill for the pivot-post

player. He must maneuver his defensive opponent so that the latter will

be behind him when he receives the ball and the play is about to begin.

Defensive players become clever and are difficult to maneuver into this

position as they become more skilled and receive help from teammates.

The pivot-post player must vary his movements, and work in a variety of

moves, fakes, and feints to out-maneuver the defensive players. Usually

the most success can be obtained by moving in the direction away from

21

24

THE SINGLE PIVOT-POST OFFENSE

the ball, and then doubling b.cl, qt-ick:: fo. In opening in the area where

? tau can be received in front of t1'. defensive player. Actually, fakes and

maneuvers should be away from the ball and the move to secure position

and the pass will be toward the ball, and timed to synchronize with the

passing and moves of the teammates who are working to get the ball to

him. Very seldom can the pivot-post player assume a set position and

receive the ball, for most defensive players will not remain behind him.

All of this requires a lot of work on timing, maneuvering, and teamwork

so that this player can receive the ball in an advantageous position for

feeding cutting teammates or for converting the score himself.

OPERATIONAL MOVEMENTS OF THE FORWARDS

The forwards in this offense function in the area behind the free

throw line extended, about two strides from the sideline and all the way

to the baseline. Their operational areas, general cutting lanes, and circu-

lation patterns are also shown in Diagrams 1-1, 1-2, and 1-3. In addition

to the requirements listed for the players in this position, they are ex-

pected to be more skilled at cutting and driving for scoring opportunities

than the pivot-post player. The better these players are at fulfilling the

techniques required in their position, the better and more versatile the

offense can be. They are also expected to be able to crash the boards for

rebounds, and to help the guards in securing defensive balance when

needed. Their moves, cuts, and patterns of play will be explained as we

outline the offensive plays that can be run from this offense.

OPERATIONAL MOVEMENTS OF THE GUARDS

The two guards No. 1 and No. 2 in this offense will start their moves

from the operational areas as shown in the first three diagrams. It is not

necessary that they be the smaller players, but in accordance with the

requirements listed for these positions, usually the smaller, more fleet-of-

foot, and versatile and maneuverable will be the guards in this offense.

They should be better outside shooters, good passers, dribblers, feeders,

cutters, and have defensive sense and ability. They start all plays by

bringing the ball up the floor and initiating all action when the forwards

and the pivot-post man get in their operational areas.

BASIC PLAY PATTERNS

To start the offense, the guards bring the ball down the floor and all

players form in their operational areas. The two guards, always numbered

22

THE SINGLE P1VOT-POST OFFENSE

25

No. 1 and No. 2 in this offense, play about the width of the free throw lane

apart so that they will always be in position to help each other out in case

of trouble. The offense can be started in a number of ways, but always

this offense has the focal point upon the pivot-f ost player with the intent

of getting the ball to him. Other options are possible and desirable of

course. If the defense concentrates upon preventing the pass into the

pivot-post player to the extent that it becomes almost impossible, they

should have to pay the price. Option plays which bypass this player should

then be possible so as to exploit any weakness elsewhere caused by an over-

concentration upon the pivot-post player by the defense. The whole

offense must not rest completely upon a forcing pass into the pivot-

post man, or it will crumble on nights when the defense takes this pass

away.

There are many plays and patterns that can be run from the forma-

tion, and the offense can be adjusted easily to fit the situation presented

by the defense. While most of the plays presented for this offense are set

up for operation against the manto-man defense, the offense can with

slight variations and adjustments in position of the players, operate

equally as well against zone defenses, or combination defenses. Offenses

that are to be run against zone defenses are treated elsewhere in this

book and are considered as separate offenses.

One famous high school coach had a good name for this offense when

he referred to it as the "1001 play," because he said, "There are 1001

options you can run from this play."

In Diagram 1-4, the ball starts with No. 2 who dribbles into an ex-

change with No. 1. No. 1 taking the ball dribbles over to his right and

passes into forward No. 4 who has maneuvered free for a pass in his

operational area. No. 5 has maneuvered his defensive man so as to get free

for a pass from No. 4 just as No. 4 receives the ball. No. 4 passes into No. 5

and starts a quick break "over the top" of No. 5 and close by him. How-

ever, in order to secure a split over the pivot-post, No. 4 goes into a series

of staccato steps to slow up enough for No. 1 who first breaks to his left,

to veer to his right and sharply behind No. 4, thus securing the possibility

of a double screen on the "split" over the pivot-post player No. 5. No. 5

can feed either No. 4 or No. 1 if open, or he may maneuver for an indi-

vidual opening after the cutters have gone by, or look to No. 3, or No. 2

for a possible pass-out and to set up the offense again. Several options are

possible from this play. In starting the exchange, No. 2, after handing off

to No. 1, could do a roll-out and a cut, down the center for a possible

return pass on the deep circle pattern, or he can fake a roll-out and drop

back to the flat circle and let No. 1 carry the option to No. 4. After passing

23

:,

26

THE SINGLE PIVOT-POST OFFENSE

DIAGRAM 1.4

to No. 4, No. 1 could break sharply in for a return pass or a possible

delayed "split," with No. 4 passing to No. 5 and cutting sharply behind

No. 1 and over the top of No. 5 with all the options possible here. A con-

tinuity series can be worked out from this one option and is given as

Phase 2 in Diagram 1-5.

Diagram 1-5 is a continuation of Diagram 1-4, giving Phase 2, or a

continuity pattern. If neither No. 4 or No. 1 are open as they "split-the-

post" and No. 5 has no opening himself, he quickly shifts position from

one side of the lane to the other by a dribble, and sets up a pivot-post

position there with No. 3 and No. 2 working a "split" over this post posi-

tion. The same options are possible from here. (In all the diagrams, if

the play is run to the right, the same play may be run to the left.) No. 1

continues on his cut through the deep circle, and back to the defensive

DIAGRAM 1-5

24

THE SINGLE PIVOT -POST OFFENSE

27

position, and No. 3 and No. 4 haw, in actuality, done a figure 8 in an

exchange of positions. After the second "split" over the pivot-post, No.

2 would quickly return to his operational areas. If a shot goes up, the

pivot-post player and the forwards Nos. 5. 4, and 3 crash to positions for

rebounds.

Diagram 1-6 is a continuation of Diagrams 1-4 and 1-5, giving a

possible option to the split-the-post, series. Players No. 2 and No. 1 start

with an exchange to get the defense moving with No. 2 dribbling to his

left, handing off the ball to No. 1 moving to his right. No. I then passes

to forward No. 4 who comes up to receive the ball in his operational area,

after shaking his defensive player. No. 4 immediately turns and passes

the ball into No. 5 who has first maneuvered away and freed himself for

a pass along the free throw lane. No. 4 follows his pass, but cuts his stride

into staccato steps so that No. 2 may after faking a drive to his left, cut

sharply off the back of No. 4 in a "split-the-post" maneuver close "over-

DIAGRAM 1-6

the-top" of No. 5. In this option No. 5 flips the ball to No. 4 who dribbles

across the lane and now sets a pivot-post position on the opposite side of

the lane. Forward No. 3 and guard No. 2 now work a "split-the-post"

maneuver over No. 4 in the same manner as was done on the opposite

side over No. 5. No. 4 passes off to No. 3 who may take any scoring oppor-

tunity available to him. No. 4 could have passed to No. 2 or he could

pass to No. I who, in returning to the guard position, could be a third

catier over No. 4 for options, or he could take other options or regroup

the offense. No. 5, after passing off to No. 4 rolls down the lane to be in

rebound position, if the ball goes up on a shot.

25

28

THE SINGLE PIVOT-POST OFFENSE

Diagram 1-7 is another of the many options available in this offense.

The guards can work split-the-post maneuvers for scoring opportunities.

When the ball is passed to the pivot-post player, well positioned in the

outer half of the free throw circle, this is the signal for a guard "split."

When the guards split, the forwards must come back to the mid-court

area to cover for defensive balance. No. I dribbles to his left to get a

better passing angle as No. 5 maneuvers for position in the outside portion

of the free-throw circle. After passing to No. 5, No. I fakes straight in and

then breaks to his right, going into a staccato movement to get timing so

that No. 2 can cut just behind him as they both break close by No. 5 for

the "split." No. 5 has the option of passing to anyone open, or turning

for scoring opportunities himself, or he can pass out to No. 3 or No. 4,

and the offense can regroup. Another option is for No. 3 and No. 4 to also

work a "split" over No. 5, if no opening comes from the guard split, in a

"double-split" maneuver.

DIAGRAM 1.7

As in Diagram 1-8, the forwards have the best passing angle, and most

of the time the ball will be moved from the forward to the pivot-post

player, but the guards can maneuver for good passing angles and move the

ball to him. Here No. 2 maneuvers to his right, and finding No. 5 open

after maneuvering his defensive man behind him, passes into him. No. 2

and No. 4 now work a "split" move over No. 5 with No. 2 first faking

a move to his left. then sharply right into a star 7ato movement of steps

so that No. 4 can cut closely behind him, and both cut closely over the

top of No. 5. No. 5 has the option of passing to either No. 2 or No. 4 as

the opening may present itself. Two other options are very possible here.

As soon as No. 5 secures the ball, he looks to his right for a possible option

26

THE SINGLE PIVOT-POST OFFENSE

DIAGRAM 1-8

29

of passing to No. 3, who cuts the baseline in this situation any time the

ball comes to No. 5. This often presents a good scoring opportunity. An-

other option possible in this play is for No. I to continue as the third

breaker over the top of No. 5 if neither No. 2 or No. 4 are open. This

presents a three player scissor movement by the pivot-post man and adds

to scoring possibilities.

Diagram 1-9 begins a movement called the guard-inside series, and

it works around the Pivot-Post but in a delayed movement that presents

other options before the ball is passed into No. 5. Nos. 1 and 2 maneuver

and exchange as shown, No. 1 moving out to his right securing a good

passing angle, passes the ball into No. 4 who has freed himself for the

pass in his operational area. No. I now has two options he can make. He

can move straight for the basket for a quick return pass if open, or he

can follow his pass and throw an inside screen on No. 4's defensive man.

DIAGRAM 1-9

0

27

30

THE SINGLE PIVOT-POST OFFENSE

As No. 1 screens on the inside, No. 4 dribbles sharply toward the inside

and close behind No. 1. Here he may shoot, or pass to No. 1, who as soon

as No. 4 dribbles far enough to get a defensive switch, rolls and cuts for

the basket for a possible opening, or he may pass to No. 5 who is now in

position to pivot-post for him. Passing to No. 5, No. 4 cuts by him for

a possible return pass and its options, or No. 5 may pass to No. 1 rolling

in, or to No. 3 cutting the baseline on the opposite side. Any of the options

are available that have been shown in previous diagrams. The difference

here is that the guard follows his pass to the for;i7ard for a screen and

roll-off option, which can be followed by a play to the pivot-post man with

all its options. Remember all plays run to the right can also be run to

the left.

Diagram 1-10, a continuation of Diagram 1-9, shows how the screen

and roll-off maneuver between Nos. I and 4 would be worked, with No. 5

being left out of the play entirely, and securing position for the rebound.

Nos. 1 and 2 maneuver on an exchange and No. 1 taking the pass moves

to his right to pass the ball into No. 4 who frees himself for the pass in

his operational area. No. I following the pass screens to the inside of No.

4 and on the defensive man X4 who is guarding No. 4. As No. 4 dribbles

closely by and behind No. I, No. 1 rolls-off or cuts out to split the defense

and to get an opening for a return pass from No. 4 as shown here. The

timing on the screen, dribble, roll-off, and pass must be perfect, and

requires much practice. The most successful pass in this situation will

usually be a sharp bounce pass by the defensive player who switches to

No. 4 and one that reaches No. I before the defensive switch can be fully

executed, thereby giving No. 1 a lead on the defensive player switching

DIAGRAM 1-10

28

THE SINGLE PIVOT-POST OFFENSE

31

to him. A sharp, but soft lob pass by No. 4's defensive player will be the

next best pass selection for this play, especially when the bounce pass is

well faked prior to its execution. No. 4 can also execute .,scions of shooting

from behind the screen or pass to Nos. 5, 3, or 2.

Diagram 1-11 shows the guard-outside series. This option varies

from that given in Diagrams 1-9 and 1-10 only in that the guard after

passing to a forward, follows his pass to the outside. Here Nos. 1 and

2 maneuver, and No. 1 moving the ball to the right, passes the ball

to No. 4, following on a cut outside of No. 4, or between No. 4 and the

-DIAGRAM 1-11

sideline. Several options and opportunities are possible from here. No. 4

may turn and face the inside and maneuver on his hope. of passing into

No. 5. He may also hand-off to No. 1 cutting to the outside. From here

No. 1 can drive, shoot, possibly pass to No. 4 on a roll-off move to the

basket (see Diagram 1-12), or he can pass into No. 5, as shown here. Pass-

ing into No. 5 on the pivot-post, he can work a "split" over No. 5 'with

No. 4. Here also guard No. 2 could cut over the top of No. 5 bringing

a third man in on the split series in which case No. 3 must cover the mid-

court area for defensive balance. Individual freedom should be allowed

to develop all the possibilities from the play. This play is shown moving

to the right. The same play and all its options can also move to the left.

Diagram 1-12 is a continuation of Diagram 1-11. An option available

on this series is the moves that can he made between the guards and for-

wards in :;,,teens and roll-off moves cutting into the basket, and then using

the pivot-post player in a delayed move by working the ball to him and

32

THE SINGLE PIVOT-POST OFFENSE

N._

DIAGRAM 1-12

moving in "splits" over the top. In this diagram No. 4 handed the ball

back to No. I cutting to the outside who could whip up a quick change

of pace on a drive for the basket that would free him for scoring possi-

bilities or he could dribble for timing and look to pass to No. 4 on a roll-

off maneuver that would "split" the defense as shown here. If he should

find that No. 4 was not open, then No. 5 could maneuver his defensive

man behind him for an opening, and a pass from No. 1, and then No. I

could "split-the-post with either No. 2 or No. 3 for possible scoring

opportunities.

In Diagram 1-13 guards No. I and No. 2 maneuver and cross for an

opening and to get the defense moving. No. 1 clears out on a dribble to

the right and passes the ball into No. 4 who shakes his defensive man for

the opening in his operational area. No. 1 following his pass to the out-

DIAGRAM 1-13

"Ir

30

THE SINGLE PIVOT -POST OFFENSE

33

side receives the ball back from No. 4. No. 1, dribbling, finds no opening

or opportunity to pass into No. 5, pivots or turns to the outside and passes

to No. 4, who after handing off to No. I previously, had taken two or

three strides toward the mid-court area. Now No. 4 and No. 1 can move

the ball back and forth again in a shuttle movement, if the ball cannot

be passed into No. 5. The object of the move is to pass the ball into No. 5

as soon as he can maneuver his defensive man behind him and be in

position to receive a pass. The pass into No. 5 could come from either

No. 4 or No. 1, after which they would work a "split" over the pivot-post

for further opportunities. The third cutter or split could also be brought

in on this play, being either No. 2 or No. 3 as the opportunity presents

itself, or according to the talents of the players. The play can go either

right or left.

Diagram 1-14 shows the inside-outside series. The offense must have

scoring opportunities that come from situations other than when the ball

is passed into the pivot-post player. This will take the pressure off the

pivot-post player, and will prevent the offense from dependence upon a

forcing pass into this position. The inside-outside series or play is often

referred to as "the second guard through" play. In this diagram, Nos. 1

and 2 maneuver and No. 1 moving out to the right, passes into No. 4 and

breaks inside No. 4 faking a screen and roll out, and then moves on

through rapidly. No. 4 dribbles close behind No. 1, and No. 5, not being

open, clears the area to the opposite side. No. 4 now continues his dribble

toward the free throw lane. He may take any opportunity available to

him and can drive on through if open. If not open, he maneuvers his

defensive man as deep toward the basket as possible, and then pivots form-

ing a pivot-post position. No. 2, after having passed off to No. 1, has

maneuvered in the mid-court area. Now, faking to his left to maneuver

DIAGRAM 1-14

31

34

THE SINGLE PIVOT-POST OFFENSE

his defensive man into position, and to get the timing, cuts sharply by

No. 4 for a hand-off pass, and a possible drive for the basket. If timed

properly, the explosiveness of this situation usually finds the No. 2 guard

free for scoring opportunities.

In Diagram 1-15 the play known by many as the "Sucker Play" and

the "Blind Pig"is another option used to take the pressure off the pivot-

post player, and to give additional scoring opportunities. No. 1 moving

in a dribble to his left cannot feed the ba.. to No. 5, who fades out of the

area. No. 1 then gc.,e,, !nto an inside shuttle move with No. 3. No. 3 drib-

bles the ball out and passes the ball into No. 4 who during the previous

moves has made a jab to the baseline and then breaks quickly to the outer

half of the free throw circle to receive the pass from No. 3. No. 2, whose

DIAGRAM 1-15

defensive man will usually turn his head just enough to watch the ball

movement, jabs to his left, and breaks to the right of the free throw lane

area. No. 4 can feed him the ball anywhere he is open for the pass. The

play carries a continuity pattern with it, and if No. 2 is not open, then

No. 3 can jab step to his left, and break close by No. 4 for an opening, or

he can go into a "split" pattern with No. 1 over the top of No. 4 for

possible opening for the scoring opportunity.

In,Diagram 1-16 players No. 2 and No. 4 are working the outside

shuttle pattern and, after receiving the ball from No. 4 on an outside

move, No. 2 finds he cannot pass the ball into No. 5 in the pivot-post area.

No. 2, or No. 4, whichever one happens to be in this position after the

shuttle move, passes the ball out to No. 1 who has followed the play to

32

THE SINGLE PIVOT-POST OFFENSE

35

his right in a balancing and adjusting move. No. 1 passes the ball quickly

to No. 3 who has made a jab move to the baseline, and then quickly

breaking to the outer half of the free throw circle to receive the pass from

No. 1. No. 1 quickly follows his pass breaking close by No. 3 to rub off his

defensive man. No. 3 feeds the ball to No. 1 and he drives quickly for the

opening. No. 3 may take the options of turning and maneuvering for

other openings, if No. 1 is not open.

DIAGRAM 1-16

Diagram 1-17 illustrates a double pick or screen for two players and

features the pivot-post player in a true post roll. The play can be called

oy name or number, but in the move No. 2 starts the play on a "guard

outside" move by passing the ball into No. 4, following the pass and

receiving a pass-back or a hand-off from No. 4. No. 2 dribbles toward

the baseline, and No. 5 and No. 4 both move to the outer half of the free

DIAGRAM 1-17

"8"

33

36

THE SINGLE PIVOT-POST OFFENSE

throw circle to set a double post screen for first No. 1 and then No. 3 who

scissor in moves by the screen. No. 2 can pass to whichever one is open

or relay the ball back out to Nos. 4 or 5 on roll-off moves if the first two

cutters are not open.

Many teams break three players over the top of the pivot -pest player

in a three-way "split" (see Diagram 1-18). It has certain advantages in

that it affords more possible scoring opportunities and a possible double

pick or screen move around the pivot-post player which can be very

effective. It has the possible weakness of leaving the team with a weaker

defensive balance at times, and of possibly creating too much congestion

around pivot-post player. In Diagram 1-18, No. 2 passes to No. 4 who

relays the ball into No. 5 in the pivot-post area. After passing to No. 4,

Ey

0

k

NIO

0

DIAGRAM 1-18

No. 2 veers to his left and as No. 4 cuts by No. 5, giving his staccato steps

if necessary to get timing on the move, No. 2 then cuts sharply off the

back of No. 4. Either may be open, but No. 3 has timed his move out

across the free throw lane so that he will be a third cutter by No. 5, but

he first will move off No. 4's back, and close enough to get a possible

double screen off the position created by Nos. 4 and 5. No. 5 takes the

best option.

Diagram 1-19 shows one player breaking by the pivot-post ahead of

the ball followed by the ball ahead of the man and a "split" by two pla7ers.

No. 2 moving to his right passes the ball into No. 4 and follows the pass

to the outside. Just before No. 2 reaches No. 4, No. 4 flips the ball back

to No. 2 who comes to a stop with the ball, with a dribble option remain-

34

THE SINGLE P1VOT-POST OFFENSE

DIAGRAM 1-19

37

ing. After passing the ball back to No. 2, No. 4 turns and cuts over the

top of No. 5, who has maneuvered into a pass receiving position on the

right side of the lane, and near the free throw line. The first opening that

No. 2 looks for is a pass to No. 4 as he cuts off No. 5, and a high pass may

catch him sometimes beyond No. 5, and deep, or sometimes a sharp pass

just Lehind No. 5 and to the right of the lane will find No. 4 open. If

No. 4 is not open, No. 2 now has a dribble to maneuver with and he may

drive for an opening or he may pass into No. 5 and work a "split" ma-

neuver over No. 5 with No. 3. This particular sequence has been featured

by many championship teams.

I'

35

2

The Double

Pivot/Post

Offense

ra.

Once the Single Pivot-Post offense became a popular functioning

reality as a basketball offense, it was only a matter of time until the

Double Pivot-Post would be establish.:d by an ingenious coach or player.

It was almost a repetition of the biblical story of creationfirst there was

one, and then there were two. No one seems to take credit for its origin

or development in the annals of basketball, but by the early 1930's several

prominent teams were using offenses that could be classed as a Double

Pivot-Post offense. It has continued to be popular and zo have wide usage

up to the present time.

if one were to speculate as to the origin of the Double Pivot-Post of-

fense, it probably would be safe to assume that its birth came about as the

result of a coach having developed a good reserve player for the pivot-post

position in the Single Pivot-Post offense. The reserve play& may have de-

veloped so well that the coach soon found himself in a dilemma as to

which player to play and finally solved the situation by devising an offense

with a double pivot-post function. It could have also resulted from a

coach or a team having two very fine pivot-post players and, not being

anxious to have one such fine player ride the bench while only one played,

thus developed the idea of placing the two players near the basket to

operate as pivot-post players with the other three smaller and more

versatile players maneuvering on the outside and working the ball into

these two basketball giants for scoring opportunities.

Regardless of the origin of the Double Pivot-Post offense, it is a

39

36

[

90

THE DOUBLE PIVOT-POST OFFENSE

formation that adapts itself well to many variations and styles of pl;:-..

Many, many possibilities can be worked out from the offense and it adapts

itself well to talent at hand.

As with the Single Pivot-Post offense, the Double Pivot-Post offense

contributed its share to legislative proLesses whereby the rules makers

passed the three-second lane rule and later widened the lane to 12 feet.

Certainly, with two offensive men stationed in this area and both maneu-

vering for position with their defensive opponents, the play tended to be

doubly rough. The development of the Double Pivot-Post offense may

have been the cliimner to the legislative processes that invoked the above-

mentioned rules.

ADVANTAGES OF THE DOUBLE PIVOT-POST OFFENSE

1. For the team that has two large and very fine pivot-post players, it pro-

vides a means of taking full advantage of both their talents.

2. It gives added scoring opportunities from the pivot area.

3. It places two men that should be the best rebounders in position for

rebounds.

4. It gives the team stronger defensive balance with three men out and in

position to get back quickly on defense and foil any fast break attempt.

5. It is an offense in which individual freedom can be developed and

encouraged.

6. With three guards to bring the ball down the floor, there should be

fewer problems in getting the ball up the floor and in position to trigger

the offensive play patterns.

7. The offense has much flexibility in styling, patterns, and options avail-

able and lends itself well to adapting the offense to the talent of players

available.

8. If the team has no big players or tall players available for the pivot-

post position, two medium sized players or smaller players can be

worked into this Double Pivot-Post offense, featuring more speed and

maneuverability to a good advantage.

9. The Double Pivot-Post offense can incorporate two basic principles of

pivot-post play in the offense in the same play and at the same time.

These principles are "ball ahead of the man" and "man ahead of the

ball." With two pivot-post men, these two concepts can occur at the

same time on the same play for more potent scoring opportunities.

DISADVANTAGES OF THE DOUBLE PIVOT-POST OFFENSE

1. Positioning two big men in the pivot area may clog the center lane and

reduce driving opportunities. In fact, some coaches dropped this offense

37

THE DOUBLE PIVOT-POST OFFENSE

91

when the officiating became strict in calling charging fouls on offensive

players who were frequently finding this area jammed as they attempted

to drive.

2. Some coaches claim that with three players out, this offense does not

give the offensive balance and punch that a good offense ought to have.

3. With only two players near the basket, in some situations it could leave

the team weak in rebounding strength.

In actual application of play, there are two types of Double Pivot-Post

offenses. One is called the "Tight" pivot-post play, or the "Close" play.

In this offense two men are placed in close to the free throw lane and they

operate with screens, shooting, feeding teammates, and rebounding for

scoring opportunities. This offense usually features two bigger, taller and

slower men and they work for close-in shooting, screening, and rebound-

ing. The other type is often called the "Open" double pivot-post play.

In this offense the pivot-post men are placed wider and further from the

free throw lane. It would make for a more open game, more cutting and

driving opportunities, with more one-on-one plays and inside screens.

Smaller men can usually be used in the pivot-post positions in this type

of play to a better advantage because they are more maneuverable. This

style also affords an opportunity to use one big tall man and a small man

who plays the pivot position well in a dual pivot-post combination with

good results. The wider placement of the men on the pivot-post positions

weakens rebounding strength, but it affords an ideal opportunity for

"flash" pivot-post plays which can be more effective than the more jammed

double pivot-post position when both players are in tight. Also, with the

pivot-post men wider, the angle for feeding passes to the post men from the

front and sides offers better possibilities.

In this chapter both the "tight" and the "open" pivot-post offenses

will be explained. Diagram 2-1 gives the standard set-up for the "Tight"

Pivot-Post offense. Diagram 2-2 gives the operational area for each player

in the "Open" Double Pivot-Post offense.

In Diagram 2-1, guards 1, 2, and 3 begin their moves from the opera-

tional areas shown. They may incorporate any variety of moves that will

be explained later to get the offense moving. They may go into a three-

man weave pattern, working the ball until they move it into one of the

pivot-post men, or secure some other scoring opportunity. They might

also work the ball down the sides, securing better passing angles for feed-

ing the pivot-post players.

Players 4 and 5 are the pivot-post players. Here they are shown in

the "Tight" positions. These two players will use all the arts known to

the pivot-post player to get open within their operational area. They

38

42

THE DOUBLE P1VOT-POST OFFENSE

can scissor with each other and double back to get open ahead of their

defensive men and work splits or other maneuvers (as later diagrams will

show) for scoring opportunities.

In Diagram 2-2, the guards again are 1, 2, and 3. Usually No. 1, the

player in the center, starts the offensive moves and so becomes the "trig-

ger" man. He needs to be more of the quarterback type player. Players

No. 1, 2, and 3 dribble and weave in a semicircle to get the offense mov-

ing. Nos. 4 and 5 are the pivot-post players. Here they are shown in the

0 I

ko

DIAGRAM 2-1

DIAGRAM 2-2

e".

,

w

-""%i L

39

THE DOUBLE PIVOT-POST OFFENSE

43

"Open" or wide pivot-post positions. From these operational areas they

flash the pivot area for openings and/or scissor with each other to secure

openings for passes from the outside.

Diagram 2-3 gives the circulation pattern of the players in the pivot-

post offense. The three guards, Nos. 1, 2, and 3, drive, cut, and circulate

in two general patterns, a flat circle and the deep circle shown by the

dotted lines. There will be more flat circle moves by the guards in this

offense than in the Single Pivot-Post offense because the guards will

maneuver in a weave style of movements more, to work the ball into the

the two pivot-post men. The two pivot-post men will circulate in moves

shown by the solid lines in what might be termed scissor movements,

using each other as screens and in exchanging positions in maneuvers to

get free to receive the ball for pivot-post play. Also in this offense, the

two post men sometimes start their moves close to the basket, or in what

is called a "deep" or "low" position. At other times they may play the

positions as shown by the dotted numbers, or in what is called a "high"

position which is farther from the basket.

REQUIREMENTS FOR THE POSITIONS IN THE OFFENSE

The ideal player requirements for the various positions in this

offense will vary from the positions in other offenses.

Guards

1. The No. 1 player must be the true quarterback type, for most plays are

initiated by him. He is sometimes referred to as the "trigger" man.

2. Players No. 2 and 3 could have the combined qualities of the guards

DIAGRAM 2-3

40

44

THE DOUBLE PIVOT-POST OFFENSE

and forwards as given in the Single Pivot-Post offense. They have often

been referred to as "wingmen" and as "pinchers."

3. They must have speed.

4. Th-y must be able to drive.

5. They must be good passers.

6. They should be good outside shooters.

7. A sense of defensive balance and ability is a requisite of the positions.

8. If at least one of these outside players has the ability to crash the boards

with the double-pivot men, it will help counter-balance a weakness of

the offense.

9. All the players in the guard or outside positions must be able to deftly

feed the pivot-post men.

The PivotPost Players

I. If both players have all the requirements listed for the pivot-post player

in the Single Pivot-Post offense, it would help.

2. They both should be good rebounders.

3. They both should have a good hook shot.

4. It would be an advantage if the pivot-post player playing the right side

of the floor were left-handed, and the one playing the left side of the

floor were right-handed. If this were true, both could move toward the

middle of the floor with their best shots.

5. They should have good hands.

6. They should be good jumpers.

7. They should be deft feeders of cutting teammates.

OPERATIONAL MOVEMENTS OF THE PIVOT-POST PLAYERS

To begin the offense the two pivot-post players will station them-

selves on each side of the free throw lane. Their nearness to the basket

and distance from the lane will depend upon a number of factors, such

as their ability to hook shoot, their size, maneuverability, and in some

situations, the pressures of the defense. The various ways in which they

can set up their operational areas are shown in Diagrams 2-1, 2-2, and 2-3.

Sometimes they will be in the "tight" positions. At other times they will

be in the "open" positions, or the "high" positions, depending upon the

talent of the pivot-post players and their teammates, what they can do in

a given situation, and sometimes whatever the defensive pressures may

dictate.

In maneuvering to get open for passes from the outside teammates or

guards, the double pivot-post players need to synchronize their move-

ments to keep from jamming the cutting lanes and to be able to time

4I

THE DOUBLE PIVOT-POST OFFENSE

45

their receiving moves with the passing efforts of the guards. This will

require a lot of practice to develop the precise timing necessary. They

may move individually in their efforts to free themselves for openings,

or they may use a series of scissor movements back and forth across the

free throw lane, creating screening opportunities for each other to get

open for passes from the guards and to set up either the "man ahead of

the ball" move or the "ball ahead of the man" move, or both. As in the

Single Pivot-Post offense, when the ball is received by one of the pivot-

post players in the operational area, a "split'' maneuver is worked over

the top of the pivot-post player. He may feed the open teammate or ma-

neuver for an opening for himself. If no opening develops, the ball can

be returned to one of the outside players and the offense can be started

over again.

The Double Pivot-Post offense has the advantage of being able to

feature both the possibilities of "man ahead of the ball" and "ball ahead

of the man" at the same time or on the same move or play. This can be

done by breaking a player by the second pivot-post player as the ball is

passed into his teammate. It could also be handled by having the pivot-

post player that is free move out to the opposite area and screen for a

cutting teammate just as the ball is received by his teammate pivot-post

player. This action would immediately be followed by teammates "split-

ting" the pivot-post player that has just received the ball.

It must be remembered that the pivot-post players have two chief

functions. They are (1) to score, and (2) to feed cutting teammates. If

they cannot perform these two functions well, they are worthless. It is also

necessary when two pivot-post players are used that their playing tech-

nique include a strong "follow-in" for rebounds on ALL shots.

In order to score they must develop a variety of shots, including a

good hook shot and 3 good jump shot combined with a variety of fakes,

feints, and maneuvers to get open for opportunities to score. Feeding

passes to cutting teammates becomes a necessary technique. These players

must master a variety of flip passes, hand-offs, bounce passes, back bounces,

over-the-shoulder, underhand, and cross flip pass techniques, even behind

the back passes, that will enable them to deftly feed cutting teammates.

They must also learn to assume a good stable base for protecting the ball

so that, as teammates cut by them, opponents will not be able to wrest or

slap the ball away from them.

OPERATIONAL MOVEMENTS OF THE GUARDS

The three guards are sometimes called the outside players, or rear

court players. They bring the ball down the court to set up the offense

42

46

THE DOUBLE PIVOT-POST OFFENSE

and start their moves from the operational areas as shown in Diagrams

2-1 and 2-2. Their general circulation and cutting patterns are shown in

Diagram 2-3.

These players may well combine the qualities required of guards and

forwards in the Single Pivot-Post offense, but at least one of them should

be the complete guard type and have the complete quarterback qualities,

because this plar (the one shown in the No. 1 position) will initiate

nearly all plays. This offense can function very well also if ALL these

players are of the pure guard type player. If the quarterback, No. 1,

should be a tall player it could be an advantage to him in his passing and

functioning as a "trigger" man in initiating the plays cf the offense.

These players will continuously drive toward the basket, especially

Nos. 2 and 3, and at least one of them should be back at all times ready

for the defensive protection. All of these players, even while on offensive

thrusts, should be conscious of their backcourt defensive responsibilities.

They should thoroughly understand and be the masters of give-and-go

plays, screening moves, split-the-post maneuvers, stops, starts, change of

direction and change of pace tactics. When openings present themselves,

they must be able to exploit the opportunity.

These players may start the offense by a weaving movement or by

give-and-go tactics. Various trigger moves and options can be developed

as shown by the diagramed plays that follow. The attack is developed

largely by working the ball to one of the pivot-post men so that the outside

players can drive and cut for the basket. These players must contribute

their share of scoring balance to the team effort, from both outside and

inside. If they are not effective scorers, the defense can collapse and double

team the pivot-post players, thereby hampering their effectiveness. The

outside players may drift laterally and deeper toward the baseline in

meeting passes, and in setting up the offense. They should be very careful

in feeding the pivot-post players directly from the rear court. Such a feed

should find the pivot-post man moving. In feeding from the side areas

they will have a better passing angle, but should always remember to

concentrate upon the opponent guarding the pivot-post man and feed to

the side away from the defensive player.

BASIC PLAY PATTERNS

The guards, Nos. 1, 2, and 3, bring the ball down the floor and, along

with the two pivot players, form in their operational areas to set up the

offense. There should be no trouble bringing the ball down the floor with

three guards in the pattern to help out if any trouble develops. Usually

43

THE DOUBLE PIVOT-POST OFFENSE

47

in this type of offense one of the players assumes the chief responsibility

for bringing the ball down the floor and the other two players give him

help as needed. Some coaches prefer not to have two or three players

bring the ball down the floor to set up the offense, but would rather rely

on one good ballhandler to do this, securing help only when needed.

These coaches claim fewer Interceptions with one ballhandler doing the

chore while the other players clear out for him, leaving him, if possible,

with a one-on-one situation to get the ball into the needed operational

area where an offense can be generated. Other coaches prefer to have all

three players helping bring the ball upcourt, claiming fewer errors occur

with this system.

The focal point of this offense is always the two pivot-post players

with the intent of working the ball into one of these players unless

another opening or scoring opportunity occurs. The offense is easily

adapted to meet the talents of the players on the team and it can be

easily adjusted to meet various defensive alignments that will be thrown

up against it. It can even be changed very easily to be run against zone

defenses or combination defenses.

The double pivot-post players must be cautious not to clog up the

middle when an outside teammate secures a driving opportunity. When

this happens they must clear very quickly to get out of the way of driving

teammates. This clogging and jamming situation can develop especially

with the tight formation where the double pivot-post men play close to

the free throw lane. It takes a great deal of deftness and know-how on

their part to know when and how to "clear out" of the area so as not to

jam a move by one of the outside players. Constant harping and working

on this can help the double pivot-post men in this development. Some

coaches dropped this offense when the offensive drivers were charged with

fouls for making contact with the defensive man when they drove into

this jammed area. Today, with the added jump shot opportunities avail-

able for the double pivot-post players, this offense is being used

more.

The offense can start in any number of ways, but in Diagram 2-4 No. I

starts on a dribble weave to his left to get the defense moving. No. 3, drift-

ing vertically toward the baseline, fakes a drive through, then reverses

back to receive the ball on a double exchange or a hand-off from No. I.

Now No. 3 dribbles toward the middle, feeling the defense out and con-

stantly watching the movements of No. 4 and No. 5. No. 2 fakes deep to

his right and, getting open, comes back to receive a pass from No. 3.

Nos. 4 and 5 have pulled a scissor move with No. 5 faking deep across the

44

48

THE DOUBLE PIVOT-POST OFFENSE

lane and No. 4 screening for No. 5, who breaks out sharply off the screen

to receive a pass from No. 2. Nos. 2 and 3 now do a split over No. 5 with

No. 2 faking to his right, then veering to his left and doing a series of

staccato steps to get the timing so that No. 3, who first fakes to his left,

can veer right and break closely off the back for a good screen. With cor-

rect timing and moves, one of these players should be open. No. 5 will

feed the open man and, if none are open, he can return the ball to the

outside to No. 1, who can start the offense over. No. 5 should also be alert

DIAGRAM 2-4

DIAGRAM 2-5

1

45

THE DOUBLE PIVOT-POST OFFENSE

49

for the possibility of No. 1 being a third cutter and to the possibility of

being able to catch No. 4 for an opening along the baseline, No. 4 having

peeled out from the screen with No. 5 for a possible opening that might

come from a guard who has relaxed his defensive efforts. All players on

this move shov.i.d be alert for drives or possible stops and jump shots off

this play. Diagram 2-5 gives a continuance and a follow-up possible from

this play.

After running the play shown in Diagram 2-4, if there are no open-

ings, the players arrive at the positions shown in Diagram 2-5. No. 2

continues on through and clears out and No. 3 clears out to the right also.

No. 2 could come off No. 4 for a possible opening, from No. 5, or No. 1,

who receives the ball on the outside from No. 5, after other options have

failed. Now, No. 1 could pass to No. 2 for a possible opening around

No. 4 or, if this option does not materialize, then No. 4 breaks to the posi-

tion shown, either to receive a pass from No. 1 or to serve as a "pinched-

post" for No. 1 dribbling by him. In this diagram, No. 1 passes to No. 4 and

cuts sharply by him for a return pass and a drive for the basket. He should

be open.

Numbers 1, 2, and 3 can work in a weave pattern until an opening

occurs. As shown in Diagram 2-6, they should drift vertically toward the

DIAGRAM 2-6

46

50

THE DOUBLE PIVOT-POST OFFENSE

baseline before breaking back out to receive a hand-off. Otherwise, the

defense will force them more toward mid-court line all the time and this

is not desirable. Caution should be used also in passing into the pivot-post

position from the center of the floor. The passing angle from here is poor

and the defense can drift off more to deflect passes. Only if the pivot-post

man is moving sharply toward the ball and the defense is tight, should

a pass be attempted from here. Here the guards dribble weave and the

pivot-post players scissor until No. 2, dribbling toward No. 1 who has

drifted or faked vertically toward the baseline, passes to him, and moves

inside him for a screen. No. 1 catches No. 5 off a scissor screen movement

just off the edge of the screen. No. I and No. 2 do a "split" move over the

post.

The third man can be brought into the Double Pivot-Post offense

just as in any other "split-the-post" series. In Diagram 2-7 No. 1 starts

the offense by a move to his left. (Remember any play shown moving to

one side can also be run to the opposite side.) No. 1 passes off to No. 3

who moves to the center of the floor and passes the ball to No. 2 who has

shaken loose in his area. No. 2 forwards the ball into No. 5 who has

just cleared off a scissor screen movement off No. 4. Now No. 2 and No. 3

do a split move over No. 5. Neither player is open so No. 2 moves on

to his left and creates a second split or screen for No. 1 at just about the

free throw line. No. I has drifted vertically toward the basket and if he

DIAGRAM 2-7

47

THE DOUBLE PIVOT -POST OFFENSE

51

times the move right, he can, in effect, get a doable screen move over

No. 2 and No. 5. This should free No. I for an easy jump shot or for a

drive to the basket for an easier shot. After furnishing the screen move

for No. 1, No. 2 rolls back out to the outside for defensive floor balance.

If no opening has come from this move, No. 5 has the same option as was

given in Diagrams 2-4 and 2-5. He can look for an opening to pass to No. 3

coming off a screen from_behind No. 4 or he can pass the ball back out to

the outside to No. 2 who will look to hit No. 3 on this move. If No. 3

is not open, then No. 4 can break up the lane for the possibility of putting

into play the "pinched-post" move by teaming up with No. 2. This gives

good continuity to the whole offense.

DIAGRAM 2-8

There is another weave pattern that can be used to free the guards

for open breaks and drives for the basket and, at the same time, give an

action that can be synchronized with the movements of No. 4 and No. 5,

the pivot-post men. As in Diagram 2.8, No. I moves on a dribble to his

right. No. 2 frees himself in the area and No. I passes to No. 2 and moves

inside him to give a screen. No. 2, dribbling off the screen, may go all the

way or force a switch in the defense in which case he could stop and shoot

or possibly catch No. I on a roll-off cut to the basket. If this move should

occur, No. 4 and No. 5 must clear the area so as not to jam the drive. In

this diagram, No. 2 dribbles on toward the middle of the floor and passes

to No. 3, and then moves inside him for a screen. Now, as No. 3 starts a

48

Sk.

52

THE DOUBLE PIVOT-POST OFFENSE

dribble move to his right, he passes into No. 4 on the pivot-post and No. 2

and No. 3 do a "split" action over the pivot-post.

In Diagram 2-9, No. 1 passes the ball to No. 2 and peels off down the

middle for a return pass. Not being open, he goes to his right along the

baseline. No. 2 dribbles to his right and passes to No. 1 coming up from

DIAGRAM 2-9

the baseline cut for a pass. In the meantime, No. 5 comes off a screen

scissor move around No. 4 and is open in the pivot area. No. 1 passes the

ball to No. 5 and No. 1 and No. 2 now do a "split" move over No. 5. If no

openings occur from this move, they immediately look for the openings

that could come from the Phase 2 continuity on the play (shown in

Diagram 2-10).

Diagram 2-10 is a continuation of Diagram 2-9. No. 5 has the ball

in the pivot-post area. Nos. 1, 2, and 4 continue to the positions shown.

No. 1 and No. 4 are in excellent position for double screening action.

No. 2 now cuts along the baseline and cuts out from behind No. 1 and

No. 4 for a double screen. No. 5 either passes the ball to him or relays the

ball outside to No..3, who passes to No. 2 as he comes around the double

screen. He should have an excellent jump shot from this position or an

opportunity to drive in for a layup shot. If no opening has occurred with

this action, they immediately go into Phase 3, shown in Diagram 2-11.

49

THE DOUBLE PIVOT-POST OFFENSE

53

In Diagram 2-11 (Phase 3), No. 5 has passed the ball out to No. 3.

No. 2, not being open, continues on across the free-throw lane and clears

the area. Now No. 1, using No. 4 as a screen, breaks from behind him up

to a position in front for a possible jump shot or a drive for the basket.

If he is not open, he clears out of the area. Then No. 4 breaks up the lane

to a position in the outer half of the free-throw circle and on the left side

of the lane to furnish a post screen for a dribble drive by No. 3. No. 3

drives tight by No. 4, bumping his defensive man into him. He looks for

the jump shot or a dribbling drive opportunity all the way to the basket.

DIAGRAM 2-10

DIAGRAM 2-11

"3"

54

THE DOUBLE PIVOT-POST OFFENSE

The two pivot-post players may play up and down the lane in the

operational pivot-post area. At times the defense may force them to play

higher and sometimes the talents of these players may be better suited

to a larger range of action and would thus facilitate more scoring oppor-

tunities. In Diagram 2-12 they are shown at or just about the free wrow

line. This position can give the two features in one action, "man ahead

of the ball" followed by "ball ahead of the man." No. 1 passes to No. 2

who dribbles to his right in depth and, securing a good passing lane, passes

the ball into pivot-post player No. 4. In the meantime, No. 3 who has

cut toward the baseline now veers to his right and over the top of pivot-

DIAGRAM 2-12

post player No. 5. His timing should be to arrive at the spot in front of

No. 5 just as No. 4 receives the ball. No. 4 back bounces the ball to him

if he is open. If not open, he clears. Now, immediately following this

action, No. 2 and No. 1 do a "split" move over player No. 4. If no opening

comes from these moves, the same continuity series can be run from this

as was shown in Diagrams 2-9, 2-10, and 2-11, and is given as Phase 2 in

Diagram 2-13.

From the previous moves in Diagram 2-12 the team can go into the

same continuity moves given in Diagrams 2-10 and 2-11. Diagram 2-13

shows how the moves would be marl, from the "high" double pivot-post

1

51

THE DOUBLE PIVOT-POST OFFENSE

DIAGRAM 2-13

DIAGRAM 2-14

55

position. No. 4 has the ball. No. 5 now moves down the side of the free

throw lane to a position tight with No. 2. No. 1 now breaks across the lane

and cuts out from behind No. 2 and No. 5 for adouble screen. No. 4 can

pass to him or do a dribble-out clear and relay the ball to him, or he can

pass the ball outside to No. 3 who has now cleared to the outside. No. 3

can relay the ball into No. 1 who looks for a jump shot or a drive. If no

openings occur from this move, then the maneuver continues as given in

Diagram 2-14, Phase 3.

52

56

THE DOUBLE PIVOT-POST OFFENSE

With no scoring opportunity presenting itself in the previous moves

off this play, No. 1 now clears across the free throw lane and out (see

Diagram 2-14). Now No. 2 breaks out from below No. 5 to secure a screen

and a possible opening. If he is open, No. 3 or No. 4 passes him the ball

for a jump shot or a drive. If he is not open, No. 2 clears and No. 5 breaks

up to the left top-side of the free throw circle to furnish a screen for a

dribble drive by No. 3 and a possible jump shot or an open drive all the

way. If the defense splits on the move and is tight on No. 3's dribble, he

looks for an opportunity to pass to No. 5 on a roll-off move, cutting into

the basket and a possible additional scoring option.

As has been explained earlier, the two pivot-post men No. 4 and

No. 5 may play "tight" in close to the lane or they may play wide in an

"open" game. The open game provides more driving opportunities for

the outside men and allows the pivot-post men more area in which to

maneuver. In Diagram 2-15 No. 1 passes the ball to No. 2 and drives

through the open lane area for a clearing move. He in effect has also

passed his "trigger" responsibilities to No. 2, who must now make his

move. No. 2 moves to the right and passes into No. 5 on the pivot-post

position, who has just cleared a screening movement with No. 4 to get

open. No. 2 and No. 3 now do a "split" move over No. 5. If no opening

occurs, the continuity pattern for double screening moves can now be

made or they can clear out, bring the ball outside and setting up the

offense again.

DIAGRAM 2-15

53

THE DOUBLE PIVOT-POST OFFENSE

57

In the open set-up of the pivot-post men, many cutting and driving

opportunities present themselves. They can start with the open game and

end up with the double screen continuity series that has been previously

explained. In Diagram 2-16, No. 1 triggers the offense by dribble driving

toward No. 2. This is the signal for No. 2 to clear, and he does so with a

drive through the lane. Now, instead of No. 4 doing a scissor screen move

with No. 5, he moves out to play with No. 1. No. 1 may pass to No. 4 and

cut inside for a screen or a return pass, or he may cut outside for a return

pass and a roll-off option to No. 4. He may also dribble outside No. 4 for

a screen and possible roll-off motion by No. 4. Phase 3 in Diagram 2-17

will give the continuation of the play.

DIAGRAM 2-16

In Diagram 2-17, No. I has passed the ball to No. 4. He chose the

outside option. No. 4 passed back to No. I on the outside move and rolled

out toward the basket for a possible opening that might come from a split

in the defense on a switch. Not being open, No. 4 continued on to execute

a scissor screen move with No. 5 who breaks into the pivot area. No. I

passes to No. 5 and cuts over the top of him for another possible opening.

No. 3 and No. I could do a split move over No. 5 but if No. 5 is as low or

near the basket as shown here, this is not advisable as it will jam the area

near the basket too much and restrict the possible pivot scoring moves that

No. 5 could make. If no scoring opportunities present themselves, the

double screen continuity moves previously explained could be executtAl

with No. 4 and No. 1 forming the double screen for either No. 3 and No.

54

58

THE DOUBLE PIVOT-POST OFFENSE

DIAGRAM 2-17

5. No. 5 could relay the ball back out to No. 2 who could trigger the

continued series as either No. 3 or No. 5 come along the baseline and up

behind the double screen.

DIAGRAM 2-18

55

THE DOUBLE PIVOT-POST OFFENSE

59

In the open or wide positions of play, the pivot-post men can fre-

quently "flash" the pivot area with success (see Diagram 2-18). When this

happens, the teammate pivot-post player can cut the baseline with success

at times, and another option much like the "Sucker Play." Here No. 1

starts the move to the left and hands off to No. 3, who moves the ball

toward the middle and passes off to No. 2. No. 2 relays the ball into No. 5

who has flashed the pivot area from the weak side. No. 5's first look should

be for his teammate No. 4 who cuts the baseline. If open, he passes him the

ball. If this option is not available, then he has the options that will come

from the "split" move over the post by players No. 3 and No. 2.

3

The Weak-Side

Cutter Series

(Reverse Action Offense)

The offense presented in this chapter and herein called the Weak-Side

Cutter Series is one that has been used by many famous and successful

teams. It has well earned the status of being one of the "Ten Great Basket-

ball Offenses." It could be seen in action on a given basketball night in any

part of the United States. It might be observed in use in a high school

game, a college or university contest, and even on the pro circuits. It has

been alluded to by many names, one of the more prevalent being the

"Reverse Action Offense."

In reality the Weak-Side Cutter Series is a re-deployment of the pivot-

post offense, with the three players nearest the basket interchanging posi-

tions in a movement by, o'er, or around the player in the pivot-post area

to secure openings. This features a player, or players, always moving from

the courtside away from the ball toward the ball. The "weak side" always

refers to the side of the court away from the ball, while the "strong side"

is always regarded is the side where the ball is in possession by a player.

The popularity of this offense did not come about without good

reason. It has all the factors that are needed for a championship offense.

It has continuity of movement and pattern and can be run continuously

from side to side until a scoring opportunity presents itself. It can have as

much variety and as many options as the coach wants to add. These varia-

61

57

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':,i'Oit

eilie''fOrward- position and then to the

baze1me The,...

OPtio#4=0 ltt,tearitititsde move, in which the -guard

movec-

e,Ol':,44.;t1:1',the baseline and out again, or options to

play with the pivot player and the opposite

4oriiitid+ckies itot,rpreietit quite as much continuity of movement, but

poasibilitki.7.:3--:-:`,.',. ,

,'- ,,

Diagram 3-1 illustrates the basic two-out and three-in offensive forma-

_

tica, This shows the fotination for the movement of the ball to the right

side: The attack should be balanced and go to the left side as often as to

the tight side, but one of the features of the guard-outside option to this

offense is that it swings from one side io.the other in a continuous reverse

,

DIAGRAM 3-1

mitr

"

.

.00

THE WEAK-SIDE CUTTER SERIES.

63

action movement which always has a player breaking or cutting from the

weak side to the strong side for scoring opportunities. The center or the

pivot-post player will start anywhere along the free throw lane. He can be

high or low, but should be so stationed as to furnish a good screen for No.

3 as he cuts by, over, or around him. The forwards, Nos. 3 and 4, station

themselves as shown, with No. 4 nearer the sideline and back of the free

throw line extended. No. 3's position is a key position. He may need to

vary his position as shown since he will need to make his move by No. 5 in

such a manner as to secure a screen on No. 5. The guards, Nos. 1 and 2,

are spread about the width of the free throw lane and may vary this up

to about 15 feet. The guards will always start the offense to the side

opposite the free throw lane from No. 5, or the player in this position.

Later diagrams will show how the player in this position is not always

No. 5, but will be a constant interchange, with numbers 3, 4, and 5 play-

ing the position.

Phase 1 is the first move of the Weak-Side Cutter Series (see Diagram

3-2). The first six phases of the play will present the complete turnover of

the players, with the play having been run from side to side and each of

the players returning to their original positions, as given here in Phase 1.

While making this complete turnover, many scoring opportunities could

develop. In the first move shown here, No. 2 starts the offense by passing

the ball into No. 4 and following the pass going outside and on to a

position near the baseline. As the ball is passed to No. 4, No. 3 starts a

jockeying movement to cut by No. 5 for a screen. It is his job to run his

defensive man into No. 5 so as to secure an opening for a pass from No. 4.

DIAGRAM 3-2

59

64

THE WEAK-SIDE CUTTER SERIES

No. 5 is not to be concerned with this except to remain in his position so

that No. 3 may jockey his position and bump his defensive man into No.

5. No. 5 should face the action where the ball is and may even have his

back to No. 3. No. 3 cuts either over, around, or behind No. 5. In the

majority of the situations, No. 3 will find it to the best advantage to do the

low cut behind No. 5. However, he must learn to vary this move, to mix

them up so that the offense can be more explosive and present more

scoring opportunities. The low and high cut options are shown in the

diagram and No. 3 arrives at the spot shown. Diagram 3-3 will show the

next moves to be made from these positions to achieve continuity.

In Diagram 3-3 (Phase 2), the players have arrived at the positions shown

here through the moves given in Phase 1, Diagram 3-2. If no scoring op-

portunities have occurred, No. 4 passes the ball back out to No. I, who

has adjusted his position to balance the action. No. 2 now leaves the base-

line and comes back to the outside. No. I quickly moves the ball to the

left side of the floor and No. 5 breaks out from the pivot-post area to the

forward position on the left side. No. 1 passes the ball to No. 5 and breaks

outside and to the baseline spot. While this is being done, No. 3 adjusts

his position in the pivot-post area so that No. 4, with slight adjustments

of position, can cut by him to secure a screen as he bumps his defensive

man into No. 3 in the same kind of move as was made between No. 3 and

No. 5 in Phase 1. Several possibilities for scoring are present here as No. 4

breaks around No. 3: No. 4 may be open, No. 3 may cut up for openings

off defensive switches. By no means should the offense ever neglect the

guard on the baseline. If his defensive player sluffs off, he should be passed

DIAGRAM 3-3

GO

THE WEAK-SIDE CUTTER SERIES

65

the ball for the shot that he could obtain from here. If the guards are good

shots from along the baseline, it helps to keep the defense honest against

this offense and makes it more effective.

In Diagram 3-4 (Phase 3), the players are now in position, with No. 5

in possession of the ball. No. 2, who has returned from the baseline posi-

tion reached on his first cut, adjusts his outside position. Another im-

portant factor in this offense is for Nos. 1 and 2 to be good enough middle

distance shooters that the defense cannot sag or sluff off on these players.

If they do sag off, the defense can more effectively jam the middle of-

fensive moves. If the defense sags off and the teammates pass the ball to

the guards for effective scoring shots, the defense will have to stay honest

on these two players. No. 5, with the ball, had the possible options of

passing to No. 4, No. 3, or No. 1. None of these being possible, he now

passes the ball back out to No. 2. Now the action reverses again, with No.

2 taking the ball to the right side and quickly passing into No. 3 who

moves out to the forward position. No. 1 reverses back out to the outside,

and No. 4 and No. 5 quickly position themselves for No. 5 to break from

the weak side toward the ball, cutting over, by or around No. 4 to

secure a screen.

DIAGRAM 3-4

In Diagram 3-5 (Phase 4), the players have now arrived in the positions

shown. No. 3 has the ball and again the reverse action takes place with

No. 3 passing the ball to No. 1. No. 1 passes to No. 4 who has quickly

come out to the forward position. No. 1 cuts to the baseline on the left

side and No. 3 becomes the weak side cutter, moving by No. 5 in attempt-

66

THE WEAK-SIDE CUTTER SERIES

DIAGRAM 3-5

ing to bump his defensive man off in a screen. The reverse action again

brings about an interchange of positions with Nos. 3, 4, and 5. No. 3 will

now be in the pivot position, and No. 4 and No. 5 will be in the forward

positions. As Diagrams 3-6 and 3-7 will show, when they have done six

movements, all players will be back at their original positions, on the

same side of the floor from which they started in Phase 1.

In Diagram 3-6 (Phase 5), No. 4 has the ball, passes it out to No. 2

who again reverses it to the right side and repeats his cut outside of No. 5

to the baseline. No. 4, now the weak side cutter, moves over No. 3 and

the players arrive at the positions shown in Diagram 3-7.

DIAGRAM 3-6

62

THE WEAK-SIDE CUTTER SERIES

67

In Diagram 3-7 (Phase 6), the reverse action again takes place with

No. 5 being the weak side cutter. The players have now made six moves

on the reverse action movement, with weak side cutters constantly

breaking in toward the ball. Many scoring opportunities could have been

available during this time. After this sixth move, with No. 3 returning

the ball outside to No. 2, and No. 1 returning to the outside, the players

would be in their original starting positions (see Diagram 3-8) and players

No. 3, 4, and 5 would have rotated in the pivot and forward positions, each

having been in each position on both sides of the floor.

DIAGRAM 3-7

DIAGRAM 3-8

E3

68

THE WEAK-SIDE CUTTER SERIES

When No. 3 passes the ball back outside to No. 2, as shown in Dia-

gram 3-8, and No. 1 Teturns to the outside, the players are back in their

beginning positions, having completely turned the offense over once in

six moves from side to side, with Nos. 3, 4, and 5 each having been in

each position once on each side of the floor. They are now back, ready to

turn the offense over again, if necessary, to secure scoring opportunities.

POSSIBILITIES AND OPTIONS TO THE OFFENSE

This offense has many possibilities and can give surprise scoring

punches. As shown in the first eight diagrams, it can give good scoring

options in close to the basket. As players No. 3, 4, and 5 alternate positions

and take their breaks in toward the center of the floor and to the basket,

they can take advantage of any mistakes that the defense makes.

The success of the offense and the movements to a large extent will

depend upon how well the weak side forward sets his defensive man up

for a screen as he cuts by the teammate in the pivot-post position. By

faking, jockeying his position, etc., it is up to this weak side cutter to

get a commitment from the defensive player guarding him. Once he gets

this commitment, he then cuts over the top or low behind the pivot man

to get the best screening or bumping action possible according to the play

of the defensive man. It is to the advantage of the offense for the weak

side cutter to take the low cut behind the pivot-post man whenever pos-

sible, for this move will place the cutter closer to the basket and in a

higher percentage scoring area.

Remember also that there are two movements to the weak side cutter

series, (1) the guard outside option, and (2) the guard inside option. The

weak side cutter should always hold his move by the pivot-post player

until the guard has made his commitment to either the outside move to

the baseline or the inside move which is more to the middle. If he does

not do this, he may find the middle jammed, arriving there at the same

time as the guard should he choose the guard inside move. But, while the

guard is making this commitment, the weak side player can be very busy

maneuvering his defensive player into position so that when he does make

his cut, he can secure an effective screen as he breaks by the pivot-post.

In reality this shuttle move of reverse action from side to side seems

very simple and at first the impression is that the weak side cutter move

is so simple tilt- surely no one could get by with it. Yet, year after year

teams have used this simple move with increasing success by working op-

tions that take advantage of defensive mistakes or switches. Some of the

possibilities are given in the diagrams that follow.

64

THE WEAK-SIDE CUTTER SERIES

69

The very simplest part of the movement is given in Diagram 3-9.

No. 2 has passed the ball to No. 4 and made his cut to the baseline. No. 3,

the weak side cutter, fakes behind No. 5, got a commitment from his

defensive man, and cut over thee top of the pivot-post position, which in

this case is No. 5. If the defense does not switch, then surely No. 3 will be

open for a pass from No. 4 and an easy scoring opportunity. No. 3 could

just as well have faked a cut over the top of No. 5 and cut behind him for

the same kind of opening, one that might be preferred in the majority

of cases since it would place him closer to the basket. If the defense does

switch, the switch would have to be almost perfect in its execution to pre-

vent No. 3 from being eligible for receipt of a pass. Even if the switch is

successful, other possibilities are open to No. 3 and No. 5 as will be shown

later. In this maneuver No. 3 should be taught to run his defensive man

into the screen that is set by the pivot-post player. The pivot-post player

is not to perform the act of screening and should never turn his back to

the ball.

DIAGRAM 3-9

If the defense does switch, as shown in Diagram 3-10, some possibili-

ties present themselves from this simple move. No. 2 has passed into No.

4 and again taken the outside move to the baseline. No. 3 fakes to drive

low behind No. 5 and getting X3 in position, cuts over the top of No. 5.

Defensive player X5 switches to l'':o. 3 to prevent a pass to him and a

scoring opportunity. No. 5, however, at least for an instant, will have X3

on his hip in the screening movement or he may see the move coming

and pivot so as to catch X3 on his hip to get him out of the play for an

instant. As soon as the switch is made No. 3 moves up higher and No. 5

65

70

THE WEAK-SIDE CUTTER SERIES

cuts in deep ahead of X3 for a fine opening right next to the basket. An-

other point that it is important to stress on this move is to be sure the

weak side cutter, No. 3 in this case, does not make his cut too soon. If he

makes his move before No. 4 can pass to him or before No. 2 has made a

commitment, then no scoring opportunity can occur at all. If he makes his

move late, there can still be scoring opportunities. It is better to have the

timing of the cut perfect, but if an error in timing is to be made, it is

better to err on the side of being too late on the cut than to be too soon

in making the cut.

DIAGRAM 3-10

DIAGRAM 3-11

.110,MINwir

66

THE WEAK-SIDE CUTTER SERIES

71

In Diagram 3-11, No. 3, the weak side cutter, fakes a move over the

top of No. 5, the pivot-post player Getting a commitment from the de-

fensive player X3, No. 3 reverses his move to cut behind No. 5 and catch

X3 on No. 5's hip for a screen. X5, the defensive player guarding No. 5,

switches to No. 3 to prevent him from receiving a pass from No. 4 and

having an easy two points. Now, at an instant of the defensive switch, X3

is on No. 5's hip and, since No. 3 has cut low, No. 5 breaks out higher to

receive the pass from No. 4. He could be open for a good shot from here

or take advantage of other opportunities. One of the opportunities that

can come from defensive switches is that a short defensive man may switch

to a taller offensive player. In this case, the difference in height could be

exploited by eithc. No. 3 or No. 5.

A few of the many possibilities from the offense will now be given.

In Diagram 3-12 the guard No. 2 passes to No. 4 and goes outside to the

baseline. No. 3, the weak side cutter, moves across behind No. 5 and is not

open. No. 5 now moves up the free throw. lane toward the top of the circle.

No. 4 passes to him if he is open. No. 5 may shoot a jump shot, drive, or he

may hand off to No. 1 cutting by on a pinched-post move. If No. 5 is not

open, No. 4 can pass the ball out to No. I, who can pass the ball to No. 5

and cut back off him for a Land off and a drive for the basket or a jump

shot. The possible pass from No. 4 to No. 5 may look like a long cross-court

pass, but in this situation there is little likelihood of interception because

the defense is likely to be sagging from the quick move that No. 3 made by

No. 5. If No. 5 moves quickly to the position shown, he will be open here

for many easy jump shots. If he is not open, the pinched-post maneuver

can be quickly executed.

DIAGRAM 3-12

r-

6 7

72

THE WEAK -SIDE CUTTER SERIES

In Diagram 3-13, No. 1 passes the ball to No. 2. No. 2 relays the ball

on to No. 4 and cuts outside. As No. 2 cuts outside, No. 4 hands or passes

the ball back to No. 2, who now dribbles the ball down toward the base-

line and then passes the ball back to No. 4. No. 3, the weak side cutter,

has maneuvered in behind No. 5, the pivot-post player, and is open for a

pass from No. 4. This pass could have come from No. 2 if No. 3 had

arrived at this point open before No. 2 passed the ball back to No. 4. After

passing the ball into No. 3, No. 4 and No. 2 cut by No. 3 as shown and

either may receive a pass from No. 3 for a short jump shot or other loves

that will secure a scoring opportunity for them.

DIAGRAM 3-13

DIAGRAM 3-14

........s.

I

0

68

THE WEAK-SIDE CUTTER SERIES

73

Rebound responsibilities should always be set and definite. The

players will need much drill on this and some variations will be necessary

in the different plays, when shots are taken from the different positions

on the floor. Generally speaking though, the rebounding responsibilities

will be as shown in Diagram 3-14, with the player on the pivot-post going

in on his side. As shown, the player on the side with the pivot-post player

crashes for the middle while the player on the opposite side covers that

side. One of the guards will take responsibility for the long rebound in

the free throw area. If these principles are followed, rebounding should

be definite and effective.

The double pick option, Phase 1, is shown in Diagram 3-15. Many

double pick options for either the guards or the forwards can be worked

from this offense. This one is a double pick for the forward who begins

as the weak side cutter. No. 2 passes the ball to No. 4 and cuts outside

to the baseline. No. 3 fakes his defensive man into a commitment behind

No. 5 and cuts over the top of him. With no opening, No. 4 quickly

passes the ball back out to No. 1, who now passes the ball to No. 5 who

has come out to the forward position on the left side of the floor. No. 1

cuts outside No. 5 to the baseline and No. 2, as soon as No. 4 passes the

ball back out to No. 1, retraces his move to the baseline back out to the

outside again. Diagram 3-16, Phase 2, will give the play from here.

DIAGRAM 3-15

After the completion of Phase 1, Diagram 3-15, the players have ar-

rived at the positions shown in Diagram 3-16. At a pre-given signal, when

this point is reached, it is understood that the double pick play is on. No. 5

69

74

THE WEAK -SIDE CUTTER SERIES

passes the hall back out to No. 2. No. 2 starts the ball to the right side

as is usually done on the reverse action from side to side. Instead of

passing in, he dribbles as shown and works an exchange with No. 4, who

comes out to take a hand-off from No. 2. As soon as No. 5 has passed to

No. 2, he moves in along the free throw lane with No. 1 in a shoulder-to-

shoulder position to form a double screen for No. 3, who cuts across the

free throw lane and in behind No. 1 and No. 5 to get the full effect of the

double screen in brushing his defensive man off. No. 4, who dribbled to

the middle of the floor after receiving the hand-off from No. 2, passes the

ball into No. 3. No. 3 can take a short jump shot, but if the defense

thwarts this effort, he can drive for the basket or possibly pass off to No. 1

or No. 5 who may be open in the defensive shuffle. If none of these options

are available, he can still pass the ball back out to No. 4 or No. 2.

DIAGRAM 3-16

This series would not be complete without a double pick for the

guards as well as the forwards. This move actually combines three pos-

sibilities all into one. They are (I) the sucker play, (2) the pinched post

move, and (3) the double pick for the guard. This play can be triggered

anywhere along the way in the reverse action movement of the Weak Side

Cutter Series. The ball has arrived at the point shown in Diagram 3-17

and, instead of taking the ball to the side of the floor away from the

pivot-post man, No. 2 passes to No. I and No. I starts a dribble move to

his left toward the side of No. 3 and No. 5. Now No. 2 drifts to his right

and No. 4 jabs toward the baseline and quickly breaks to his left to the

top of the free throw circle. No. I passes him the ball. From here several

options are possible. As No. 2 breaks in as shown, if his defensive man has

7o

THE WEAK-SIDE CUTTER SERIES

75

turned his eye to watch the ball, he could be wide open on a "sucker"

play. If so, No. 4 passes him the ball. If not open, he continues on as

shown, and No. 3 and No. 5 move in along the free throw line, in a

shoulder-to-shoulder position so that, as No. 2 continues on across the free

throw lane, he can break in behind No. 3 and No. 5 for a double pick.

No. 4 can pass to No. 2 as he comes in behind No. 3 and No. 5, where he

can take an easy jump shot; or if this option is cut off, he may drive or

pass off to No. 3 or No. 5 if defensive shifts have left either of them open.

Another option that can be used on this play in effect is the pinched-post

play, which could be brought in with No. 1 following his pass to No. 4

and breaking tight over the top for a return pass here from No. 4 and a

possible jump shot or a drive for the basket.

THE GUARD INSIDE OPTION

The guard inside option brings up several possibilities and is put in

the offense for the purpose of keeping the defense honest. The guard in-

side option can also take on two moves or options, and it can be run as a

continuity series, reversing from side to side in a continuous movement,

or it may be cut short, run as one option with the offense reforming again

if the first scoring opportunity fails. All of these possibilities will be ex-

plained in the ensuing diagrams.

After running the guard outside option a few times the defensive

players guarding the guards may soon get the idea that the guards, No. 1

and No. 2, after passing the ball inside, always cut to the outside. Their

next move to combat this is to overshift the guards and to make their

move to the outside more difficult. When this happens, the guard inside

option should be taken. In its simplest form, after passing the ball to the

forward on the side, the guard could cut straight down the middle for a

return pass from the forward and a simple scoring opportunity or a pos-

sible clearing move. If this simple scoring play does not result, then it is

up to the guard to tri:4:er one of the two possible options left. The first is

the forward scissor, and the second is the diagonal play. The guard triggers

the play by his cut and move. These two plays, with possible options, will

be explained in the following diagrams.

The Forward Scissor

The forward scissor fits right in a perfect pattern with the Weak Side

Cutter Series in that h features players cutting from the weak side of the

court to the middle and toward the ball for openings. It can be more

explosive in that it affords opportunities for a double screen on every

71

76

THE WEAK-SIDE CUTTER SERIES

move, with several possibilitiesenough options to make it a guessing

game for the defense. If the offense will use a little imagination and in-

genuity the defense may soon acquire the idea that regardless of how they

switch or move, the offense will have a possiLility for a quick opening

some way.

DIAGRAM 3-17

The simplest move and first possibility from the guard inside move

is shown in Diagram 3-18. No. 2 passes the ball to No. 4, and with the

defensive man overshifting, No. 2 drives straight down the middle. If he

DIAGRAM 3-18

0

-3-

0 r........ ,

iF10

72

THE WEAK-SIDE CUTTER SERIES

77

is open, No. 4 passes him the ball with a lead bounce pass being the best

possibility. If he is not open, then No. 2 will continue on into the options

shown in the following diagrams.

If on the simple break-away given in Diagram 3-18, No. 2 is not open,

then he may elect to go into the forward scissor move or he may go into

the diagonal play. In Diagram 3-19 he triggers the forward scissor by con-

tinuing on and then fading to his right and then in behind No. 4 near

the baseline. No. 4 may turn and drop the bail to No. 2, or he may fire it

out to No. 1, who may then relay it into No. 2 on his way out from the

baseline. As soon as No. 4 passes the ball off, he cuts in a move across the

free throw lane so as to arrive in a position near No. 5, just as No. 3, who

has jockeyed his defensive man into position, breaks over or around No. 5.

No. 4's arriving here will create, in effect, a double screen or pick for No.

3 as he goes by. No. 4 and No. 5 can maneuver their positions to make

this possible. After No. 3 cuts by, No. 5 will then break out toward the

ball for openings. If No. 3 cuts low, No. 5 will cut high. If No. 3 should

cut high, No. 5 will cut low. Several possible openings can come from

these moves. Diagram 3-20, Phase 2, will give the next continuity move

from the pattern.

DIAGRAM 3-19

In Phase 2 of the forward scissor (Diagram 3-20), the players have

now arrived in the positions shown. No. 2 can shuttle the ball up and

down the sideline area to get a good passing angle on No. 3 and No. 5

as they break across. If no openings, now the ball is sent into reverse action

to take the move to the opposite side of the floor. No. 2 passes the ball

73

78

THE WEAK-SIDE CUTTER SERIES

out to No. 1 who quickly moves to his left and then passes into No. 4 who

has moved out to the forward position after his scissor and double screen-

ing move on the previous play. No. 1 cuts down the middle and then in

behind No. 4.. No. 4 now either passes the ball to No. 1 in behind him

or relays it out to No. 2, who passes into No. I. After passing off, No. 4

again starts a move across the free throw lane and repeats the double

screening or pick all over again with No. 3 and No. 5. At the completion

of the two moves, the players would be back in their original positions

if the players are deployed in the manner shown here in Phases 1 and 2.

In other words, when Phase 2 is completed and the ball is passed outside

again and No. 1 returns to the outside, all players will be back in the

positions relative to where they started in Phase I. Note that No. 4 is the

player that makes all the cross-court scissor moves in this play. If the play

had been started to the opposite side, then No. 3 would be making these

moves on the swing back and forth. As shown here, No. 5 keeps his pivot-

post position in the moves back and forth. It is easy to change No. 3 and

No. 5 by just breaking No. 5 first in one of the moves and adjusting posi-

tions accordingly.

DIAGRAM 3-20

Some scoring opportunities in the forward scissor play other than the

ones already shown will now be given. As shown in Diagram 3-21, at a

given signal No. 3 and No. 5 can, change their cuts for not only a change

in positions but a quick explosive move that could confuse the defense.

The play has started as usual. No. 2 passing to No. 4 cuts down the middle

and then in behind No. 4. No. 4 drops the ball down to No. 2 or whips

it out to No. 1 who relays it back to No. 2. No. 4 moves across the lane

74

THE WEAK-SIDE CUTTER SERIES

79

to screen for No. 3 and No: 5. No. 3 starts his cut over the top of No. 5

and No. 4, but just as he gets about even with No. 5, No. 3 stops short.

No. 5 either breaks over or under No. 4, faking his defensive man one

way, breaking the other. Actually the defensive man will decide.his cut.

Most of the time a low cut near the basket is best and No. 2 can pass to

him if he is open. After No. 5 cuts, No. 3 now fakes his defensive man

and cuts by No. 4. The defense will call his move also and he will break

to a position according to the defensive shuffle on this play.

DIAGRAM 3-21

Diagram 3-22 carries out the idea a little farther and is not compli-

cated, even trough it looks that way. It actually combines the forward

scissor with the guard diagonal move that will be explained next. The

DIAGRAM 3-22

80

THE WEAK-SIDE CUTTER SERIES

forward goes into the scissor move, the center holds his position, and the

guard shuttles the ball out and goes into the scissor move that we refer

to as the diagonal play in the Weak Side Cutter Series. Here No. 2 passes

to No. 4 and cuts down the middle and in behind No. 4. No. 4 drops the

ball to him and scissors in with No. 5 to form a double screen for No. 3

cutting by. Now No. 5 holds his position and No. 2 shuttles the ball up

the sideline and passes it to No. 1 who passes it to No. 3. No. 3, after

breaking across the lane, had dropped in behind No. 2. Now, after passing

the ball, No. 2 cuts across the free throw lane and forms a double screen

for No. 4 who has adjusted his position so as to break out of the area

toward the ball, but around, over or behind No. 2 and No. 5. No. 3

passes to him if he is open. No. 5 and No. 2 could also break out of this

pattern for openings that present themselves. The options are unlimited.

Diagram 3-23 begins the explanation of the diagonal play. It has

sometimes been called the "guard scissor play" or "option." The guard

triggers this play just as he does the others and remember this is an

option to the guard inside move off the Weak Side Cutter Series. No. 2

passes in to No. 4 and starts his move to the middle and inside. Not being

open, this time, instead of continuing on through and in behind No. 4,

he cuts in a diagonal direction so as to go into a scissor move, forming a

double screen for No. 3 as he makes his move to the middle toward the

ball. No. 3 breaks over No. 5 and No. 2. After No. 3 cuts by, No. 5 moves

out for a possible open;: ,so. No. 3 and No. 5 have all the possible

openings and change movements that they had off the forward scissor.

Diagram 3-24 will give the next continuity move.

DIAGRAM 3-23

76

THE WEAK-SIDE CUTTER SERIES

81

DIAGRAM 3-24

The players through Phase 1 have arrived in the positions shown in

Diagram 3-24. Now we get the reverse action again and the swing back

to the opposite side. Here we get a differencethe guard, No. 2, now

moves into one of the forward positions for a moment and No. 4 moves

out to the guard position until the next swing back. No. 5 holds his posi-

tion or he may work a change with No. 3 on a switch move. If this play

had started to the left, then No. 1 and No. 3 would be in the guard-

forward switch moves. After six continuity moves or phases, the players

would all be back to their original positions. At the completion of phase

1, No. 4 had the ball. He now passing it out to No. 1. Is o. 1, reversing

the play, moves to his left and passes into No. 2 who, moving off the

diagonal cut, now comes out to the forward position to receive the ball.

After passing to No. 2, No. 1 starts down the middle and then goes diag-

onally across the lane so as to help No. 5 form a double screen for No. 3

cutting by. Then No. 5 cuts out to the position shown.

At the completion of Phase 2 the players were as shown in Diagram

3-25. Now No. 2 passes the ball out to No. 4 and comes back out to the

outside. No. 4 passes into No. 1 and goes on the diagonal cut across the

lane to form the double screen for No. 3 and No. 5. Actually, the diag-

onal move from the Weak Side Cutter Series has pl -rs No. 1, 2, and 4

rotating in the guard position and in making diagonal cuts to form double

pick and screens for players No. 3 and No. 5. If the play should start to

the left, it would have players No. 1, 2, and 3 rotating at guard and making

the diagonal moves for Nos. 4 and 5. At the completion of six moves C'e

players will have turned the continuity pattern over once and they will

be back in the original starting positions. It will not be necessary to here

show all these as the first three phases clearly give the moves and show

how the continuity pattern of the diagonal move would work.

77

82

THE WEAK-SIDE CUTTER SERIES

_DIAGRAM 3-25

Many quick and explosive moves are possible off the diagonal move.

Diagram 3-26 gives one such mo-e. Here No. 2 passes into No. 4. Then,

after starting a move toward tht middle, he cuts in on the diagonal option

and takes a position shoulder to shoulder with No. 5 along the free throw

lane. No. 3 cuts by them toward the ball, but after getting by them,

reverses and comes back behind the double pick. No. 4 passed the ball

quickly to No. I and No. I maneuvered to get the timing and passed the

ball to No. 3 just as he reversed direction and came in behind the screen.

A quick jump shot should be possible from here, but if not, then he

could use No. 2 and No. 5 as posts from around which he could dribble

and drive for the basket.

DIAGRAM 3-26

Your imagination can take you anywhere with the Weak-Side Cutter

Seriesit can give you as much variation as the talent of your players

will absorb.

78

4

The 1-3-1 Offense

(The 111-10 Offense)

This offense has been designated by many names. One famous coach

called it the "Vertical-Pivot Offense" and referred to the pivot men as

vertical pivots. Another coach referred to the offense as the "Tanduni

Pivot-Post Offense," and still another called it the "Hi-Lo Offense." Re-

gardless of the name, the game is the same!

The 1-3-1 offense gets its name from the manner in which the players

are positioned or deployed on the floor in the offense. It actually is a Double

Pivot-Post offense and could be called such, but certainly it is not the

same operation or deployment and use of players as is made in most

Double Pivot-Post offenses.

When and where the odense originated no one seems to be certain,

but by the middle 1950's the offense was in wide usage. It is still a very

popular offense and widely used in many variations and pattlms. The

1-3-1 formation has been adapted in some manner to nearly all the other

offenses and one of the most popular offenses now adapted to this forma-

tion is the Shuffle offense. The 1-3-1 offense may have come into usage to

wombat the 1-3-1 zone defense that was popular in the late 1940'3 and

_arly 1950's. Being used to combat this nuisance, it was soon found that

with slit,

variations in movements, this formation could be used to

combat '

er the man-to-man or the zone and any variation in either.

'fly

Anse fits well with the present-day trend in basketball to

isolate play so that most situations will be a one-on-one play or at the

most, a two-on-two situation. The 1-3-1 spreads the defense in such a

83

79

THE 1-3-1 OFFENSE

manner that sooner or later the one-on-one situation will arise. The offense

is deployed so that the defense covering the weak side offensive players

must never relax or they will give away good scoring opportunities.

ADVANTAGES OF THE 1-3-1 OFFENSE

The 1-3-1 offense has several advantages and strong points.

1. The offense can be used with slight variations against both zone and

man-to-man defenses. This simplifies teaching by necessitating only one

formation. (Chapter 10, "The Zone Offense," which features a con-

tinuity offense for use against zones, is a 1-3-1 formation.)

2. The offense spreads the defense and makes for many isolation plays of

one-on-one or two-on-two.

3. It is easily adaptable to the talent a the players available.

4. In this offense one gua..d brings the ball down the floor and many

coaches claim this is an advantage because with one good quarterback

type player bringing the ball down the floor they have fewer intercep-

tions than when two and three guards bring the ball dowa.

5. It is very advantageous to use this formation against press,ng defenses,

either full-court or half-court.

6. It can be used equally as well against man-to-man defensive presses

and zone defensive presses.

7. It can be used as a free-lance offense or as a disciplined team offense.

DISADVANTAGES OF THE 1-3-1 OFFENSE

1. It is weak in protecting against the fast break. With only one player

back in the guard position, extra precautions must be made or the

defense will be extremely weak in defending against the fast break.

2. With only one player operating along the baseline area, it has a ten-

dency to be weak in offensive rebounding coverage. (Emphasis and

stress on proper player coverage can overcome this weakness.)

3. It requires one exceptionally fine ballhandler and quarterback type

player in order for the offense to be really effective. Not every team

is fortunate enough to have one such player.

4. In order to be 100% effective, it requires well-balanced personnel with

no one player being weak.

BASICS OF THE 1-3-1 OFFENSE

This offense is one of movement. Each player must know how to

move, where to move, and when to make his cuts. This can best be done

by establishing rules or principles for movement for each player in given

situations. This offense is not a roll and screen offenseit is a "move the

o

THE 1-3-1 OFFENSE

85

ballcut and go" offense. The weak side players (offensive players on the

side away from the ball) must move. If they do not move, the defense

will sag off, gang up, and jam the offense. So one of the first principles

to remember in this offense is to move and to use the weak side players.

The offense should always look for, and be alert for, the full and the

half-court presses. It is especially well adapted to combat these two defen-

sive devices, and most offenses that successfully penetrate either of these

two presses usually takes some expanded form of the 1-3-1 offense.

The 1-3-1 features the open game with free-lance opportunities. With

this open, one-on-one situation being the object, one player at a time

breaks or cuts. Two cutters on the same movement are to be avoided since

this would cause congestion and jamming of the lanes. The offense is built

to spread the defense, to prevent congestion and milling around, and to

get the one-onone attack.

If the defense is tight and pressing, the offense will spread, bringing

the pivot men farther apart to cope with the spread. If the defense is

jammed, then the offense just operates closer together, with the high post

and low post operating in closer confines. In actuality the 1 -3 -I offense

is also a very fine "delayed offense" and can be used to spread the defense

in situations where the offensive team can dictate this condition to the

defense.

To begin the offense players Nos. 2, 3, 4, and 5 go down the floor and

set up in their operational areas, as shown in Diagram 4-1. No. 1, the

guard, will bring the ball down the floor, getting help as he needs it from

No. 2 first, and possible from Nos. 3, 4, and 5 if needed. However, it is

No. 1 who is the quarterback and who triggers most plays starting the

offense. He is sometimes called the "point" man. No. 2 and No. 3 are

called the "wingmen," but note that No. 2's position is shallow compared

to No. 3's position. He plays shallow so as to be able to render aid to No. 1

at anytime he needs it. No. 4 and No. 5 are the pivot men. The players

begin their operations in the areas shown. Here the offense is set up to

move the offense to the right side. The offense should move to the left

as often as to the right, and any operations or plays shown moving to the

right will not be duplicated in showing movements to the left. However,

it must be remembered that any play going to one side can also be worked

from the opposite side.

If the offense should move to the left side, No. 2 and No. 3 could

change sides of the floor, with No. 5 taking the opposite side of the lane

and No. 3 changing his operational area to the left side and No. 2 taking

the shallow position on the right side of the floor. Or, if No. 1 should

move the offense to the left, No. 2 could move into the forward operational

area on the left side of the floor and No. 3 can move out to the shallow

81

86

THE 1-3-1 OFFENSE

wing position on the right side if these two players have the ability to do

an interchange of positions.

In Diagram 4-1, No. 1 is shown taking a position so that the distance

between No. 4 and No. 3 is split. With this position split between No. 3

and No. 4, No. I has a good passing angle to either No. 4 or No. 3. He

may vary this position as needed, and may take a position straight off

from No. 4 or one more nearly straight off from No. 3. However, in taking

a position straight off from No. 4, his passing angle to No. 4 is poor, and

his possibilities of cutting and moving in play situations with No. 3 are

poorer. His only advantage in bringing the ball down and lining straight

up off No. 4 is that he could balance his moves to the right or left easier

from this position.

DIAGRAM 4-1

\

%

/

%

%

0

/

I

1

1

-N 1

1

0 I

If

1

1

t 1

1 1

1

1

1

..L.

1

..

/ 1

t

0

..........

......

REQUIREMENTS FOR THE PLAYER POSITIONS

IN THE 1-3-1 OFFENSE

The requirements for the player positions in this offense will differ

somewhat from other offenses and will be given now.

Player No. 1

1. He should be the best ballhandler and the quarterback type of player.

2. He should have speed, quickness, and be able to drive.

3. If he is tall it will help his feeding and passing ability.

4. He should be a good shot 18 to 25 feet away from the basket.

5. He must have defensive ability and sense. He is the first line of defense

and must assume this responsibility also.

82

THE 1-3-1 OFFENSE

Player No. 2

1. He must be the combination guard-forward type player.

2. He is the first relief man for No. I and takes his position anytime he

drivesorleaves thepositidn.

3. He actually should be able to operate in No. 3's position or No. l's

position at anytime.

4. He should be an excellent shot from his operational area. The first rule

of thumb is: Anytime the player in No. 4's position receives the ball,

his first move is to look to see if No. 2 is open and to feed him the ball

if he is.

5. He should be able to drive.

6. He should have a keen sense of defensive balance and ability and know

when to assist, help, and cover for No. I in defensive work.

Player No. 3

1. He should be the typical forward type. It is a rule in this ohense that

he play on the side of the floor opposite the lane from No. 5.

2. He should be a good shot from his operational area.

3. He should be able to move and drive.

4. He should be a good rebounder and crash the boards for rebounds any-

time the shot goes up.

Player No. 4

1. He should be the most active of the two pivot players. Although No. 4

and No. 5 constantly change positions in scissor moves, No. 4 should

be the most active big player in the offense. He should be found in the

high post position most of the time.

2. He should be a good ballhandler with ability to feed cutting team-

mates. He should even have the ability to step out and replace No. 1

at times as required.

3. He should be a good shot from the top of the free throw circle and in

to the basket.

4. He should be a rugged, aggressive rebounder.

5. He should have a good repertoire of pivot shots and pivot-post moves.

Player No. 5

1. The largest player should play this position.

2. He should be a good aggressive rebounder.

3. Hp should have a good hook shot and some good baseline moves.

4. If he can hit well from the corners and along the baseline, it helps.

5. He should be able to feed cutting and driving teammates.

83

88

THE NW OFFENSE

The movements of No. 1, the "trigger" man of the offense, would

be as shown in Diagram 4-2. He can pass and go outside No. 3. He can

pass and go inside No. 3 or break straight in for a return pass as on a

"sucker" play. He can also pass and go away from the pass setting up a

screen for No. 4, the high pivot-post man, or for No. 2, the shallow wing-

man.

DIAGRAM 4-2

No. 1 and No. 3 may work an exchange of positions on shuttle moves

(see Diagram 4-3). No. 4 and No. 5 constantly work on scissor moves to

secure screens and picks for each other. The general rule is that if No. 4

moves to a low pivot-post position, then No. 5 always moves out to a

high position. The pivot-post player in the low position may roam wide

DIAGRAM 4-3

84

THE 1-3-1 OFFENSE

89

along the baseline, even to the corners if he desires. But he must move!

The pivot-post player in the high position can play as high as the situation

demands to adjust to the pressures of the defense, even beyond the top

of the free throw circle. He may even play as wide as halfway to the side-

As shown in Diagram 4-4, if No. 1 cliibbles over the top of No. 4 to

secure a screen or a pick, No. 2 should hold his position until No. 1 is

declared to a definite movement. No. 1 may use No. 4 for rub-off or

screening options, but No. 2 must hold his action until the dribbler

declares himself to a definite action or has passed the ball off. Once No. 1

has committed himself to the action shown, No. 2 may cut in the direction

of the areas labeled "YES" by the arrows. He should never cut in the

direction of the arrow labeled "NO." If he did, this would jam and crowd

any possible openings or moves by No. 1 and No. 4.

0

DIAGRAM 4-4

No. 1 should never try to pass the ball all the way from his starting

position, which is split between No. 3 and No. 4, over to No. 2 (see Dia-

gram 4-5). After dribbling to a position about even with No. 4, he should

be in a safe passing area to make a pass to No. 2. Now with the ball in the

No. 2 position, wingman No. 3 should go to the side of the ball. No. 4

and No. 5 can make the position moves shown and the offense is ready

to be set up on the left side. No. 1 can drift to his right to the shallow

wing position or he can move straight in toward the basket for a possible

return pass and come back out to the shallow wing position if he is not

open.

85

90

MAY

PASS

MERE

DIAGRAM 45

THE 1-3-1 OFFENSE

As illustrated in Diagram 4-6, No. I and No. 3 may work a shuttle

along the sideline while No. 4 and No. 5 scissor for positions and openings.

Here No. 1 passes to No. 3 and follows the pass outside. No. 3 dribbles

the ball out to the No. 1 position and, always turning to the inside on

this move, he is now in position to pass to No. 1 or to No. 5 or No. 4, :1

they should get open on their scissor moves.

DIAGRAM 4-6

No. I may pass to No. 3 and follow for an inside screen and roll. In

Diagram 4-7, No. 1 passes to No. 3 and follows the pass to the inside and

screens for No. 3. No. 3 may drive to the inside off the screen or he may

reverse and dribble toward the baseline and in for a drive or a roll-off

86

THE 1-3-1 OFFENSE

91

-,,,

option. Nos. 4, 5, and 2 watch for individual openings that may come

from this move. They must wait until the movements of No. 1 and No. 3

are fully committed before making their cuts or they will jam the cutting

lanes and any openings that may develop for No. 3 or No. 1.

DIAGRAM 4-7

One of the fundamental cutting rules of this offense is that No. I

may pass the ball to No. 3 and go away from his pass. In Diagram 4-8 he

passes to No. 3 and moves away from the pass and in behind No. 4 to

provide a screen for his cut to the baseline. If No. 4 is open, No. 3 will

pass to him. As No. 4 goes to the low position, No. 5 comes out to the

DIAGRAM 4-8

87

0

/

92

THE 1-3-1 OFFENSE

high position and No. I continues on to a position just to the left of the

free throw lane where the can also furnish a set screen for No. 2 cutting

in from the weak side for a possible opening.

Another- fundamental principle of the offense is

when a-player

passes the ball into one of the pivot-post players, he should not always cut

by that player, but rather he should vary his cuts and, at times, cut over

or by the other pivot-post man. If the ball is passed to the low pivot-post,

the player cuts over the high pivot-post. If the ball is passed to the high

pivot-post, the cut may be by the low pivot-post. Also the pivot-past

player without the ball is always alert to move into position to screen for

a cutting player. In Diagram 4-9, No. 1 passes to No. 3 and holds. No. 3

passes into No. 5 on the low position; No. 4 moves out as shown, and

No. 3 cuts over No. 4 for a screen and a possible opening.

DIAGRAM 4-9

DIAGRAM 4-10

TTl

15"

88

THE 1-3-1 OFFENSE

93

Any time the ball is passed into the high pivot-post position (in

Diagram 4-10, it is No. 4), the first option he should look for is the

pass to No. 2. No. 2 should always prowl the area and be ready for any

sagging-off by the defense. When the defense sags-off, No. 2 can always

take advantage of a good shot from this area.

When No. 1 drives through on a move or cuts out of his area, No. 2

comes_ out to take his place until No. 1 circulates back. As shown in

Diagram 4-11, No. 1 passed to No. 3 and followed his pass to the outside.

No. 4 and No. 5 on a scissor move frees No. 5 for a pass from No. 3. Aft.nr

passing to No. 5, No. 3 cuts over the top of No. 5 in following his pass.

No. 2 comes out to the top of the circle to replace No. I driving through.

If his defensive man is sagging, No. 5 should be alert to pass the ball to

him for a possible shot from this areaone of the best percentage shooting

areas on the floor.

DIAGRAM 4-11

In Diagram 4-12, No. 1 passes to No. 3 and cuts straight in for a return

pass. If open, No. 3 will pass to him. If not open No. 1 continues on

through and provides a screen for No. 5 coming across the free throw

lane. As No. 5 frees himself No. 3 passes him the ball and follows his pass.

In the meantime, No. 2 has a sagging defensive player who has turned

to watch the ball. No. 2 cuts through the back door for a possible sucker

89

94

THE 1-3-1 OFFENSE

play and No. 5 may have the option of passing to No. 2 or No. 3 for

openings. On this play, since No. 2 did not come out to replace No. 1 as

a guard, No. 4 steps out to take over this responsibility until No. 1 has

circulated back.

DIAGRAM 4-12

Definite rebounding responsibilities must be established. Nos. 3, 4,

and 5 have the rebounding coverage responsibilities, as shown in Diagram

4-13, any time a shot goes up. The high pivot-post

player covers the side

opposite the low pivot-post man. The forward, or No. 3, covers the short

middle area and No. 2 covers the long rebound and is always ready to

DIAGRAM 4-13

00

THE 1.3 -1 OFFENSE

95

help No. 1 in defensing any fast break attempt. In some situations No. 4

and No. 3 may find it best to exchange rebounding responsibilities, with

No. 4 going straight in and No. 3 covering his side.

Against a defense that is aggressive and spread out, the players in the

r3 -1offense--can-justbe spread our and-spaced farther apart, giving them

more freedom and free-lance opportunities. Nos. 1, 2, 3 and 4 can adjust

their positions to spread the defense as they wish (see Diagram 4-14), and

by faking and driving hard, they can use a "give and go" game for good

openings from the same play situations as previously given. However,

they search more for the one-on-one situations with no screen and roll or

doubling options in this type of game against this kind of a defense.

9

0

DIAGRAM 4-14

Against a defense that sags or sinks, the two pivot-post players simply

play closer with the other players adjusting their positions accordingly

(see Diagram 4-15). Against this type of defense No. 4 and No 5 will

engage in more scissor moves, and more screen and roll moves will be

sought, with attempts being made to take advantage of the sagging defense

at every opportunity.

GUIDING PRINCIPLES AND RULES FOR THE 1-3-1

When the 1-3-1 offense is operated as a free-lance offense, it becomes

a rule game with certain guidelines to govern the movements of each

player in specific situations. Here are some guiding principles for all

players in general.

91

96

DIAGRAM 4-15

THE 1-3-1 OFFENSE

1. Keep the players spread as much as possible and especially the No. 1

and the No. 2 positions.

2. Keep the dribbler out of the middle. It is not a dribbling game and

especially down the middle. This will jam the offense.

3. Pass the ball to either pivot-post player at every available opportunity.

4. It is an offense of movement. Keep all playersmoving to prevent sagging

by the defense.

5. Rebounding responsibilities for players No. 3, 4, and 5 must be defi-

nitely established. No. 2 covers the long rebound responsibilities.

6. There are to be no second cutters by the pivot-post players. Do not

jam the middle. Keep it open.

7. The pivot-post player that is free should move out to screen for cutting

teammates.

Guiding principles for each individual player should be established

so that they can exploit all free-lance opportunities. Here are the

rules

for each player and each position.

Player No. 1

If he passes to No. 3 he can do one of the f llowing:

1. Follow the pass either inside or outside.

2. Play for the sucker drive straight in a quick return pass.

3. He may go away from the pass and screen for either No. 4 or No. 2 or

both.

4. He may screen for the low pivot-post player.

5. He could cut over the high pivot-post and double back on a low pivot-

post position himself.

92

THE 1-3-1 OFFENSE

97

If he passes the ball to Nos. 4 or 5, he has the options tha. he has

when passing to No. 3. He could dribble off the high pivot-post for open-

ings or for pass-off opportunities to No. 2.

Player No. 2

1. No. 2 ..hould keep on the move and prowl his area.

2. He must be alert to replace No. 1 when he drivzs and goes inside on

the offense.

3. As a weak side playe: he must be alert for opportunities to break over

or by the free pivot-post player for scoring op; o:

4. He should be constantly alert for backside baseline cuts and moves.

5. He can even go in and pivot-post when the opportunity presents itself.

6. He must not stand still.

7. He must be alert for shooting opportunities that can come to him as

a result of a sagging defense. FL2 is expec ed to hit well from his area.

Player No. 3

1. Be alert for driving opportunities.

2. Feed the pivot-post players at every opportunity.

3. Cut by the pivot-post players at every opportunity.

4. After feeding the ball to a teammate, go somewhereMOVE!

5. Shuttle moves and two-on-two opportunities can be worked with No. 1.

6. Shoot when open in his operational area.

7. Feed all cutters and be especially alert for weak side moves by players

away from the ball.

8. This player must rebound hard on all shots.

Player No. 4

1. This player roams the outer half of the free throw circle and outside

to an area as wide as halfway to the sideline.

2. He should work constant scissor and screening movements with No. 5.

They constantly exchange positions.

3. He replaces No. 1 when both No. 1 and No. 2 go inside on moves.

4. He should be alert to move out and screen for teammates cutting when

No. 5 or No. 3 has the ball.

5. He should drive and shoot at every opportunity.

6. When pivot-posting with the ball he feeds cutting teammates.

7. When he receives the ball on the high pivot-post position, his first look

is to see if No. 2 is open, then to check for other opportunities.

8. He must rebound hard on all shots.

93

98

THE 1-3-1 OFFENSE

Player No. 5

1. He prowls his operational area along the baseline for openings.

2. He constantly exchanges positions with his pivot-post teammate No. 4

and works scissor and screening moves with him.

a3. When pivot-posting with the ball he feeds cutting teammates.

4. When his teammate No. 4 has the ball in the pivot-post position, he

moves out to screen for cutting teammates.

5. He must drive and shoot at every opportunity.

6. He must more than assume his responsibilties for offensive rebounding.

BASIC OFFENSIVE PATTERNS

The 1-3-1 offense given up to this point has been one of freedom

and movement with guiding principlcs and rules providing free-lance

opportunities according to the abilities of the players in the various posi-

tions. This offense in itself is an excellent one, but if the coach feels the

need for more disciplined or a more formalized attack, it can be made

to be so. The following basic offensive play patterns lend themselves to

the more disciplined and structured offense while blending well with the

free-lance game that can be played from the 1-3-1 attack.

...

DIAGRAM 4-16

Diagram 4.16 should be a quick opener play. No. 1 passes to No. 3

and breaks in toward the basket. If he is not open he continues across

the free-throw lane and screens for No. 5. If No. 5 is open, No. 3 passes

to him in close, but if not open,

No. 3 dribbles out for adjustment and

then turns and passes in to No. 5 who has now moved out toward the

94

THE 1-3-1 OFFENSE

99

corner along the baseline. No. 5 may take opportunities to drive or shoot

from this position also. After passing to No. 5, No. 3 moves in behind

No. 4 for a screen and No. 4 cuts sharply behind No. 3 down the side

of the free throw lane. This could give a quick opener for No. 4 and if

he is open, No. 5 feeds him the ball. If No. 4 is not open, No. 5 passes

the ball outside to No. 2 and the players can quickly re-form by filling

the positions and carrying the play or the offense to the left side of the

floor.

In Diagram 4-17, No. 1 passes to No. 3 and after cutting straight in

for the basket, turns right in behind No. 3. No. 3 turns and passes to

No. 1 along the baseline and then moves in behind No. 4 for a screen.

No. 4 cuts down the free throw lane for a quick opener. If he is not open

he goes on through and No. 3 continues on down the lane to screen for

No. 5 on the low pivot-post. No. 5 cuts sharply off the screen and if he is

open, No. 1 feeds him and follows his pass for another possible quick

opener. If no scoring opportunity results from this, the ball is passed

outside and the offense is set up again.

DIAGRAM 4-17

A double screen can very easily be set up for the weak side player

and, as shown in Diagram 4-18, No. 1 passes to No. 3 and moves away

from the pass setting a screen behind the high pivot-post man, No. 4.

No. 4 cuts down the lane and not being open, pulls up along the baseline

toward the corner and comes out enough to receive the ball from No. 3.

No. 5 and No. 1 now move in a position along the left side of the free-

95

100

THE 1-3-1 OFFENSE

throw lane in a tight position together so that No. 2 cutting by them will

have a double screen formed for him. He may cut over or behind them

for an opening.

DIAGRAM 4-18

Double screens and picks can bz worked into the offense very well.

In Diagram 4-19, No. 1 passes to No. 3, follows to the outside, and pulls

up short and stops to the side and in front of No. 3. No. 3 passes the ball

back to him and rolls out toward the basket for a possible opening and

screens for No. 5, the low pivot-post man coming across the free-throw

lane. Not being open immediately, No. 5 moves out along the baseline

toward the corner where No. I passes him the ball. Now No. I moves in

DIAGRAM 4-19

3 6

THE 1-3-1 OFFENSE

101

behind No. 4 for a screen and a possible quick opening. If not open, he

continues on across the free-throw lane to team up with No. 3 for the

double pick. Diagram 4-20, Phase 2, will give this opening.

The players have now arrived at the positions shown in Diagram

4-20 and No. 5 has the ball. No. 5 quickly passes the ball outside to No. 2

who quickly moves it over to No. 1. After passing off, No. 5 moves quickly

along the baseline and across the free-throw lane and in behind No. 4 and

No. 3 who have moved in tight shoulder to shoulder to form a double

screen for No. 5. No. 1 passes No. 5 the ball for a jump shot or a drive

around Nos. 4 and 3. If No. 5 is not open he moves across the free-throw

lane and No. 4 quickly moves out from behind No. 3 for a quick opening

or a drive.

DIAGRAM 4-20

Taking advantage of the possibilities that can result from the scissor

movements between the pivot-post players No. 4 and No. 5 is much to

the advantage of the offense. In Diagram 4-21 some of the possibilities

are shown. No. 1 passes to No. 3 and moves in. No. 4 moves out for a

possible high pivot-post reception, but not being open, moves immediately

into a scissor move on the opposite side of the free-throw lane with No. 5.

No. 5 could cut sharply off this scissor move for openings. He may also

delay and move across the lane cutting off No. l's move across the lane for

a possible opening in closer to the basket. No. 3 could pass to him here

if he is open. If no openings come from this, No. 3 can pass the ball outside

to No. 2 and now No. I could scissor off possible screening moves around

97

102

THE 1-3-1 OFFENSE

No. 4 and be open. Also, No. 4 could move down the lane or across the

lane in a scissor move again to secure a screen for No. 5 as he breaks out

toward the ball as it changes sides. With practice, the timing on these

moves can be perfected and will work for fine scoring opportunities.

DIAGRAM 4-21

To meet any and all defenses, the 1-3-1 offense is probably one of the

best all-purpose offenses yet devised.

98

The

Dlinois

ContinnitY

Offense

There have been many great minds in basketball. Some have received

more publicity and credit than others. A coach speaking at a clinic once

said, "There are only two classes of basketball coaches. They are either

imitators or innovators." One such mind belonging to the class of inno-

vator is that of Coach Vernon Drenckpohl. He is the innovator of the

offense presented in this chapter. Vernon coached high school basketball

at Clayton, Argenta, Vandalia, and Sycamore, Illinois over a period of 28

years. During this time he was highly successful as a coach, but more

importantly he had a profound influence on basketball and the young

men he coached, many of whom entered the coaching profession. Being

a native of Centralia, Illinois, he was a pupil of the famous "King" Arthur

Trout who coached Centralia teams for 37 years. During that time Trout

coached three Centralia teams to Illinois State High School champion-

ships. Being an apt basketball pupil, Drenckpohl found himself on one of

the basketball squads at the University of Illinois during the days of Craig

Ruby. Always the loyal "Illini" and always the pupil of Coach Trout,

his style and innovations in basketball have been copiedand imitated by

many coaches throughout the state and the mid-west. In associating an

offense with Coach Vernon Drenckpohl, only two words could come to

the mind"Illinois" and "Continuity," thu