Let's learn to play Russian billiards. Learning to play billiards - video The meaning of the shot and stance

Billiards is a great way to have fun and play a game of chance. To learn how to play billiards normally, it is enough to play it several times. The average person probably has no idea how many types of billiards there are. And today we will talk about Russian billiards and its rules.

Rules for playing Russian billiards

The first thing to do is to collect the balls in the billiard triangle. They need to be placed on the back line. It is located in the middle between the extreme and middle pockets. This triangle holds 15 pieces.

The first blow is struck on a separate red ball - the cue ball. There is no need to pocket it. He must crash into the game balls - they are white. And they need to be rolled into pockets.

This blow is delivered from the front line. It is located on the opposite side from the back line. The distance between these lines is equal to half the billiard table.

A cue is a tool for striking the cue ball. Before hitting, you need to lubricate it with billiard chalk. They look like small blue cubes. To play well, you need to master the correct striking technique. When hitting, one foot must be on the floor. You cannot sit on the table and strike - this is a violation of the rules.

There are also other violations:

1. Strike until the balls come to a complete stop after being hit by the previous player.
2. Strike out of turn.
3. The cue ball was hit incorrectly.
4. Touching the balls with your hands.
5. The ball jumped out of the pool table.
6. The cue ball fell into the pocket.
7. The cue ball in motion did not touch a single white ball.

Player, rule breaker, skips a turn.

Billiards is played by two players. Each of them takes turns striking the cue ball. If the white ball hits the pocket after the player hits, he hits it again.

Each white ball that falls into a pocket is moved to the shelf. Each player has shelves with pocketed balls on them. He is considered pocketed if he stops next to the pocket, but then falls into it. This must happen before the other white balls come to a complete stop. If this happened after a stop, for example, one of the players shook the table, then it is not considered clogged.

If your level is beginner or amateur, then the game is played either by points or by the number of balls. Professionals play only by numbers.

So, To win you need to score 8 pieces. Since there are 15 of them in total in the game, 8 is enough to win.

If you're playing on points, it's a slightly different concept. All balls have a number from 1 to 15. This number is the points. That is, if you pocket a ball with the number 9 written on it, this means that you have earned 9 points. At the end of the game, all points are counted.

This option is ideal for beginners or simply for people who play billiards for fun. In other words, for those who has no professional interest in this matter.

Professionals, on the other hand, consider the game on points to be unfair. And, in principle, we can agree with them. Imagine if the first player pots 6 balls with the highest points, and the second player the other 9. The one who knocks down the fewest balls wins the points. And in billiards, the main thing is how many balls you rolled.

Pyramid

There are several types of billiards games. Some of them are called pyramids. We'll talk about them now. The most famous of them:

Professional billiard players consider it correct to play pyramid games only for entertainment purposes. When preparing for competitions, they try to play according to the established rules.

Here's what you need to do to to learn how to play Russian billiards:

1. The video will perfectly help you understand the essence of the game. Watch several instructional videos on how to play Russian billiards correctly.
2. Visit a billiards club and ask a professional to teach you.
3. Work on your hitting technique. Hitting the cue ball correctly is the key to success in the game.
4. Play various pyramids, which were mentioned above. They also increase skills.

When playing billiards, do not violate safety rules. Under no circumstances should you swing the cue or put your hands on the table while the game is moving. There are known cases of bruised fingers. And most importantly, play correctly, and then everything will work out for you.

Now you know how to learn to play Russian billiards. If you really want to learn this, then start right now. And then, you will definitely constantly beat your friends.

Tips for beginning players.
A skilled billiards player who has excellent cue control and makes precise and beautiful shots will certainly arouse everyone's admiration. The audience gets great pleasure from watching him play. In a sense, billiards is a universal way of versatile personal development; it is accessible and useful to people of any age.

Most beginners and intermediate level athletes believe that the reason for their low level of play is a lack of proper concentration. This is only partly true. The main source of neophyte mistakes is imperfect technology. Meanwhile, this is the most important thing; without this, progress is basically impossible.

Take a closer look at the players at the club where you play. "Amateurs" for the most part do not realize the critical importance of technique. They know a lot - about reeling, pulling, screws, exits, but they cannot use it effectively. Lack of technical arsenal. Why? They skipped the first stage of training - setting up a strike. With the shot they have, they can pot a ball or two or three, but they can't get the ball together with the cue. Precisely because their strike is unstable.

Moreover, many players are not even aware of how imperfect their shot is and that they could improve their game just by paying more attention to technique. The problem is that a number of subtle points simply cannot be explained on paper, and only the gaze of an experienced professional will help “tune” the striking movement correctly. Believe me, it’s not for nothing that every author of a book about billiards recommends that beginning players take a couple of lessons - this is the easiest, fastest and most effective way to start playing billiards, and not just roll balls around the clearing.

In our opinion, the ideal training course for beginners can be divided into 4 stages:

The first and most important thing is setting the correct blow. This tedious work on yourself takes a lot of time and effort, but it is absolutely necessary in order to play billiards decently.

After a player achieves some progress in technique (for example, consistently collecting a line of 15 balls), it is time for him to take up advanced techniques: stopping the cue ball, rolling, drawing, side kicks and become interested in positional play. During the game it is extremely important not to forget about technique. In this case, by using push-ups and pull-ups in practice, a novice billiard player will be able to further improve his technique, comprehend nuances that are not obvious at first glance, and significantly improve his game.

The third stage: tactical play, the concept of role-playing, the boarding system, specific strikes ("arcs", jumps, etc.). At this level, a whole new technical arsenal must be practiced in combination with the correct approach to each blow. It is noteworthy that after the student has mastered almost the entire theory, he returns to where he started: improving the technique. Most of the mistakes that a player at this level still makes are due to poor technique and rarely occur due to a lack of theoretical knowledge.

Before moving on to the consideration of the most important technical parameters - stance, grip, wrist rest (bridge) and cue movement, we emphasize once again that there is only a single algorithm of actions in the approach to each blow (whether it is a hand strike, when the object ball is " hanging" in the pocket, or a thin cut across the entire clearing) and a perfectly developed uniform technique can make your game more stable. Without this, you will very soon discover that no amount of effort, no amount of hours of practice will make the game better.

Billiards is a very democratic sport. It is played by men and women, young and old, fat and thin, tall and short people. Obviously, it is almost impossible to find a universal position of the legs and body that is suitable for everyone. When you approach a strike, it is only necessary to comply with three basic conditions:
comfortable and reliable position of the body;
straight guidance of the cue;
free play of the cue.

First: do not stand frontally and do not stand sideways to the impact vector. The legs should be positioned at approximately an angle of 30 to 45 degrees to the aiming line.

Secondly, we repeat, the stance should be such that the position of the body does not interfere with the straight and maximally even movement of the cue in relation to the playing field. Raising the turnik by 1 cm gives an error in the striking technique from 1 to 2%. A player who “lifts” the cue handle by 15 cm receives an unnecessary error rate of 15-30%!!! And third, it is recommended to keep your supporting (for right-handed people - left) hand straight, which will allow us to eliminate one of the variables.

Don't grip the cue like a baseball bat by wrapping all five fingers tightly around it. Don't hold it with just your fingertips, like a dude holding a teaspoon. Most players grip the cue lightly but firmly with their thumb and index finger. Another finger or two easily holds the cue from below. When retracting the cue during the backswing, support it only with your thumb and forefinger, and when striking, support it with all five fingers.

Two of the greatest billiard players of all time, Willie Hoppe and Ralph Greenleaf, violated one regulation or another. Talent, years of intense training, and a fanatical will to win can compensate for any technical flaws. And for those who, due to the nature of their work, do not have the opportunity to play pool from morning to evening, it is better to adhere to orthodox methods.

Impact and swing movement of the cue

The swing hand is the hand that holds the cue by the turnik (a right-handed person holds the cue with his right hand, a left-handed person, respectively, with his left). Tall players hold the cue slightly closer to the edge than short players and children.

How to determine your grip location? The simplest and most reliable way: when bringing the cue stick to the cue ball, the forearm of the swing hand should look perpendicularly down and the “shoulder-forearm” angle should be close to 90 degrees.

The advantage of this grip is that the cue moves freely, and the hand travels the same distance both during the swing and when tracking. This provision is considered optimal, but is by no means mandatory.

Head and body position:

Wrist rest

There are two main types of wrist rest, which is also called a bridge (bridge - direct borrowing from English): open and closed rest.

To strike with a closed bridge, you need to raise the stop without lifting the base of your palm from the cloth.

To pull back, you need to lower your middle and index fingers as much as possible. The cue should move horizontally.

Beginner players usually experience certain difficulties when placing a wrist rest in difficult situations. For example, when the cue ball is close to the board or when it is necessary to hit the cue ball through the ball (“off the ball”). In this case, special attention should be paid to the bridge - without a reliable stop, the movement of the cue will not be straight, and you simply will not hit the point on the cue ball that you are aiming for.

An open bridge is only suitable for low-power shots, without side spin, and with difficult access to the cue ball. In other cases, it is recommended that beginners use a closed bridge. However, this is not an axiom.

American coach Jack Keller sees the reason why most pros play with a closed wrist rest because most of them started playing as children. The handles of future pins were short, so they held the cue at the center of gravity, or even closer to the center. And to secure the shaft, they had to use a closed stop. Growing up, they, of course, adhered to the usual technique.

If you have a desire to improve your skill level, you can contact professional players in any billiard club in your city and discuss all issues related to the learning process.

In a billiard game, you have to constantly consider the impacts of balls that have two or even three movements. It is easy to see that the balls touch each other at points. It should be added that with a strong impact these points are far from geometric. Therefore, the balls easily transfer to each other not only translational, but also rotational motion.

The type of strike on the cue ball is determined by the point on it at which it is necessary to strike with the cue. And although there are countless such points on the ball, it is enough to study the shots on nine of them, located on the side of the cue ball facing the player.

Now let's move on to the blows:

Klapstoss

Physics teaches that if the balls are the same size, then when one ball hits another, the latter will bounce back, and the one that hit will stop in place. The same thing always happens in billiards, but for this it is necessary to strike such a blow that the ball receives only one forward movement (central blow). Then, after the blow, someone else’s will fly into the pocket, and yours will stop in place. This is “klapstos”.

Klapstos is a very beautiful and useful blow. It is easy at short range and very difficult at long range.

It is often necessary for your ball to go forward after being hit. To do this, a long, drawn-out blow is applied to it in a plane parallel to the billiards, to the top of the ball. Then your own ball, moving forward, will also begin to rotate from top to bottom, and when it hits someone else’s ball, it will transfer only its forward motion to the latter; the ball will retain its movement from top to bottom and therefore, after stopping for a moment in place, after the impact it will move forward. Such a blow is called a “roll-up”.

Rolling up is the most common and easiest blow. When charging, the most accurate shot is to aim and hit, so there are very strong players who use this blow exclusively.

Sometimes you need your ball to go back after hitting it. To do this, it is necessary to give it two movements: one translational, and the other rotational from bottom to top. Then, after the impact, your own ball will transfer forward motion to someone else’s, maintaining the rotation from bottom to top, and, standing still, will move back. This blow is called a pull.

The quickdraw is the most beautiful and most difficult blow. Many very skillful blows are unthinkable without a drawbar. The application of this blow is very extensive. When pulling back, the instantaneousness and softness of the blow are of greatest importance. Moreover, the sticker is very important - to a certain extent elastic and rough.

If the player wants to make a very steep draw, or if two balls are too close, it is necessary to hit the shot from top to bottom at an angle of 45°. This short and quick strike is extremely difficult.

Side or French kicks

All the considered blows are ordinary shtos, used by players of medium and high strength. They are made by hitting the cue in a vertical plane at the center of the ball, above or below it. But players of superior strength, for variety of exit and play, also use so-called “side” strikes, which are applied with a cue to points located to the right or left of the central vertical line of the ball. These shots are quite difficult, especially in terms of judging the force of the cue strike. Their use is very diverse.

Right side

This is a shot to the middle point on the right side of the cue ball. With such a strike, the cue ball, in addition to forward movement, also receives a rotational movement around a vertical axis, which passes through the center of the ball, counterclockwise and, colliding with the ball being played, transferring to it a translational movement, spinning like a top and carried away by its rotational movement, the ball will only go to the right.

Left side

Hit the middle point on the left side of the cue ball. The action of this shot is similar to the previous one, only the cue ball receives a vertical clockwise rotation and, after colliding with another ball, will go only to the left.

Let's assume that one of the opponent's balls is above the pocket and another is blocking it. Then, to play someone else over the pocket, you need to play with an arc. To do this, strike your ball with a cue to the left (right) and down, giving it a strong rotation around a vertical axis from left to right, and at the same time giving it a forward movement to the right from the line between the centers of your own and the first someone else's. Then the addition of these two movements will result in movement along an arc (parabola).

If your ball, launched to the right of the mentioned line between the centers of the balls, did not have a lateral rotation around its axis, then it would go in a straight line. But, since the lateral rotation from left to right continuously drags him to the left, he will go both to the right and to the left, that is, along an arc.

Jump

This is a blow when your own ball, jumping over someone else’s blocking one, is pocketed by another player’s ball. To achieve this shtos, a long and strong blow is applied to your ball at an angle of 30° down the ball. Then yours, pushing off from the surface of the table, will jump up and roll in a straight line. This result can be achieved in another way. Holding the cue in a plane parallel to the surface of the billiards, bring the end of the cue under the lower part of your cue. Then they throw up this ball and throw it over someone else’s. This method is easier, but not as reliable as the previous one.

Robert Byrne's advice

Make a decision before you lean over the table.

For quiet shots, place the wrist rest closer to the cue ball, and for strong shots, further away.

For quiet shots, keep the cue closer to the front of the handle, and for strong shots, keep the cue closer to the back.

Bring the sticker almost close to the cue ball, directly to the point where you intend to hit.

Make sure your wrist rest is well-fitted.

Always keep the cue as horizontal as possible, even when performing a draw. The only exceptions are mass or jump.

Make a few warm-up movements to find the required acceleration and adjust your aim.

Try to perform warm-up movements calmly, easily, smoothly, straightforwardly, gracefully, evenly, measuredly, confidently and solidly, and not in a hurry, hunched over, “lazy and clumsy.”

Don't strain your wrist.

Perform at least three warm-up movements, but no more than six or eight, except for particularly sophisticated or difficult shots. "Don't delay your preparation for the strike."

When performing most warm-up moves, and especially closing moves, do not place the sticker close to the cue ball.

Take your time during the final swing, and when you move your arm back, do not delay the pause.

At the last moment, look at either the cue ball or the object ball. Essentially, if you "catch the target" and "knocked out a rut", you can strike with your eyes closed, and little will change.

When making a strong blow, send the cue forward faster than during warm-up swing movements.

When hitting the cue ball, engage your wrist.

Hit “through” the cue ball without feeling any delay, even when taking a backdrop. The impact with the cue ball should be soft.

Accompanying the cue ball forward should be at least the same as when performing a draw.

When hitting the cue ball, keep your elbow, head and shoulder still. “The shock-swing movement is performed by the hand and part of the arm from the elbow to the wrist... Those who throw their whole body after the cue ball should stop playing altogether, because they lack the feeling of softness of the blow and stability of the body, without which success is impossible.”

Maintain the wrist rest until you complete tracking of the cue ball.

Do not release the cue until the cue ball is completely followed.

You shouldn't "babysit" the cue ball. A good shot must be performed at an increasing crescendo tempo, that is, accelerating the cue ball as it accompanies it. Indecisiveness leads to failure of the shot.

Have your friend critique your stance, grip, and swinging motion.

After a miss, step away from the table, remaining calm and dignified. Redouble your determination and wait for the next chance without indulging in the painful feelings of a bad shot. “Nobody likes self-confident donkeys” (Solzhenitsyn), but no one likes whiners either.

If you lose, don't be upset. This is just a game. A game that's as exhilarating as skydiving, but cheaper and less demanding. Don't explain to the winner how badly you played. Instead, congratulate him on a great victory because he beat a strong opponent.

A player who does not know how to lose with dignity is a shameful sight, so strive not so much for victory as for improving your skill.

Most beginners and “intermediate” players believe that the reason for their low level of play is a lack of proper concentration. This is only partly true.

The main source of neophyte mistakes is imperfect technology. Meanwhile, this is the most important thing, without which progress is basically impossible.

Take a closer look at the players in the club: “amateurs” for the most part do not realize the critical importance of setting up technique. They know a lot - about reeling, guying, screws, exits, but cannot effectively use this knowledge because they lack the technical arsenal. Why? They skipped the first stage of training - setting up a strike. With the shot they have, they can pocket a ball or two or three, but they can’t get the ball together with the cue because of the instability of the shot.

Moreover, many players are not even aware of the imperfection of their shot. Meanwhile, they could raise their game by paying more attention to technique. The problem is that a number of subtle points simply cannot be explained on paper, and only the gaze of an experienced professional will help “tune” the striking movement correctly. Believe me, it’s not for nothing that every author of a book about billiards recommends that beginning players take a couple of lessons - this is the easiest, fastest and most effective way to start playing billiards, and not just roll balls around the clearing.

In our opinion, the ideal training course for beginners can be divided into 4 stages:

1. First and most important- setting the correct blow. This tedious work on yourself takes a lot of time and effort, but it is absolutely necessary in order to play billiards decently.

2. After the player achieves some progress in technique (for example, consistently collects a line of 15 balls), it is time for him to engage in “advanced” techniques: stopping the cue ball, rolling, pulling, side kicks and become interested in positional play. During the game it is extremely important not to forget about technique. In this case, by using push-ups and pull-ups in practice, a novice billiard player will be able to significantly improve his technique, comprehend nuances that are not obvious at first glance, and significantly improve his game.

3. Third stage: tactical play, the concept of role-playing, the board system, specific strikes (“arcs”, jumps, etc.). At this level, a whole new technical arsenal must be practiced in combination with the correct approach to each blow.

4. It is noteworthy that after the student has mastered almost the entire theory, he returns to where he started: improving the technique. EFPB Lead Instructors David Alfiere and Uwe Sander believe that “most of the mistakes that a player at this level still makes are due to poor technique and rarely occur due to a lack of theoretical knowledge.”

Before moving on to the consideration of the most important technical parameters - stance, grip, wrist rest (bridge) and cue movement, we emphasize once again - only a single algorithm of actions in the approach to each blow (whether it is a blow “from the hand”, when the object ball “hangs” "in the pocket, or a fine cut across the entire clearing) and a perfectly practiced uniform technique can make your game more stable. Without this, you will very soon discover that no amount of effort and hours of practice will make the game better.

Billiards is a very democratic sport: it is played by men and women, young and old, fat and thin, tall and short people. Obviously, it is almost impossible to find a universal position of the legs and body that is suitable for everyone. When you approach a strike, it is only necessary to meet three basic conditions:

1) convenient and reliable position of the body:

2) straight guidance of the cue;

3) free play of the cue.

Nevertheless, we will still risk giving some general recommendations, but they are applicable with some reservations. First: do not stand frontally and sideways to the impact vector. Place your feet at approximately an angle of 30–45° to the aiming line. Secondly, we repeat, the stance should be such that the position of the body does not interfere with the straight and maximally even movement of the cue in relation to the playing field. According to David Alfiere and Uwe Sander, raising the turnik by 1 cm gives an error in the hitting technique of 1 to 2 percent. A player who “raises” the cue handle by 15 cm has a half-time excess error rate of 15–30 percent!!! And third, it is recommended to keep your supporting (for right-handed people - left) hand straight, which will allow us to eliminate one of the variables.

A good grip is essential in billiards.

The correct grip is a component of a good shot.

An incorrect grip will limit the growth of your level of play.

The grip should be loose and relaxed. Never squeeze the cue too hard - your grip should be light both when aiming and when making a shot. Try to use two or three fingers to support the cue and your thumb to prevent the cue from falling out of your hand.

The wrist and forearm should be in line.

Do not bend the half-clenched fist holding the cue outward or inward. Do not strain your hand at the wrist at all: the wrist joint should work freely, like a hinge.

Among other things, it is necessary to determine where to take the cue. Is it necessary to take the cue by the lower cup of the turnik? To determine this, you need to calculate the center of gravity of the cue, which can be done by trying to balance your cue on your index finger. Remember this point as your “reference point.” Depending on your height, you should pick up the cue at least 15cm from the center of gravity. If you are short, grab the cue closer to the “reference point” and, conversely, if you are tall, you better keep the cue away from the “reference point”.

“Don’t grip the cue like a baseball bat, wrapping all five fingers tightly around it. Don't hold it with just your fingertips, like a dude holding a teaspoon. Most players grip the cue lightly but firmly with their thumb and index finger. One or two more fingers hold the cue loosely from below. When retracting the cue during the backswing, support it only with your thumb and forefinger, and when striking, support it with all five fingers.”

The same Byrne noted:

“Please do not write to me that two of the greatest billiard players of all time, Willie Hopps and Ralph Greenleaf, violated certain regulations... Talent, years of intense training, a fanatical will to win can compensate for any technical flaws. And for those who, due to the nature of their work, do not have the opportunity to play pool from morning to evening, it is better to adhere to orthodox methods.”

The swing hand is the hand that holds the cue by the turnik (a right-handed person holds the cue with his right hand, a left-handed person, respectively, with his left). Tall players hold the cue slightly closer to the edge than short players and children. How to determine your grip location? The simplest and most reliable way: when bringing the cue stick to the cue ball, the forearm of the swing hand should look perpendicularly down and the shoulder-forearm angle should be close to 90".

The advantage of this grip is that the cue moves freely and the hand travels the same distance both during the swing and when tracking. This provision is considered optimal, but is by no means mandatory.

Another important issue is the correct position of the hand on which the striking part of the cue slides, and the distance between the cue ball and the hand. During aiming, the hand, cue ball and part of the cue adjacent to the sticker resemble a bridge in appearance. The accuracy of the strike largely depends on the length of this unique bridge. Typically, it is recommended to maintain this distance within 20–25 cm. If the distance of the hand from the ball is too small or, conversely, too large, it is difficult to perform an accurate hit. Before striking, you should place your hand with your palm on the cloth with your fingers extended forward and gradually bend your palm into an arc so that your hand rests on the table with your wrist and the pads of the first three fingers, starting with the little finger. Despite the fact that there are large differences in the structure of the fingers and the nature of their bending among different players, this hand should provide both a comfortable support for guiding the cue to the point of impact, and a strong, stable support for the athlete’s body on the table. It is very important from the very beginning to accustom yourself to firmly press your thumb to your index finger: only in this case, firstly, the cue will slide easily along the hand and, secondly, unwanted vibrations of the cue in the vertical direction, up and down, which reduce the accuracy of the strike, are eliminated . It is equally important to hold the cue correctly with the hand with which you strike. If you hold the cue with a slightly relaxed hand and make preliminary swings, trying to press your elbow to your body as much as is comfortable, then there will be no special problems in mastering this technique. The place where the hand grips the turnik is where the cue responds well to the slightest intended forward movement, where it is obedient, like a bow in the hand of a violinist. A strong grip should be avoided - this is a clear path to failure. When the cue is held by the hand in the right place, the forearm forms almost a right angle with it. If following the above recommendations still does not help you feel the ease of wielding the cue, if the player continues to experience inconvenience and unnecessary stress, this cue is not suitable for him.

Basic requirements for the player at the moment of striking:

The ball is hit only with a sticker. Any other blow - with a horizontal bar, with the side of the cue - is not allowed;

In any position of the body and arms, at least one leg of the player must touch the floor during the strike;

The first hit in the game, called play "from hand", is made after the player first places the cue ball with his hand anywhere in the "house", the moment the cue ball passes the "house" line is the beginning of the game;

The game “from hand” is also played when playing “pyramid”, when the blow passes to one of the partners after the cue ball falls into the pocket from the previous blow, as well as by the player after he puts the cue ball into the pocket when playing “Moscow Pyramid”;

At the moment of the hand strike, the player’s body and legs should not go beyond the line of continuation of the long boards (left and right).

There are two main types of wrist rest, which is also called a bridge (bridge - direct borrowing from English): open and closed rests. Robert Byrne believes that "the open bridge is only suitable for shots with low power, no side spin or difficult access to the cue ball." In other cases, he recommends that beginners use a closed one - “they already have enough problems...<и>...without reliable support, one can hardly expect to advance beyond the category of “suckers.”

However, this is not an axiom - Ralph Souquet, who plays with an open stop, and Johnny Archer, who smashes (!) from an open bridge, come to mind.

The reason why most pros play with a closed wrist rest, American coach Jack Keller sees, is that many of them started playing as children. The handles of future pins were short, so they held the cue at the center of gravity, or even closer to the center. And to secure the shaft, they had to use a closed stop. Growing up, they, of course, adhered to the usual technique.

Closed bridge

1) Place your hand on the table, palm down (Fig. 2).

Rotate your hand so that your fingers are pointing at one o'clock (imagine that your hand is resting on a watch dial).

2) Place the shaft of the cue (closest to the tip) across the knuckle of the thumb and across the second knuckle of the middle finger (Figure 3).

3) Now try to wrap your index finger around the shaft and straighten your fingers. For people with stiff joints, this may be the most difficult. But don't despair! This will take some practice, but it's really not that difficult (Figure 4).

4) Move your thumb forward towards the tip of your index finger to form a closed ring around the shaft. Try to keep the cue level with the table surface. Now straighten your arm at the forearm. Try to fix your elbow. The brush will rotate slightly in a clockwise direction. This will tighten your grip on the shaft, so you will have to loosen your grip by moving your index finger slightly (Figure 5).

The cue should slide easily between your fingers and at the same time hold well. If it still doesn’t slide, try using a chalk or a special glove.

If you want to do a quickdraw, try to straighten your fingers as much as possible and press them into the table.

When klapstos (hitting strictly in the center of the cue ball), give your palm the shape of an inverted bowl, slightly pulling your fingers towards the wrist.

To perform the roll-up, pull your fingers even further towards your wrist, forming a bridge at the tips of your fingers. Remember to keep your wrist pressed to the table at all times. It is important to adjust the height of the cue above the table when striking using a bridge rather than raising or lowering the cue stick.

If you think that this grip is too difficult for you, try learning how to do an open bridge.

Open bridge

Many people experience some difficulties when forming a closed bridge. This type of bridge requires special flexibility in the finger joints and wrist. In addition, with certain impacts (for example, a jump), a closed bridge is far from the most advantageous option. In such cases, it is better to use an open bridge. Many (if not all) snooker players use an open bridge purely for the importance of precise aiming: with an open bridge, your line of sight along the shaft is not blocked by your index finger. For the same reason, many Pool players prefer an open bridge.

So, we form an open bridge:

1) start from the position described in Fig. 2;

2) Instead of wrapping your index finger around the shaft, simply lift the tip of your thumb so that your thumb and index finger form a "V". That's all - the open bridge is ready (Fig. 6);

3) in order to raise the level of the cue above the table, tighten your fingers and shape your palm into an inverted bowl. To lower the level, press your palm against the table (Fig. 7);

4) some players bend their fingers, as shown in Fig. 8. This is not the best idea, however, such a bridge can be used.

Bridge for shots over the ball

If you need to hit the cue ball through the ball, proceed as follows: resting four fingers on the table surface behind the interfering object ball(s), raise your hand to the required height and place the cue on the rest formed by the thumb and the knuckle of the index finger (Fig. 9) . This is not a very convenient stop, but it is extremely necessary in practical play.

Bridge for side kicks

If the cue ball is more than 10 cm from the board, place your support hand on the rail and place your thumb under your index finger. Move the cue close to your thumb and grasp it on the other side with your index finger as in Fig. 10. When making a shot, keep the cue horizontal as much as possible.

If the cue ball is less than 10 cm from the edge, place the cue between your thumb and index finger.

Place the remaining fingers on the handrail.

Using an open or closed bridge is one of the few alternatives within proper hitting technique. Perhaps such a comparative characteristic will help you decide with which wrist rest you should perform a particular blow. It will also help you understand why some strikes are more effective when performed with a closed bridge, while others are more effective when performed with an open bridge.

For your convenience, we will provide a comparative analysis of the advantages and disadvantages of open and closed wrist rests.

Open bridge

pros

The aiming line when setting the V-shaped bridge is not interrupted, the entire cue shaft is visible. That is why an open wrist rest is preferable to use for long shots that require pinpoint accuracy.

You can strike over masking balls: in this case, the open bridge will not lose stability, since, unlike the closed one, it is placed on four fingers. This design is much more stable than a closed bridge without wrist support.

The number and variety of actual strikes performed with a V-rest are much greater. Simply put, any shot from a closed bridge can be performed with an open bridge, but vice versa - it is not possible.

Possible disadvantages

During a strike, the shaft can move to the side and upward; it is fixed much less rigidly than inside the “ring” of a closed stop.

Short players and children who are forced to hold the cue too close to the center of gravity increase the likelihood that the shaft will fly upward like a well crane.

Closed bridge

pros

The shaft almost does not deviate, its movement is strictly linear, which gives confidence at the time of aiming and when striking.

You can also be sure that before, at the moment of impact and after it the cue will not move upward. If the swinging motion is straight, the blow lands exactly on the point of the cue ball at which you are aiming.

Children and short players can hold the cue closer to the center of gravity without fear that the turnbuckle will outweigh the shaft and it will go up at the moment of impact.

Possible disadvantages

The index finger, grasping the shaft from above, interrupts the line of aim - this can interfere when you need to perform an extremely accurate blow. By the way, snooker players who need extreme precision with every shot only use an open rest.

It is almost impossible to hit the cue ball through the ball, since in this position the closed stop is extremely unstable. It is largely limited by anatomy. With a closed bridge, it is almost impossible to make a shot if the player has to stretch his body and also play from the boards.

However, despite the listed advantages and disadvantages - quite objective - the choice of a wrist rest in many situations is determined by the personal preferences of the shrok, and nothing more. For example, the world champion in “Nine”, Taiwanese Fong Pang Chao, plays mainly with an open bridge, and hits the “nine” itself with a closed one.

Before learning to play billiards (and not only), you should determine which eye you have as a target. For many, such a question does not even arise - “...I aim with my left/right eye, because it’s more convenient...”. In most cases, this is true - and the eye with which you aim is the target eye. It is known that some people have the right sighting eye, others have the left one, but there are also people with both aiming eyes.

Determining the aiming eye is very simple.

Place the chalk on the far short side of the table, stand at the front short side, without closing your eyes, point your finger at the chalk and focus your gaze on it. Now close your left eye: if your index finger continues to point at the chalk, then your right eye is the target eye. To finally verify this, close your right eye: you will see that your finger is not pointing at the chalk at all, but at some other point.

Accordingly, if, with your right eye closed, you correctly point to the location of the crayon, then your target eye is the left one. If your finger only slightly deviates to the right or left of the crayon (depending on which eye is closed), then both eyes are aimed.

If your aiming eye is your left, you try to ensure that when aiming, it is your left eye that is on the line of striking above the cue, and vice versa. A person who has both eyes aimed can be easily identified: his chin is directly above the cue.

You will also find the following tips useful:

Once you have decided how and what ball you will play, focus your eyes on the object ball and not the cue ball as you aim and hit;

While making a shot, do not move your gaze from the object ball to the pocket being played.

The type of hit on the cue ball is determined by the direction of displacement of the point of impact from the center of the ball. There are nine such directions, and each of them determines the name of the blow.

Nine main points of impact

Klapstos (shot to the center of the cue ball)

One of the main shots that allows you to “place” the ball for sure. When klapstos strictly in its center in a plane parallel to the surface of the billiards, the cue ball receives only forward movement and, having touched the table with the “alien” ball, stops in place. The ball being played will bounce in the desired direction. While a useful and beautiful shot, the klapstos is easy to execute close to the object ball, but very difficult to execute long distance.

Klapstos is most difficult to perform if the cue ball has stopped, tightly pressed against the side from which it is to be played. In this case, the blow is delivered somewhat unusually: the thick end of the cue is raised upward with the intention of touching the point closest to the center of the ball with the sticker.

Klapstos, a strike to the center of the ball, is the cornerstone of all billiard technique, and without mastering it, you cannot move on to practicing other, more complex shots.

The remaining eight blows have the general name effe, that is, a “twisted” blow, from which the ball, when moving forward, also begins to rotate (blows with rotation).

Roll up

(hit the top point strictly above the center of the cue ball)

Often it is required that the “own” ball, after contact with the “foreign” one, moves forward. To do this, a long, drawn-out blow is applied to the top of the cue ball.

In addition to a push in the direction from the player, the cue ball will receive a rotational movement and, after colliding with the ball being played, it will pause for a moment and roll forward.

Reeling is usually used by beginners with great pleasure, since it does not cause any particular difficulties. It is believed that when rolling, the blow and aim are most accurate.

Guy

(hit the lowest point strictly below the center of the cue ball)

If it is required that after the balls touch, “one’s own” goes back, then the blow is struck to the lower part of the cue ball. In contrast to the rolling hit, along with the forward movement, the cue ball will rotate around the horizontal axis in the opposite direction and, staying in place, will roll back after the hit.

Right side

Left side

The next four strikes are the most difficult and are called combined strikes, since if they stay in place, they will roll back after the strike.

The quickdraw is considered one of the most beautiful and difficult blows; its application is very extensive. When pulling, instantaneousness and softness of the blow are important. The condition of the sticker is of great importance: only a well-marked, rounded, elastic and rough surface will make it possible to perform the blow correctly.

The first three hits considered ensure that the cue ball either stops or moves forward or backward after colliding with the ball being played. Klapshtos, reeling and pulling are usually referred to as simple blows.

If it is necessary that, after a collision with an object ball, “your team” rolls to the right or left, then more complex side or French strikes are used. They appeared in the first pocketless French billiards in carom games, but they became widespread only after the improvement of cues and the invention of the leather sticker. The main advantage of side kicks is the ability to play back and exit.

Right side

(hit a point strictly to the right of the center of the cue ball)

With such a strike, the cue ball receives, in addition to forward movement, a rotational movement around a vertical axis passing through the center of the ball, counterclockwise and, having collided with the ball being played and transmitting a translational movement to it, spinning like a top, it will only go to the right.

Left side

(hit a point strictly to the left of the center of the cue ball)

The action of this shot is similar to the previous one, only the cue ball receives a vertical clockwise rotation and, after colliding with another ball, will go only to the left.

The next four strikes are the most complex and are called combined strikes, as they simultaneously include elements of side strikes, as well as a roll-up or pull-up (sometimes called a side roll-up or side pull).

Upper right side, or roll to the right

(hit a point to the right and up from the center of the cue ball)

This shot is performed if it is necessary for the cue ball to roll to the right and forward after colliding with the object ball. The blow with the cue is applied to the upper right part of the ball smoothly and lingeringly. Rolling to the right imparts three types of movement to the ball:

Forward movement;

Accelerating movement - roll up,

A certain, barely noticeable deviation to the right side due to the lateral rotation of the ball around the vertical axis, that is, the effect.

Upper left side, or roll to the left

(hit a point to the left and up from the center of the cue ball)

The consequences of this hit are similar to the previous one, only the cue ball goes to the left and forward.

Lower right side kick, or pull to the right (hit to a point to the right and down from the center of the cue ball)

As a result of the impact, the cue ball is “pulled” back and to the right after the collision.

Lower left side, or pull to the left

(hit a point to the left and down from the center of the cue ball)

In this case, “your” ball, colliding with the one being played, is “pulled” back and to the left.

However, you should not always hit exactly one of the indicated nine points on the cue ball - the distance of “your” ball from the one being played is of great importance. For example, if before the roll shot the cue ball is at a distance of 0.5–2.5 m from the object ball, then the cue strike is delivered approximately to a point located midway between the center of the “own” ball and its upper edge. When hitting another ball, the cue ball, although it will lose some of the energy received, will retain rotation around a horizontal axis, which will give it the opportunity to continue moving much longer than if it did not have such rotation.

If “your” ball is 0.2–0.5 m away from the aiming ball, then hitting the cue ball with such a cue will not produce a roll, since the ball will not have time to receive the rotation of the required force in such a short period. Therefore, in this case, to obtain a roll, a short strong blow is applied almost to the very top edge of the ball.

It is necessary to make a similar adjustment when choosing the point of impact, taking into account the relative position of the cue ball and the ball being played (when performing backdrops and side shots).

When playing reflected balls, that is, doublets, triplets, etc., three laws of physics applicable in billiards should be taken into account:

2) the angle of incidence may not be equal to the angle of reflection (with lateral);

3) with an increase in the number of times the ball hits the board, the probability of it falling into one of the pockets increases (if the initial movement of the ball is not perpendicular or parallel to any of the billiard lines).

So, the main shots when playing reflected balls are:

a) doublet;

b) apricole.

Doublet

Doublet - a shot in which the object ball first hits the side and then enters the pocket (Fig. 13).

You can play doublet regardless of whether the object ball is near the side or not - the whole difference will be in the sight. To successfully perform a doublet, it is necessary to correctly calculate the point of striking the cue ball and the aiming point.

Straight doublet

In this case, the object ball is hit directly “on the forehead”, at the very center of the ball. The force of the blow when playing a straight double into the middle and corner pockets is different. A double into the middle pocket is performed with a light blow, with the expectation that if the ball does not play, but hits the lips of the pocket, it will move some distance away and there will be no obvious support. You should only play into the corner pocket with a strong blow: if you play quietly, then in case of an inaccurate blow the stand cannot be avoided.

Cut doublet

This blow is more difficult than the "straight" double. In a position where the angle of incidence is not equal to the angle of reflection, it is better to “cut” the object ball rather than play “head-on”. In this case, the angle of reflection may increase compared to the angle of incidence (Fig. 14).

Cruise

The shot is performed in the same way as a cut double, but in the case when the cue ball is at an obtuse angle to the line connecting the middle pockets (Fig. 15).

Apricole

Let us recall that an apricole is a shot in which the cue ball first hits the side and then the object ball (Fig. 16).

For example, if the object ball is covered by intermediate balls, you can play with the cue ball thrown away from them and reflected from the board. The cue ball twists slightly to the left or right depending on its position.

To fully control the execution of doublets and apricoles in billiards, you must:

Determine the aiming point when hitting from the side;

Build in your mind the trajectory of the object ball;

Determine the force of the blow;

Correctly determine the point of impact on the object ball.

There are several laws of physics that must be consulted when executing reflected balls.

Let us recall two of them:

1) the angle of incidence is equal to the angle of reflection (with a simple impact);

2) the angle of incidence may not be equal to the angle of reflection (with lateral).

How to determine the aiming point when striking from the side? There are several methods for this.

"Mathematical calculation"

If the cue ball and object ball are the same distance from the board, it is worth aiming at a point on the board, right in the middle between the balls. But what to do in the situation shown in Fig. 17?

In this case, the formula is suitable: Y = AX: (A + B). But you are unlikely to walk around the table with a ruler and a calculator, so it is wiser to use diamonds on the edges of the table, comparing the distance between the diamonds and the distance of the balls from the edge. Yes, this requires a good eye and a clear representation of the game situation in the mind, which is what billiard skill is built on.

"Cross"

Mentally draw a cross, as in Fig. 18.

One line will go from the cue ball to a point on the board opposite the object ball, and the second will go from the object ball to a similar point opposite the cue ball. These lines naturally have an intersection point. The aiming point (M) will be the projection of the point of intersection of the lines onto the side. This method is easy to use if the balls are located at a relatively short distance from each other. The aiming point determined in this way, in accordance with the laws of geometry, exactly coincides with the aiming point calculated using the above formula.

"Parallels"

We find the point in the middle between the object ball and the cue ball (Fig. 19).

Then mentally draw a line between the point on the board opposite the object ball and the point determined at the beginning. The cue ball's trajectory will be parallel to this line. This method should not be used if the distance between the balls is too large.

The aiming point found in this way naturally coincides with the points determined by the above methods.

"Rectangle"

Let us mark a point on it that is the same distance from the board as the cue ball. Let's connect this point, the point on which the cue ball is located, with the points on the board opposite the cue ball and the object ball: this way we get a rectangle. The intended aiming point will be correct if it is in the middle of the side of the rectangle adjacent to the board. If you incorrectly determined the intended aiming point, there is nothing to worry about: you have already found it anyway. This is the point midway between Z and X.

"Mirror reflection"

This method should be used when the cue ball and object ball are almost equidistant from the board, that is, the line connecting them is almost parallel to the board (Fig. 21).

Imagine a ball that is at the same distance from the board as the aiming ball, and on the same line perpendicular to the board. If the angle is small, you can even mark a line from the cue ball to the "imaginary" ball using a cue. So, the point of intersection of this line with the side will be the aiming point.

Yes, but in all types the goal of the game is the greatest number of pockets scored. In order to learn billiards, you can visit any entertainment club or center that has billiard tables with an hourly fee. To play you will need a good cue with a pointed top and a thick bottom. The tip of the cue, which has a pad, must be rubbed with chalk before playing, which prevents the cue from sliding on the ball.

The billiards table is covered with cloth, and it is equipped with six holes - pockets into which balls must be hammered. Balls, in turn, have different sizes in different types of billiards. If you're playing pool, there will be 15 identical balls in play, plus a smaller ball that you'll use to pocket the balls. Balls, depending on the type of game, differ in color, and the rules for pocketing them also differ. The easiest way to start is to master the “Eight”.

Before hitting the ball with your cue, announce the number of the ball, as well as the number of the pocket into which you plan to score it. If the ball hits the pocket, you can hit the next ball, and if you miss, the opponent takes the next move.

The next move must begin from where the white cue ball stopped. There are a total of 15 balls in the game, which are arranged in a pyramid with a two-color eighth ball in the center. When breaking a pyramid of balls, do not order a pocket - try to break the balls as wide as possible by pocketing several balls, and then determine the order of play.

You can pocket all balls except the eighth. The balls have different colors - some are solid colors, while others are striped. If you pocket a solid ball, then in the next step you must also pocket a solid ball, and your opponent gets the striped balls. Pocket all the balls of your color without touching the eighth ball.

If you hit the eight ball, it is considered a violation of the rules of the game, and you give the next turn to your opponent. Also, when hitting, you must not touch the ball with your hand, you must not allow the ball to hit the side of the table, and you must not pocket the cue ball. Having potted all the balls in your color group, you can move on to the eighth ball, ordering a pocket for it. By potting the eighth ball into the correct pocket, you win the game.

To increase your chances of winning and learn how to play, it is not enough just to know the rules of the game - you also need to learn how to hold the cue correctly. The correctness and accuracy of your strikes depends on this. Grasp the wide part of the cue with your striking hand, pressing it with your thumb to the base of your middle and index fingers. Relax and bend the ring finger and little finger. When grasping the cue, do not strain your hand.

The cue should not slip or dangle in your hand, but you should not grasp it too tightly. Determine the position at the table individually for yourself - each player chooses the most convenient stance for him personally. The main load in the rack should go to the legs.

Before each hit on the ball, rub the cue pad with chalk, and keep your striking hand close to the body of the cue, without touching your body with it.

The moment of the emergence of this now most popular game has not yet been recorded anywhere or by anyone, but in our country it appeared back in the 18th century thanks to Peter I, who learned about it in Holland. Now you can play a couple of games of billiards not only in numerous clubs, but also at home by installing a billiard table and purchasing the other necessary attributes - a cue, crayons and balls. The demand for the game can be explained simply: there are no restrictions on age, physical fitness, the price is quite reasonable, everything depends only on the player’s skills. But to achieve certain success, you will need to learn some rules of both the game itself and billiard techniques.