David - can you expand on this idea? I'm not sure what you mean.
"Doubling up" of the whole end pattern refers to the fact that 9 K2 to 10 key serves the same purpose as the inferior 1 K2 to 11 key. More specifically, though: Rempe believes balls such as the 9 potentially block the path to, in this case, the middle pocket, so one either shouldn't even attempt to leave such an "obstacle ball" in front of a pocket until the end of a sequence, or then should get rid of balls that would be possible candidates to go into that same pocket, such as the 1, immediately (so any potential for a scenario where one would want to use the middle pocket but can't, because the 9 is still there, is excluded). Of course none of this were as important if the 9 were actually hanging in the pocket - although even then, combinations onto such balls are fraught with peril (where's that combo ball going, especially if/when positionally relevant late in the rack).
To me, all this belongs in the same category, which is one should never postpone possible trouble (= potentially run-ending) balls or scenarios to late(r) in the rack.
On a side note: I realize this must all come across as cautious, but it's really not, as all it does is serve a long-term perspective (it shouldn't feel "cautious" but like the right way to go about things). Discussing pattern play with students, I usually drop one of my "if you always stay in line" or "if you never get out of line" side blows, knowing full well few play position as accurately as I do - and I'm the one who keeps saying what they're trying to do would be too difficult for me!
(On of my favorite aphorisms: "The whole trick being a great position player isn't feel, but to avoid anything that requires feel.")
It seems to me the 8 is OK left as is, and is at least as good a "key" ball as the 5, also on the rail, don't you think?
The 8 as key ball to the 15 as break shot? I do not agree at all - it requires feel (to punch the cue ball over/across mid-table from a rail, especially on unknown equipment, is much more difficult than following the 5 two rails with inside, that is, from roughly where the 2, 3 and 8 are, i.e. cutting the 5, not lower hitting it fuller in the face), and for fear of scratching in the side shooting a ball such as the 8 to the 15 from roughly mid-table I'm seeing players get cautious and do all kinds of silly stuff, such as get too close (even if trying the hit the side rail beneath the side pocket) and off-angle or straight-in on the break shot etc. The pros, if they do end up with this situation, tend to draw the cue ball all the way behind the middle pocket and off again for a good angle and greater distance - which is fine if one doesn't ever miss break shots… :embarrassed2:
(In case I misinterpreted your question: the 8 as key-to-the-key to the 5 as key to the 15 as break would be fine, for the reason just stated: it requires comparatively little feel as all one needs to do is not use too much inside English and go long if one is still getting used to the speed of the table.)
There are multiple balls in the red area to assure that you have a shallow angle on the 8 so you can leave the cue ball at least a few inches off the rail for the 9.
"Sure, if you never get out of line." - Seriously, as long as one doesn't have the 13 there to block part of the positional area (worst case scenario: having to reach over it), and it's only a matter of getting on the 9 from the 8, I agree.
Yes, it probably goes without saying that this is the easiest route. However, I doubt I'd ever be able to recognize such a pattern in a timely way.
I'm sometimes getting a bit miffed at myself when I recognize the easiest pattern late, i.e. after I already shot some balls off - but on average, being cowardly and looking for stop shot sequences is what makes me recognize them in time.
I'm always eager to learn from your experience. Thanks for any comments!
You're most welcome! It's encouraging to know someone read what I wrote! :thumbup:
Greetings from Switzerland, David.
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