When breaking from any position on the table the stroke used is the same, and the basic fundamentals of focus and follow through must be followed.
Most people who have the problem you have outlined, tend to hit the cue ball above center during their break shot which is not correct for breaking from any position. First, of all remember, the perfect break in eight ball or nine ball consists, of making a ball on the break, and moving you cue ball back out to the center of table some where between the side pockets preferable. In addition to this, no balls should be frozen to another ball or a rail.
Keeping the above in mind, it makes sense then that when breaking the cue ball must be struck below its center. Many people use a little low right or low left English on the break shot depending upon where you are breaking from. This will force the cue ball into a side rail and back out into the center of the table, where it is most likely you will have another shot if you make a ball on the break.
If you are continually jumping the cue ball off the table on the break, you are hitting the cue ball above center. When breaking by hitting the cue ball above center two things happen and neither is good!!!
First the cue ball will go behind the rack which very dangerous, because of kisses off other balls into a corner pocket. Also you completely lose control of the cue ball for the same reason during this type of break shot.
Next, the reason that the cue ball jumps off the table on above center ball breaks is the same reason it jumps during a jump shot. Many people who have your problem tend to shoot with the butt of their cue elevated, so that when contact is made the cue ball leaves the table. Now you may not see it, however, due to the initial hop the ball continues to graze the cloth until it hits the rack. Upon contact with the rack, if the rack is hit dead center, the cue ball will jump straight up in the air. However, if the cue ball hits the rack off center, during hits hop it will jump straight off the table in the direction of deflection from the rack. When breaking, the cue ball should be struck with your cue as level as possible. Always start your stroke with the cue tip within a quarter inch of the cue ball if not closer. Insure that your back shoulder is in line with your shot, the back arm should be bent at the elbow and hanging straight up and down. The only movement in your back arm should be from the elbow down in a pendulum motion, back and forth. You can look at your cue in comparison to rail to see if you are level to the table. When making adjustments for the hit on the cue ball they are never made by raising or lowering the butt of the cue. They are however, made by raising or lowering your bridge hand, the back arm makes adjustments to your bridge hand to keep you level and nothing else.
Now that you are level, and starting your stroke at the ball you bring the tip of your cue back to your fingers and back to the cue ball. The farther you pull back to your fingers on your stroke the more power you will have. This is not due to how strong your you, it is however, directly due to how far you follow through and how fast your follow through is. Whenever strength is supplemented for pure straight and fast follow through your ability to break the balls will decrease, and you will not have any control during your break. This is because you will tend to steer the cue ball to its target, and this will cause you to miss your intended target. When stroking the break shot or any shot for that matter, your palm should never touch the cue stick. The cue stick should only be lightly gripped with the thumb and index finger. In most cases your other three fingers are only a rest for cue and play no part in your stroke, other than over all stability. Another important factor to consider when stroking any shot, is your mussel tension. For your stroke to be fluid, rhythmic, and true your body must remain loose(no mussel tension) and your stroke must be fast, fluid and pronounced.
Last of all, during your break shot you can choose to look at the cue ball or the object ball last before contact. This is the only shot that this is except able, and it may help your follow through by trying both techniques to see which one works best for you.
Good luck, I hope this helps, it will take a little practice, however results will come quickly when you begin to use the proper fundamentals.
Most people who have the problem you have outlined, tend to hit the cue ball above center during their break shot which is not correct for breaking from any position. First, of all remember, the perfect break in eight ball or nine ball consists, of making a ball on the break, and moving you cue ball back out to the center of table some where between the side pockets preferable. In addition to this, no balls should be frozen to another ball or a rail.
Keeping the above in mind, it makes sense then that when breaking the cue ball must be struck below its center. Many people use a little low right or low left English on the break shot depending upon where you are breaking from. This will force the cue ball into a side rail and back out into the center of the table, where it is most likely you will have another shot if you make a ball on the break.
If you are continually jumping the cue ball off the table on the break, you are hitting the cue ball above center. When breaking by hitting the cue ball above center two things happen and neither is good!!!
First the cue ball will go behind the rack which very dangerous, because of kisses off other balls into a corner pocket. Also you completely lose control of the cue ball for the same reason during this type of break shot.
Next, the reason that the cue ball jumps off the table on above center ball breaks is the same reason it jumps during a jump shot. Many people who have your problem tend to shoot with the butt of their cue elevated, so that when contact is made the cue ball leaves the table. Now you may not see it, however, due to the initial hop the ball continues to graze the cloth until it hits the rack. Upon contact with the rack, if the rack is hit dead center, the cue ball will jump straight up in the air. However, if the cue ball hits the rack off center, during hits hop it will jump straight off the table in the direction of deflection from the rack. When breaking, the cue ball should be struck with your cue as level as possible. Always start your stroke with the cue tip within a quarter inch of the cue ball if not closer. Insure that your back shoulder is in line with your shot, the back arm should be bent at the elbow and hanging straight up and down. The only movement in your back arm should be from the elbow down in a pendulum motion, back and forth. You can look at your cue in comparison to rail to see if you are level to the table. When making adjustments for the hit on the cue ball they are never made by raising or lowering the butt of the cue. They are however, made by raising or lowering your bridge hand, the back arm makes adjustments to your bridge hand to keep you level and nothing else.
Now that you are level, and starting your stroke at the ball you bring the tip of your cue back to your fingers and back to the cue ball. The farther you pull back to your fingers on your stroke the more power you will have. This is not due to how strong your you, it is however, directly due to how far you follow through and how fast your follow through is. Whenever strength is supplemented for pure straight and fast follow through your ability to break the balls will decrease, and you will not have any control during your break. This is because you will tend to steer the cue ball to its target, and this will cause you to miss your intended target. When stroking the break shot or any shot for that matter, your palm should never touch the cue stick. The cue stick should only be lightly gripped with the thumb and index finger. In most cases your other three fingers are only a rest for cue and play no part in your stroke, other than over all stability. Another important factor to consider when stroking any shot, is your mussel tension. For your stroke to be fluid, rhythmic, and true your body must remain loose(no mussel tension) and your stroke must be fast, fluid and pronounced.
Last of all, during your break shot you can choose to look at the cue ball or the object ball last before contact. This is the only shot that this is except able, and it may help your follow through by trying both techniques to see which one works best for you.
Good luck, I hope this helps, it will take a little practice, however results will come quickly when you begin to use the proper fundamentals.
