Phil Capelle's new book " Break Shot Patterns"

Steve Lipsky said:
Hi David. Just wanted to clarify - the end patterns I was commenting on weren't situations where a great pattern existed and the player simply missed it. They were examples of leaving 5 rather unconnected balls on the table. While there are some general rules to learn in these situations (playing for large positional zones, etc), I think that at best these examples deserved their own chapter in the book.

It's still a minor complaint. There is really so much to be studied in this compilation.

- Steve
Click to expand...

Hi Steve

I didn't necessarily take this as a complaint (other than from a didactic perspective - you're right, it would make sense to dedicate a separate chapter to end patterns like those, if not an appendix). I guess we all try to find perfect (e.g. triple stop-shot) end patterns so long as we're mentally fit and attentive (in competition, what else is there than to accept the layout as a given, and forget about what might have been), but in real life end up with something more or less workable every once in a while. I wish I had a return/review button of my own sometimes because when that happens to me, I only remember when/where I blundered most of the time (e.g. getting off-angle or bumping one of my end pattern balls, or being forced to shoot one of them off earlier in the rack, or even change break shot for lack of perfect position), but sometimes I'd be curious if perhaps I overlooked something more basic, more simple (= a different, more logical end pattern). I don't mind missing a ball (everyone does once in a while, sure wish I didn't but…) so much as to come away thinking I made the wrong decision somewhere down the line (basically I feel that as long as I choose the right shot, I'm OK). I've often thought it would be fun to install a permanent video cam over the practice table, but then I wonder would I watch it all and when…

Greetings from Switzerland, David.
_________________

„J'ai gâché vingt ans de mes plus belles années au billard. Si c'était à refaire, je recommencerais.“ – Roger Conti
 
Last edited:
for any of you in touch with Phil, the video clip of Mika is only 7 seconds long, likely an editing or uploading error.

the others are very nice, and i look forward to the analysis here!
 
Phil Capelle said:
I am not worried about too much content being given away because I see the most meaningful participation coming from those who have bought the book. That doesn’t mean others can’t benefit from the discussion, but it would help them if they owned their own copies of the material – like a student owning a textbook for a class
Click to expand...
that's the approach I was thinking of which wouldn't harm the sales. Like we don't post a layout in the thread but everyone who owns a copy looks in it.
 
Received my copy a few days ago, already ordered an additional one for a friend. Thus far have watched all the video clips and started studying the book, will need more time. Anyone who's fairly new to the game, and instead of just reading and watching decides to take these example end patterns (regardless of what one may think of each one of them detail) to the practice room, is virtually guaranteed improvement. Reviewing my own Straight Pool game, I'm coming to the conclusion that while I may occasionally "mess up" a per se straightforward end pattern (roughly balls 10-14 in a rack), I kept wondering what players in these video clips did immediately before, in other words, why they so often end up with end patterns that require such an amount of feel for the table/cue ball control (= all a matter of execution!), same as I appear to be confronted with more often than not, rather than ideal/textbook stop-shot end patterns (= end patterns where the key ball, let alone both it and the key-to-the-key are played as a stop shot sequence are exceedingly rare). What I'm trying to say is, I'm wondering if it's not roughly balls 5-10 in each rack to which I need to pay more attention, i.e. the question why/how I tend to end up with end patterns that require manoeuvring, feel, experience, in short: execution. In a nutshell, I'm wondering if on average, the end patterns are really the problem zone one needs to have a closer look at…

Greetings from Switzerland, David.
_________________

„J'ai gâché vingt ans de mes plus belles années au billard. Si c'était à refaire, je recommencerais.“ – Roger Conti
 
acousticsguru said:
What I'm trying to say is, I'm wondering if it's not roughly balls 5-10 in each rack to which I need to pay more attention, i.e. the question why/how I tend to end up with end patterns that require manoeuvring, feel, experience, in short: execution. In a nutshell, I'm wondering if on average, the end patterns are really the problem zone one needs to have a closer look at…
Click to expand...

I think priority has to be given to taking care of problem balls and problem groups of 2 or 3 balls. Leaving the perfect last several balls takes second priority to this, and can result in what you say -- a less than ideal end sequence. I'm finding more and more that there is an optimal break speed -- not too fast and not too slow. I like to get most of the balls open, but still leave a good number of balls in and around the rack. I think (and am sure I've read somewhere) that breaking too hard leaves funny clusters near the rails, and that breaking a little softer leaves more good candidates for break balls and "last 5 balls" near the rack area. Many of my best runs came from having lots of balls in that rack area, rather than being spread out all over the place.
 
Dan White said:
I think priority has to be given to taking care of problem balls and problem groups of 2 or 3 balls. Leaving the perfect last several balls takes second priority to this, and can result in what you say -- a less than ideal end sequence. I'm finding more and more that there is an optimal break speed -- not too fast and not too slow. I like to get most of the balls open, but still leave a good number of balls in and around the rack. I think (and am sure I've read somewhere) that breaking too hard leaves funny clusters near the rails, and that breaking a little softer leaves more good candidates for break balls and "last 5 balls" near the rack area. Many of my best runs came from having lots of balls in that rack area, rather than being spread out all over the place.
Click to expand...

It's true, I often come away thinking I have no choice, by which I mean a) than to use the first third of a rack (roughly balls 2 to 5) to get to or complete a secondary little break shot to open the remainder of the stack – that is, when I played the break at a conservative oldtimer's speed, if not, it's usually a matter of getting that first third off the table because they effectively block the path to the pocket for other balls, and b) than to use at least some of the second third (roughly balls 6-10) to get to problem balls or open up remaining mini-clusters (if any).

In other words, unless that secondary break shot or the "breaking up clusters/getting rid of problem balls" part leave me with a nicely open table of more than five balls – that is, unless this happens earlier in the rack than on average, the end pattern last third (roughly balls 10-14) are rarely balls I could save as such on purpose. Of course, like any experienced player, I'll have picked a prospective next break ball earlier than that, as well as a key shot and, if possible, a K2K leading to it, but it seems one would usually need to be presented with more than the last third out in the open to find and get to those textbook stop-shot end patterns - which is probably why they're somewhat disappointingly rare… :o

Greetings from Switzerland, David.
_________________

„J'ai gâché vingt ans de mes plus belles années au billard. Si c'était à refaire, je recommencerais.“ – Roger Conti
 
My order arrived yesterday and it's impressive to say the least. There is so much value in the video seeing exactly how the position is executed and watching the timing of the players. I also bought three of Mr. Capelle's other books. I was up most of last night reading them and watching the video, I haven't done that in a long time. It's very satisfying to see pool, 14p1 in particular, handled on this level, it's the kind of thing that really does establish pool as a profession.

to find and get to those textbook stop-shot end patterns - which is probably why they're somewhat disappointingly rare…
Click to expand...

Indeed. How often does one feel fortunate merely to have a break ball and some semblance of speed control at one's disposal?
 
Break Shot Patterns

Break Shot Patterns Phil Capelle, Billiard Press 2011

Out of a sea of instructional books, Phil Capelle’s Break Shot Patterns offers a unique perspective. Many books gloss over the whole of billiards, touching briefly on many aspects of the game, while BSP offers a masters degree in Patterns.

For me, the magic of billiards has always been the blending of Science and Art. Clearly there is math and physics on the pool table. All great players have mastered that science. But it is the creative side that eludes us the most. BSP has given us a unique view into the greatest minds in billiards.

After going through the whole book, I have learned to see options in my own game and I am quite sure you will too.

Jonathan Smith
 
acousticsguru said:
Received my copy a few days ago, already ordered an additional one for a friend. Thus far have watched all the video clips and started studying the book, will need more time. Anyone who's fairly new to the game, and instead of just reading and watching decides to take these example end patterns (regardless of what one may think of each one of them detail) to the practice room, is virtually guaranteed improvement. Reviewing my own Straight Pool game, I'm coming to the conclusion that while I may occasionally "mess up" a per se straightforward end pattern (roughly balls 10-14 in a rack), I kept wondering what players in these video clips did immediately before, in other words, why they so often end up with end patterns that require such an amount of feel for the table/cue ball control (= all a matter of execution!), same as I appear to be confronted with more often than not, rather than ideal/textbook stop-shot end patterns (= end patterns where the key ball, let alone both it and the key-to-the-key are played as a stop shot sequence are exceedingly rare). What I'm trying to say is, I'm wondering if it's not roughly balls 5-10 in each rack to which I need to pay more attention, i.e. the question why/how I tend to end up with end patterns that require manoeuvring, feel, experience, in short: execution. In a nutshell, I'm wondering if on average, the end patterns are really the problem zone one needs to have a closer look at…

Greetings from Switzerland, David.
_________________

„J'ai gâché vingt ans de mes plus belles années au billard. Si c'était à refaire, je recommencerais.“ – Roger Conti
Click to expand...

IMHO - it is just as simple as: these are examples of how to get a good
break shot from a layout that isn't easy and obvious. I have watched
many a rack run by top pros, it seems that mostly, even they, take what
the table gives them. Not to downplay the importance of mid-rack
choices, but I think you will find that among us mere mortals,
90% of the time when a run ends due to a poor break ball, it is because
of the play on the last 5, not the middle 5.

Dale
 
Last edited:
You must log in or register to reply here.
Back
Top