Pitch design is something that has gained a lot of traction recently – and rightfully so. Seeing exactly how the ball comes out of your hand helps significantly accelerate the learning curve for a new pitch by enhancing awareness and understanding for how to create a desired movement profile. Pitchers have always been interested in building a new pitch or finding ways to get their ball to move a little more in a specific direction. It’s fun, it’s sexy, and it’s effective if done in the right populations; but it’s not always necessary.
Will and Eugene worked with several professional arms this past offseason that saw huge improvements in offspeed stuff after training. Here’s the catch: They didn’t do any pitch design work. The only thing they did was learned how to move better. When the movement improved, the secondary stuff became significantly sharper – and it’s not a coincidence.
To explain this, check out a couple of 2018 sliders from Marc Rzepczynski – one of their pro clients from this past offseason. In an outing in April 2018, Marc spun off a 2152 rpm floater that was a pretty easy take for Matt Joyce – largely because it wasn’t too far from his head. It looked something like this:
Just four weeks later, he ripped off a 2535 rpm hammer that sent Joey Gallo back to the dugout. It looked something like this:
If we look into the difference between the pitches, we could theorize plenty of things which include his feel for the pitch that day, the cues he was thinking about, or the visuals he was using. However, the one glaring difference between both pitches is the movement solutions he created when throwing both. Let’s take a closer look.
Notice Rzepczynski’s lower half. On the Joyce slider, Marc comes out of his backside pretty quickly causing his pelvis to drag his arm through. This prevents Marc from getting into good positions so he can rip off a nasty slider (it’s tough to get to the front of the ball if your arm is playing catch up). Now let’s look at the good slider on the right. Notice how Marc stays into his backside much longer which helps him create a better and more efficient sequence. This gives him the ability to get into better positions where his arm is on time at foot strike so he can rip off a better breaking ball. As you could guess, this is something Marc worked on this past offseason.
Marc didn’t necessarily need a new grip or a new cue to create a better breaking ball; he just needed to move better.When the movement improved, his stuff improved. This is a great lesson for anyone looking to add or refine a a pitch from their arsenal: Before you start tinkering with the fun stuff, start by looking at your movement solutions. Trying to refine Marc’s bad slider through pitch design would be putting the cart before the horse. He didn’t need pitch design work – he needed movement work. If you have a kid who moves like shit, working on adding a new curveball isn’t going to solve the problem – moving better will. If you have a kid who consistently throws cement mixers and has played around with 69 different grips, working on grip #70 probably isn’t a great idea. As you can see with Marc, how you move creates the movement profile. Chasing rpms without addressing the movement is going to send you swimming upstream.
With this, being able to throw a good secondary pitch is a learned skill that requires practice and experimentation. If you’re learning how to throw a breaking ball, just dedicating all of your training economy to throwing fastballs isn’t a great idea. The magic then becomes using the movement work to be in good positions so you can start creating feel for how to rip off a proper breaking ball. If we become a slave to the movement profile of the pitch, we neglect the thing that’s creating it: The movement. Good movement creates good secondary stuff; bad movement creates bad secondary stuff.
Pitch design is not a bad thing – it’s a really good thing; just know when and who to use it with.