the attacking combination. CB chooses either of the following possibilities: his own shot (from distance or from jump through), pass to the pivot, who is running over, pass to the wing or pass to another back court player. In this case (pass to another back court player) the second critical moment comes up, again with several possibilities of choice (shot, jump through, pass to next wing, pass to one of the players in the space of the pivot, pass to the distant wing). Diagram 15 Diagram 16 In the second variation Diagram 17 (running in of RB) and Diagram 18 (running in of LB) the side back court player receives the back pass from the closest wing and sends the ball to the other side back court player. The decision to whom he passes creates the first critical moment of this variation. If he passes to the CB who has meanwhile moved to the free space created by the running in of the first side back court player, the second critical moment comes up. CB either shoots from a distance or, after jumping through, passes to the wing or possibly to the other wing, i.e. not only to the closer wing. A jump shot, best performed after faking a shot or a very difficult, but surpising pass to the wing in a more distant space, can be carried out, especially if this wing is in his basic position in the far corner of the field. Diagram 17 Diagram 18 Both variations mutually complement each other and provide the chance to engage all the players in attacking roles. Not only shooting, but also involving creative abilities of at least two back court players (CB and one of the side ones) are the basic conditions for a successful attack. While in the first variation the final key space is occupied by a side back court player, who doesn’t run in, in the second variation it is occupied by the CB. During the practice of the whole complex of shooting combinations we practise above all specific space coordination, the timing of the