When watching a tennis match, many notice the loud noises and grunts that come from players with each shot. For those unfamiliar with tennis, this can seem unusual or even distracting. These sounds are not random, and every player has a different style and level of volume.
You might wonder whether there is a reason behind this noise, or if it relates to skill, focus, or the rules of the game. The reasons are not always obvious, and there has been debate around the subject both on and off the court.
This blog explores grunting in tennis, what it might mean, and how it has become part of the sport today. Keep reading to learn how it fits into modern match play.
Grunting in tennis is closely tied to how players focus and use their energy during a point. Many describe it as part of their rhythm when striking the ball. The sound often comes with a deliberate exhale that helps timing, similar to the short vocal release you hear in sports like weightlifting or martial arts.
Physical effort plays a role too. Professional tennis involves explosive movement and high-intensity rallies. As players load their legs and rotate through the shot, a sound can naturally accompany the release of that effort. It is less about showmanship and more about how the body coordinates breathing and movement.
For others, grunting starts as a training habit. Coaches sometimes encourage players to exhale through contact to avoid holding their breath, which can increase tension and reduce fluidity. Over time that controlled exhale can become audible, especially in long rallies or on the run.
There is also a personal element. Some players hardly make a sound. Others find that a consistent vocal cue helps them stay present, block out distractions, and commit fully to each stroke. While opinions differ, it appears at every level of the sport, from local courts to grand tournaments.
Researchers have looked at whether grunting provides a measurable benefit, and the findings are mixed. On the one hand, there are plausible reasons it might help. Exhaling on impact can support core stability and timing, making it easier to transfer force from the legs and torso into the racket. In simple terms, it can cue the body to move in one coordinated action rather than in pieces.
Studies have also explored auditory masking. A loud grunt can partially cover the sound of ball-on-string contact, which some players use to judge speed and spin. If that audio cue is dulled, an opponent’s read of the shot could be a fraction slower. In elite sport, a fraction matters, though the effect varies and is hard to reproduce consistently.
On the other hand, not every player benefits. Some find that grunting adds tension or disrupts breathing patterns in long exchanges. Others prefer quiet focus and rely more on visual and footwork cues. When performance analysts compare outcomes, there is no universal link showing that grunting automatically improves results. It remains a personal choice that interacts with technique, fitness, and match situation.
No. Grunting is not classed as cheating under the rules of tennis in Britain or worldwide. There is no automatic penalty for making noise when you hit the ball.
What matters is whether the sound becomes a hindrance. If an umpire believes a player’s noise is so loud or prolonged that it interferes with the opponent’s ability to play the point, they can act. The usual path is a request to keep it down, followed by a warning if it continues. In rare cases, if the noise clearly disrupts a shot, a point may be awarded to the opponent.
Context helps here. Tennis is not silent. Crowds react, shoes squeak, and balls thump the court. Umpires look for extremes rather than everyday sounds. Most of the time, players adapt to each other’s habits quickly, and play carries on without incident.
Good sportsmanship also comes into it. Players are expected to avoid behaviour that intentionally distracts an opponent. If a noise pattern looks designed to unsettle rather than to support the striker’s own play, officials will not hesitate to step in.
There is no specific rule in the Lawn Tennis Association (LTA)’s application of the Rules of Tennis that bans grunting. The relevant framework is the hindrance rule, which covers any action that unfairly distracts an opponent. This is deliberately broad, giving umpires the discretion to judge on the day.
In practice, that discretion is guided by common sense. Brief sounds tied to the moment of impact are usually acceptable. Noises that are excessively loud, continue long after contact, or vary in a way that seems deliberately disruptive draw attention. If asked to reduce the volume, players are expected to adjust.
Tournament officials also consider the setting. Indoor courts can amplify sound, doubles matches involve more voices, and junior events often include education for young players on breathing and etiquette. The aim is consistency and fair play, not silence.
This is why you will see grunting at major events without it becoming a rules issue. It falls within the accepted boundaries unless it crosses into clear distraction, at which point the standard procedures apply.
Several professionals have become closely associated with on-court grunts, and their matches helped bring the discussion into the spotlight.
Monica Seles, a nine-time Grand Slam champion, brought attention to the phenomenon in the 1990s. Her vocal style was distinctive and often cited in debates about sound on court.
Maria Sharapova’s matches featured some of the sport’s highest recorded volumes, with peaks reported at over 100 decibels, comparable to a busy road. The consistency of her timing meant her grunt became part of how viewers experienced her rallies.
Serena Williams and Rafael Nadal are noted for occasional, purposeful sounds at key moments, usually aligned with heavy forehands or serves. Novak Djokovic has also drawn attention for match-day vocal cues, though his volume tends to vary with the intensity of the point.
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