From the Address to the Top to the Finish, the Golf Stroke has a basic geometry. And from that standpoint, there is not much difference between what the great players do and what you do. Namely, they move the Club Up, In and Back on the Backstroke; Down, Out and Forward on the Downstroke; then, Up, Back and In to the Finish. So do you. More or less.
The only difference between you and them is that their Motion has more Precision-- probably a lot more precision -- in the component relationships that make up that Motion. In other words, like them, you already have a repeating swing. Unfortunately, unlike them, the results your repeating swing delivers leave a lot to be desired.
So, your challenge is to take the 24 Components (Chapters 7 and 10)using the Basic Pattern of either Swinging (12-2-0) or Hitting (12-1-0) and translate them one one-by-one (per Chapter 3) into their Identifiable Feel Equivalents (1-J).
The best place to start are the Components of Zone #1 (The Pivot 9-1), then work your way through Zone #2 (the Arms 9-2) and finally move into Zone #3 (the Hands 9-3). And the way to do this is through the Basic Motion Curriculum of 12-5-1/2/3. Again, your goal is to reduce each Mechanic to an Identifiable Feel that will then reliably and subconsciously reproduce that Mechanic. If you go too fast, your pattern will come unglued. If you go too slow, you are limiting your potential. It's up to you to find the right balance.
"In every program," said Homer, "some garbage must surface. Let today's garbage be superior to yesterday's."
But as these Feels are gradually integrated into your Total Motion, they need one 'Big Boss' Man. And The Big Boss in The Golfing Machine is the Hands. Now go back and read my first paragraph. Please. Thank you.
That first paragraph is the responsibility of the Hands. To keep everything working together in one coordinated way. To Trace the required Geometry of the Stroke from Address to Top to Finish. To sense and direct the Accumulation, Loading, Storage, Delivery and Release of Power. And to do it with Zero interference from any of the countless moving parts we humans possess.
You want a Hand Controlled Pivot? Follow the course I've prescribed. Translate correct Mechanics one-by-one into Describable Sensations. Integrate them into your Total Motion. Along the way, nail the Hands (Chapters 4 and 5). They will be constrained by a poorly constructed Machine, but even then they can make the best of it. But with a well-constructed Machine, their "yoke is easy and their burden is light."
The Turning On Plane Right Shoulder (10-13-D) being itself pulled by the Hip Action (7-15) with its accompanying Hip Turn (7-14), if any, is responsible for Power Package Transport.
Just because you use your Pivot components properly doesn't mean you've all of a sudden got a Pivot-Controlled-Hands Procedure. Your Hands are still responsible for executing all the On Plane Geometry, and the Pivot Components must comply. In other words, they do their own work (9-1 and 7-12) as Power Package Transport, but they in no way interfere with the Hands in the process. And they definitely don't tell the Hands what to do.
Trust me: You don't Trace the Plane Line with your Pivot. You don't sustain Clubhead Lag with your Pivot. And you don't control the Clubface alignment withyour Pivot. You perform these Three Imperatives with your Hands. That said, mastery of the Pivot is crucial to a good Golf Stroke. In fact, that is why two of the Three Essentials, the Stationary Head and Balance-- both in the realm of the Pivot -- are so important.
But the Pivot, left to its own ignorance, can with its mass and momentum definitely prevent the Hands from doing their assigned work. That is a Pivot-Controlled Stroke.
Not the G.O.L.F. Hands-Controlled procedure that I described in my post.
Any time you focus on the Hands and their alignments you are on the right track. The Hands are in Zone #3 (9-3). The Balance you mention is in Zone #2 (9-2). And my guess is that by rhythm, you mean 'pace' or tempo. Although 'pace' is not The Golfing Machine definition of Rhythm (see 2-G, 6-B-3-0and The Glossary) it is still important. If so, this is the speed of the Arms and Clubhead (Zone #2 / 9-2) Up and Back and Down and Out through the Shot. Hence, you are working correctly in all three zones of the Stroke.
The Hula Hula flexibility (7-14) refers to the independent yet coordinate movement of the Hips and Shoulders while maintaining the Fixed Pivot Center (the recommended Stationary Head or its alternate, the "Between the Shoulders" Center). The Line Delivery Paths and the On Plane Downstroke Shoulder Turn (10-13-D) require that the Axis of the Stroke (the Spine) be tilted, and this, in turn, requires the Downstroke Hip Slide (Weight Shift) of 10-14-A or 10-14-B. This is a move that is very easy to exaggerate (7-14) and thus produce the distorted alignments that makes it impossible for the Hands to do their job (7-12).
Ideally, you would work with a competent instructor to program the correct Pivot. Whether this is possible or not, I recommend imitating the pictures in 9-1. Be sure to look, Look LOOK as you go through the 'Body Only' Twelve Sections of the Stroke to make sure that you are doing it right.
Concentrate especially on clearing the Right Hip in Start Up (9-4) and maintaining the On Plane Right Shoulder in Start Down (9-7). These two Sections are especially crucial because players who have Pivot problems almost always lack the Educated Hands necessary to get them through an On Line Start Down (3-B, 5-0, 6-G-0 and 12-3-0). I would also practice diligently the DownstrokeWaggle (3-F-5). Monitor each of the Pivot Components (especially the Hips and Shoulders) in each of the Downstroke Sections (Start Down through the Follow-Through) as you simultaneously monitor The Hands to insure that they maintain their On Plane alignments per the Mechanical Checklist of 12-3-0. This will train the Pivot to accomplish its necessary functions and, at the same time, to "get out of the way of the Hands."
At the end of the day, you must return your attention to your Hands and their Flat Left Wrist, Clubhead Lag and Plane Line Tracing. Only in his way can you maintain the essential geometry of the Stroke (2-N-0 and 2-F) and achieve the Hand-Controlled Pivot of The Golfing Machine.
It will not result in a Sway (4th Snare / 3-F-7-D). In fact, it is exactly this 'Hula Hula' flexibility that produces the Axis (Spine) Tilt (7-14) necessary for the Line Delivery Paths (10-23-A/B/C/D) and ultimately the Automatic and Snap Releases of 10-24.
The Hula Hula flexibility (7-14) refers to the independent yet coordinate movement of the Hips and Shoulders while maintaining the Fixed Pivot Center (the recommended Stationary Head or its alternate, the "Between the Shoulders" Center). The Line Delivery Paths and the On Plane Downstroke Shoulder Turn (10-13-D) require that the Axis of the Stroke (the Spine) be tilted, and this, in turn, requires the Downstroke Hip Slide (Weight Shift) of 10-14-A or 10-14-B. This is a move that is very easy to exaggerate (7-14) and thus produce the distorted alignments that makes it impossible for the Hands to do their job (7-12).
Ideally, you would work with a competent instructor to program the correct Pivot. Whether this is possible or not, I recommend imitating the pictures in 9-1. Be sure to look, Look LOOK as you go through the 'Body Only' Twelve Sections of the Stroke to make sure that you are doing it right.
Concentrate especially on clearing the Right Hip in Start Up (9-4) and maintaining the On Plane Right Shoulder in Start Down (9-7). These two Sections are especially crucial because players who have Pivot problems almost always lack the Educated Hands necessary to get them through an On Line Start Down (3-B, 5-0, 6-G-0 and 12-3-0). I would also practice diligently the Downstroke Waggle (3-F-5). Monitor each of the Pivot Components (especially the Hips and Shoulders) in each of the Downstroke Sections (Start Down through the Follow-Through) as you simultaneously monitor The Hands to insure that they maintain their On Plane alignments per the Mechanical Checklist of 12-3-0. This will train the Pivot to accomplish its necessary functions and, at the same time, to "get out of the way of the Hands."
At the end of the day, you must return your attention to your Hands and their Flat Left Wrist, Clubhead Lag and Plane Line Tracing. Only in his way can you maintain the essential geometry of the Stroke (2-N-0 and 2-F) and achieve the Hand-Controlled Pivot of The Golfing Machine.
Yoda
... The Pivot as Centrifugal Accelerator and Launching Pad
It is true that the Lower Body is neither a Power Source (the Accumulators 6-B-0/1/2/3/4) nor a Power Application (the Pressure Points 7-11). Instead, as part of the Pivot, it serves as Power Package Transport (7-12). Accordingly, the Pivot and its Lag play an extremely important part in generating Clubhead Speed.
For the Swinger, the Pivot is the massive Rotor that creates the circular motion necessary for Centrifugal Force (7-12), and at the StartDown, it 'Blasts' his orbiting Left Arm off the chest toward Impact (2-M-4).For the Hitter, it Transports the Power Package to the Top and then serves asthe 'Launching Pad' for his Driving Right Arm (2-M-4).
So, while Power is Applied through the Pressure Points (10-11-0/1/2/3/4) and Accumulated (6-B-0), Loaded (6-C-0), Stored (6-D-0) and Released (6-M-0) by the Accumulators, it is Delivered (6-E-0) by the Pivot.
If I go to a chipping green and TRY to practice the 3 hinge motions of the clubface,
-When I only have layback, I can easily see that my ball moves to the right.
-When I have clubface closing and layback, together, then I think I see --on a consistent basis-- the ball curve to the right, slightly. Does everybody agree that it should move to the right? Does anybody here think that it should move slightly right-to-left?
-When I have clubface closing, only, I tend to see the ball move right-to-left. According to Yoda, if it's executed properly it should go straight, correct?
I just don't see how to be consistent with Horizontal Hinging. Isn't there always a worry that on any give shot, you might have excessive closing action of the clubface?
First, let me say that working on the Three Hinge Actions on the chipping green is exactly the right thing to do. Follow the prescribed path of 12-5-1, the Basic Motion Curriculum, and you are definitely on the right track. If you can apply them here, you can apply them in your full Strokes. If you cannot, then you have no chance as the Motion gets bigger.
Properly executed, each of the three Hinge Actions are equally accurate. However, Ball Location and Impact Fix Clubface alignments (2-J-1) are critical.
The Vertical Hinge Action you describe should produce zero directional deviation left or right. However, I would not be surprised if you experienced inconsistencies in trajectory, because the constantly laying back Clubface of the Vertical Hinge can produce such variations, especially when Ball Location changes (relative to the Left Shoulder).
The 'hop to the right' of the Angled Hinge is consistent with its Slicing, uncentered Motion.
If your Horizontal Hinge Action chips are hooking, you are 'over-rolling.' Per 2-G this over-roll -- or under-roll -- produces misalignments that can be as devastating as Throwaway. You must master the Hand Motions required for accuracy or else use another more 'familiar' Hinge Action.
From a practical standpoint, the Horizontal Hinge Action is used for normal or long running Chips. The Vertical and Angled Hinge Actions are used where more ballistic trajectories and better 'bite' are required.
The reason top professionals can produce the appropriate Ball response for each of the Three Motions through Impact is that they spend hours and hours each day attempting to do just that.
Don't despair. Just keep working -- on the right G.O.L.F. ideas! -- and you'll get better than you may now believe possible.
Ahhh! The fog is a little thinner.
When I put my fore arm on the table my wrist was bent and vertical and now I notice that there is a small degree of rist cock. This just seems the way my arm, rist and hand assembly sits on the table. When I put my wrist level the end of my arm at the rist lifts slightly off the table and my hand rolls slightly oven on my little finger.
No Problem, I think I understand and everything looks like the picture.
Now I just repeat: "My right forearm flying wedge consists of my on-plane right forearm, my bent, level and vertical right wrist, my no.3 pressure point and my on-plane clubshaft"......
"My right forearm flying wedge consists of my on-plane right forearm, my bent, level and vertical right wrist, my no.3 pressure point and my on-plane clubshaft"......
"My right forearm flying wedge consists of my on-plane right forearm, my bent, level and vertical right wrist, my no.3 pressure point and my on-plane clubshaft".......
I'm putting myself into a trance ........
..
Now stand up, keeping your On Plane Right Arm Flying Wedge Intact and on a Horizontal Plane.
Shift your Body into its Impact Fix Alignments.
Keeping your Right Forearm Flying Wedge intact -- that means Right Wrist Bent and dowel parallel to the floor (or ground) -- move the Club into an On Horizontal Plane Backstroke by Bending your Right Elbow.
From there, move the Club into an On Horizontal Plane Downstroke STRAIGHTENING YOUR RIGHT ARM WHILE KEEPING YOUR WRIST BENT. Do this over andover and over and over and over.
Look, Look LOOK to make sure there is ABSOLUTELY NO FLATTENING OF THE RIGHT WRIST!!! IT MUST REMAIN IN ITS BENT AND LEVEL CONDITION.
Then drop your Right Forearm Flying Wedge onto the Inclined Plane and REPEAT THE EXACT SAME MOTION. Do this over and over and over and over and over. Bend the Right Elbow. Straighten the Right Elbow. Keeping the Right Wrist Bent.
Alternate back and forth between Horizontal Plane practice and Inclined Plane Practice. Listen to the dowel Swish as you Straighten the RightElbow. Do this every day until further notice.
Rhythm is simply the Clubshaft attempting to maintain its alignment with the Left Arm (and Flat Left Wrist) through the Impact Interval. When the Left Wristis maintained Vertical to the Ground (Horizontal Hinging), the Clubheadhas its longest Travel. With the Clubshaft at about 45 degrees to the ground, the toe of the Club will point down the Target Line at the end of the Follow-Through (Both Arms Straight Position).
When the Left Wrist is maintained Vertical to the Inclined Plane (Angled Hinging), the Clubhead travels a shorter distance, and the toe of the Clubwill point across the Target Line.
When the Left Wrist is maintained Vertical to the Vertical Plane (Vertical Hinging), the Clubhead travels the shortest distance of all, and the face of the Club will be aimed square to the Target Line. In essence, with Vertical Hinging, you have zeroed-out the #3 Accumulator Roll through Impact.
In a geometrically sound Stroke (1-L #4, #6, and #16), the player insures the correct Clubhead Line of Flight (2-N-0) -- the arc inscribed on the face of the Inclined Plane by the orbiting Clubhead through Impact -- by Tracing (with the Lag Loaded [7-19] Right Forefinger #3 Pressure Point) the Straight Plane Line established at Impact Fix. He then insures the correct Clubface alignment through Impact by executing (with the Flat Left Wrist) one of the three Hinge Actions (2-G) so essential for Ball Control.
Unfortunately, players have discovered four magnificent ways to destroy this essential geometry. These Four Snares (3-F-7-A/B/C/D) are Steering, Quitting, Bobbing and Swaying. Each Snare disrupts the true downward-and-outward arc of both the Clubhead and Clubface and is symptomatic of a malfunctioning Golfing Machine. The first two are particularly destructive, and this post will discuss their cause and cure.
Steering (3-F-7-A) is the applied misconception that (1) the Clubhead should move through the Ball along the Target Line; (2) on a level or even upward path; and that (3) the Clubface should stay Square to that Line. Each individual's Golf Stroke tends to reflect his conception of the Basic Motion (Preface), and if the player doesn't know that the Clubhead should be swung down-and-out through Impact and Low Point or that the Clubface will normally be Square to the Target Line only at the Point of Separation of Ball and Clubface, then it is a virtual certainty that the correct Impact Alignments (2-J-1) will not happen.
Quitting (3-F-7-B) is how Steering does its 'dirty work.' In the subconscious attempt to divert the Clubhead from its true down-and-out orbit through Low Point -- and also in the misguided attempt to increase Clubhead Velocity by Flattening the Right Wrist (4-D-1)-- the player slows or even stops altogether his Hands during Release. This unintentional and improperly executed Pause Minor Basic Stroke (10-3-J) forces the Club to be swung up and in (below Plane) from the Wrists. The Upward Clubhead motion leads to Topping the Ball -- an embarrassing problem the player easily solves by hitting more 'under' the Ball -- Scooping! Which sad circumstance seems to be a bit more socially acceptable than Topping. Unless of course, it is perfected into its Art Form: A Mighty (but Powerless) Heave that causes about a foot of sod to simply flop over the still motionless Ball. After that jewel, nobody in the group will even make eye contact! ops:
The above 'Seems As Ifs' (Preface) are the major misconceptions in golf. That is, they are perfectly logical ways that should make the Ball behave as you intend but that are also perfectly wrong and will therefore never work. Interestingly, these misconceptions (individually and collectively) cause the Clubface to Close in relation to the Target Line. To avoid the inevitable Pulled Shot, the player begins to habitually aim well to the right of the intended Target Line. Then, when the Clubface dutifully arrives Closed at Impact, the Ball does not go to the right (as it should because that is where he is aiming) but instead is diverted -- more or less -- toward the Target Line. Not exactly a procedure you want to bet tomorrow's lunch money on.
And that brings us to the Inside-Out Cut Shot. This procedure is Anti-Steering Therapy -- and hence, Anti- 'Seems As If' Therapy -- because it educates the Hands to disregard the Flight Line with respect to both the Clubhead Line-of-Flight and the Clubface Alignment through Impact.
Let's go back to our player who has learned to compensate for his Pulled Shots -- the inevitable consequence of his Closed Clubface and Bent Left Wrist at Impact -- by habitually aiming to the right. He doesn't know he is aiming to the right, of course, and will in fact swear he is aiming straight at the Target! His Computer is playing a major league trick on him: Given a Faulty Procedure that can only send the Ball way left, aiming way right was the only way it could get the Ball flying anywhere close to the Target Line!
Note this well: In this 'Aim to the right' Alignment of the entire Machine, we are not talking about the Square Plane Line-Closed Stance Line combination of 10-5-C. Instead, it is the Closed Plane Line-Square Stance Line combination of 10-5-E. In other words, the player has unintentionally established a Clubhead Line of Flight (2-N-0) that will actually cross the Target Line in a true In-to-Out Stroke. This is not simply the normal Inside-Out Impact (from Impact Point to Low Point) of the normal Down Plane orbit produced by the Square Plane Line of 10-5-A.
What to do?
Enter the Instructor-Therapist and the Anti-Steering Therapy of the Inside-Out Cut Shot. Seeking to repair --- or more accurately, rebuild -- this malfunctioning Golfing Machine, the Therapist insists that the player hit Chip Shots to the right of where he thinks he is aiming. He also insists that the player keep his Left Wrist Flat and his Right Wrist Bent as he hits those Shots to the right.
Under the vigilant eye of the Therapist, the player is trained to Trace the Closed Plane Line (with his Right Forefinger #3 Pressure Point) that he has inadvertently erected during his Address Procedure (8-1/2/3). No fair Steering the Clubhead back to the Target Line! No fair Quitting with the Hands so that the Clubhead can be cowtailed into Impact ahead of a Bending Left Wrist and a Flattening Right Wrist! No sirree. The player has accidentally incorporated this Closed Plane Line into his procedure and, by golly, he now has to Trace it!
Furthermore, the Therapist -- better yet, The Exorcist -- insists that the Clubface not align itself in any way with the Target Line. To accomplish this, he demands that the Flat Left Wrist execute the 'Reverse Roll' Feel (7-10) of a proper Dual Vertical Hinge Motion (10-10-E). This keeps the Clubface Square to the Baseline of the Closed 10-5-E Plane (and nowhere near Square to the Target Line).
Despite the apparent simplicity of the instruction -- "Hit this Chip Shot to the right of where you think you are aiming." -- the player's overwhelming preoccupation with the Target Line at first causes his Shots to continue to be Pulled back toward it. This is because his Ignorant Hands (5-0) and faulty Computer Programming (Chapter 14) continue to exercise their Habits.
Undaunted, the Therapist continues to insist that the player totally disregard the Target Line and instead Trace the Closed Plane Line -- all the while keeping the Clubface Square to its Baseline through Impact. Gradually, the player's Hands become educated enough to do this. The Target Line is still there, of course, but he no longer attempts to keep the Clubhead on it or the Clubface Square to it. He finally has become totally (and correctly) preoccupied with his Plane Line and not his Target Line (3-F-7-A). Let's listen in…
Player: "Okay, I've learned to ignore the Target Line during my Stroke. I don't attempt to keep my Clubhead on it or my Clubface Square to it. Instead, I focus on the Plane Line. I feel like we've made some progress here, but if I keep doing this Inside-Out Cut Shot stuff, the Ball will keep going to the Right of the Target."
Therapist: "Correct. And when the Ball no longer goes to the left and when you have grown tired of seeing it go to the right, you are permitted to reposition your entire Machine to the left . Then you may begin Tracing the Square Plane Line of 10-5-A. Remember, though, you must keep your Flat Left Wrist and Right Wrist Bent through Impact just as you did while Tracing the Closed Plane Line (10-5-E). If you do this, you will find your Shots flying Straight toward the Target and your Pulled Shots will merely be a memory. If you don't do this, then the Ball will fly to the left, and your Computer will once again react by making you aim to the right. And that will bring about Plane Line confusion and the silent sabotage of the correct Impact Alignments."
Player: "Been there, done that. Let's see now…Left Wrist Flat, Right Wrist Bent. Move smoothly through the Ball -- no Quitting and hacking at the Ball -- while Tracing the Square and Straight Plane Line with my #3 Pressure Point…Hey! It went straight at the hole!"
For those of you who didn't receive last months Newsletter the Instruction topic was How to have a "GOTO" shot. I would encourage each and every one of you to sign up for the Newsletter.
There is one more piece to add and that's the ability to hit a particular shot when under pressure. It doesn't matter what type of shot it is but every player MUST have this ability if they want to improve and stop the "bleeding"!
I was lucky enough to have spent time with the late Gardner Dickinson and during our times together we spoke a lot about pressure situations. Gardner was one of the few people that Ben Hogan spent a lot of time with and actually worked for Mr. Hogan during the off season of the Tour as a Teaching Professional at Tamarisk, in Palm Springs California. One day Mr. Hogan asked Gardner what his "GOTO" shot was. Gardner didn't have an answer so Mr. Hogan told him that every player has to have a "GOTO". Mr. Hogan then told him that his was a punch shot. Gardners swing was modeled after Hogan so he decided to incorporate this shot into his own game.
As Gardner and I were talking I suddenly realized that I didn't have a "GOTO" either so being a Hogan disciple I decided I would "master" this shot as well. Looking back it was one of the best things I could ever do for my game. I know that I can hit this shot under any pressure, in any condition, from any lie. What a great feeling it is to control your golf ball!
When I am teaching short game, and especially wedge play, there are only two shots that I teach. A "stiff-arm" pitch and the "knockdown" wedge. These are both reliable and accurate for the top players as well as the average player. There are virtually no moving parts so there is less risk of hitting poor shots.
I personally am not a fan of trying to hit "lob" shots with a big high swing and a bent left wrist...it takes too much timing and practice. Even the best players in the world only hit these type of shots perfect 50% of the time! You can still hit a "lob" shot with a "stiff arm" pitch with much more accuracy and reliability.
I recently had the privilege of working with a college player that was #1 on his team. From 100 yards and in he was getting the ball up and down 30% of the time. He used a lot of moving parts, big swings, flip the clubface, etc. After a Boot Camp on short game and learning the "stiff arm" and "knockdown" wedge play we charted his progress. His up and down percentage went to 80%!
Remember, wedges are for accuracy, NOT distance they are the scoring clubs. In fact, if you have ever seen video of Hogan and some of the "old time" players their wedge swings were quite different than their full swings. A much shorter motion and more of a "punching" action.
Great post, Chuck!
Guys, we're talking 12-5-2 here, from Fix per 7-3.
Hips and Weight Left. Virtually no Pivot.
Flat Left Wrist and Bent Right.
Left Thumb and No. 3 Pressure Point dead behind the Shaft.
On Plane Right Forearm and Forward leaning Shaft.
Right Elbow Bend Start Up.
Load the Lag at the Top, then...
Drive it all the way DOWN to Both Arms Straight (8-11).
Vary your Hinge Action and Rhythm (2-G and 6-B-3-0) for the Shot at hand.
Watch any tape with Lee Trevino and a wedge and you've got this shot. It's pureRight Forearm / Elbow Magic with Sustained Lag Pressure to Both Arms Straight.
Hit 1,000 of these babies before you play your next round. Then send Chuck your check.
Yoda, "... loaded down against the first knuckle of the forefinger?" I've had a hard time seeing in the picture in the book. Isn't #3 the same as the end knuckle of the forefinger?
Jim,
Sit at a table with your relaxed hands in your lap.
Now, without changing this natural configuration -- fingers curved -- lift your Right Forearm and Hand and put them palm down on the table top.
Look at your Right Hand and Forefinger and get ready for Anatomy 101:
The back of your hand to the knuckle (the'bridge') is the metacarpal part of the hand.
From the knuckle to the first joint of the right forefinger is the proximalphalanx.
From the first joint to the second joint is the medial phalanx.
From the second joint to the end of the finger is the terminal phalanx.
The No. 3Pressure Point is the fleshy pad of the proximal phalanx in contact with the Clubshaft and ideally directly Behind it.
When Swingers go to the End (10-21-0-3) of the Stroke, the Clubshaft goes to parallel to the ground or even below. Though the No. 3 Pressure Point and Clubshaft remain firmly welded together -- there is no 'slippage' -- the movement of the Club to parallel or beyond causes the Top of the Shaft to Load against the knuckle of the hand.
So, the No. 3 Pressure Point Loading has now "Rotated" from Behind the Shaft to the Top of the Shaft. This is the Swinger's Rotating Lag Pressure Point of 10-11-0-3. Remember, though, nothing has actually moved!It is simply a change in the Loading Pressure sensed in the Right Forefinger and Hand, specifically in the proximal phalanx.
The Loading now firmly established against the knuckle, it must be maintained through the Retracing from End to Top (10-21-0-1), and then through the StartDown (8-7), Downstroke (8-8 ) and Release (8-9). From Release, however, the Swivel of Standard Left Wrist Action (10-18-A) snaps the Clubshaft into its Flat, Level and Vertical Condition (4-A-1, 4-B-1 and 4-C-1) for Hinging (2-Gand 7-10) through Impact. This Action causes the No. 3 Lag Pressure Loading to 'Rotate' -- remember, there is no actual 'movement' in the contact point between the No. 3 Pressure Point and the Shaft! -- from the Top of the Shaft to once again directly behind it. This condition, along with the Left Thumb also directly Behind the Shaft (10-2-0), establishes and enables maximum On Plane Thrust Support through Impact. (10-2-0/B).
Hitters should experience no such Loading change. Their No. 3 Pressure Point Loading will remain at the back of the Clubshaft throughout the Stroke.
This is an area of much Fog in The Golfing Machine. Now you're in the clear!
OK, I take that to mean substantial lag pressure from #3 at impact is good. So if I may extend my question? At the top and during delivery I have little lag pressure, just enough to feel the alignment. The acceletation at the top and much of the way down is "pulling" of the left ahnd due to #4 . This is another problem in my old computer I am trying to get out. For years I had pulled with the left hand to long and wand up with a left arm in lign with the shaft. That was very wrong? becayse thye left wrist winds up as uncocked and the right forearm point beyond delivery line. By emphasing the right forearm on plane the left arm must point inside/below the plane so the left wrist remains flat and passes thru level at impact? What is "strange" in this new feel is that acceleration seems to switch from left hand at start down to right hand near (below waist level) and thru impact. OH, I do use #1 pressure point to "stretch my left arm throughout the swing, but I do not use it i a way that acts on the club-shaft. Can it be assumed that this extension pressure at all times is good?
HB,
The Lag Pressure Feel is good not only at Impact but from Start-Down all the way down to the Both Arms Straight Position (Follow-Through 8-11). And I do mean you should feel like you are going down, down down all the way to Both Arms Straight. On my best Strokes I feel Lag Pressure to the very end of my Finish. Remember, the Clubhead Lag has no release point (6-C-2-A).
Everybody thinks they understand the Plane Line. You know...We 'trace' it. We'point' at it. We swing 'along' it.
Here's my message: Obliterate it!
You don't swing 'down along it!' You swing down and through it. Remember, this is just a line on the face of an Inclined Plane that actually extends into theground. And in that ground is another Plane Line, the Low Point Plane Line. You don't 'see' that one on the top of ground.
That first Plane Line is easy. You're always reminded of that one because it usually sits on top of the Target Line. And when we get to it we usually just skim right along it! But this one -- this Low Point Plane Line -- you've got to think about and then take the Lag Pressure all the way down to it. It's one ofthe best things you'll ever do for your game.
Now, even though you now know this, the problem isn't going to automatically go away. Two stumbling blocks remain:
1. You've got learn to do it subconsciously, and that takes purposeful practiceand Translation per 1-J and 3-A/B;
2. Your Magical Right Forearm/Elbow Action (7-3) is no doubt nowhere near what it could be. Therefore, you don't have a 3-dimensional Backstroke(Up, immediately as well as Back and In). As a result, you don't have a truly 3-dimensional Downstroke (Down, Out and Forward 2-F). Read that last paragraph in 7-3 until you know it by heart.
And then do what it says! Practice that Right Forearm/Elbow Action from Fix. First without a club. Then with a club -- or better yet a headless shaft or a wooden dowel -- but without a ball. Then with a Ball but only with the Basic Motion (12-5-1). Again, start from Impact Fix (8-2 and 7-8 )and get the Club Up and Back with your Right Elbow and Forearm.
Stay on your Left side as you do this. Stand still. Stationary Head. With your Left Wrist Flat and your Right Wrist Bent (Impact Alignments), use that Right Elbow to take the Right Forearm Flying Wedge (6-B-3-0-1) Up the face ofthe Plane. From the Top, Load the Lag, and Drive the whole Power Package assembly and its Lag down to the Both Arms Straight Position. These arethe Key moves.
When you have it, go to Stage 2 (Acquired Motion). Hit thousands of ballswith your sand or pitching wedge with no bigger Stroke than 12-5-2. Think about that Magical Right Forearm and Elbow. Take the Club Up in Start Up. That's why it is called Start Up!
Feel the Lag Load at the Top. Take the Lag all the way down to the Both Arms Straight Position. Make sure at the Finish that your Left Wrist is still Flat and your Right Wrist is still Bent. You can't think about all those things at the same time! Choose one, and work on it for a while. Then move to another. But The Golfing Machine is all about obliterating the Plane Line with your Loaded Lag and your Flying Wedges Assembly with its Flat Left and Bent Right Wrists. Once you've got that down, Total Motion (12-5-3) is a piece of cake.
Your thoughts on Extensor Action (6-B-1-D) are good, but do you really understand the Flying Wedges (6-B-3-0-1)? Those alignments are crucial to your understanding your Machine, how it all works together and how you can utilize the Power Package structure to Drive the Lag Down and Through.
Finally, read 3-F-6 and do your best to get better and better at those things.
You won't get better all at once. But get better you will. And it will gradually dawn on you that you really are doing it. And then the fun really begins!
How far past ball separation does your right wrist stay TOTALLY bent?
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The Flat Left Wrist and Bent Right Wrist Alignments are established in Impact Fix (7-8 ). The amount of 'Flat' in the Left Wrist is an absolute -- there is only one Flat! -- otherwise the Wrist is Bent or Arched. However, the amount of Right Wrist Bend can vary. It is normally determined by (1) Ball Location --the further back the less Bend and the further forward the more Bend -- and by (2) the Right Elbow Location of the Major Basic Stroke employed (10-3. However, at the player's option, any desired degree of Bend (between minimumand maximum) can be arbitrarily selected. That precise degree of Bend is then 'frozen' and held throughout the Stroke (to the end of the Follow-through perthe discussion below).
In the classic Adjusted Address (8-3), the Fix Alignments are reversed -- the Left Wrist is Bent and the Right Wrist is Flat -- to gain certain advantages(7-9). However, once the Stroke gets underway, the Flat Left Wrist and Bent Right Wrist Alignments are re-established in Start Up (8-4) by the selected Loading Action (10-22) and then maintained to the end of The Follow-Through(8-11), the Both Arms Straight Position.
This includes the Impact Interval (8-10), during which the Flat Left Wrist executes the selected Hinge Action (7-10) by remaining Vertical to one of the Three Basic Planes. That is, either the Full Roll Feel of Horizontal Hinging; the No Roll Feel of Angled Hinging; or, the Reverse Roll Feel of Vertical Hinging.
In Short Shots, where The Follow-Through is also your Finish (8-12), then you should be able to "look, Look LOOK " and verify that your Impact Fix Wrist Alignments have been maintained, i.e., the Left Wrist is still Flat and the Right Wrist is still Bent. In Full Shots, after the Follow-Through, the Left Arm folds and the Left Wrist Swivels Palm Up against the face of the Inclined Plane and Bends. Similarly, the Right Arm remains straight, the Right Wrist Swivels Palm Down against the Plane and Flattens. At the Precision Destination of The Finish (2-N-0), the Fix Alignments of both Wrists are then restored.
All this is the Geometry of Wrist Alignments during the Stroke, including Impact, Hinging and Swiveling.
Are the Frozen Right Wrist and the Locked Left Wrist Hitting procedures? That would definitely be the traditional view. Hitting is all about Muscle Power, Thrust and Structure, and the terms 'Frozen'and 'Locked' -- while jarringly hard -- seem right at home in that environment. At the same time, they are at odds with the "soft hands" and "flexible wrists" widely viewed as the Swinger's birth right. So much so, in fact, that to suggest otherwise is revolutionary (if not heretical).
But then Homer Kelley was that kind of guy.
As discussed in my previous post, the term 'Locked' -- Webster:"rendered immovable" -- was slated for Homer's 7th edition. It denotes only that the Left Wrist -- other than in the Standard Adjusted Address(10-9-A) -- is 'Locked' into its Flat condition, i.e., it cannot produce any Horizontal Motion (Bending or Arching). Instead, it can produce only Vertical Motions (Wristcocking and Uncocking) and Rotational Motions (Turning and Rolling). To that extent, the Left Wrist may be considered 'Unlocked.'This Left Wrist 'Locked' in its Flat condition may be a tough concept for Swingers to handle, but to the extent they deviate from that precision alignment, quoting Homer, "They will pay a price."
The word 'frozen' is probably even more controversial. What could be 'tighter' or 'harder' or more the antithesis of the lyrical Swinging Motionthan something that is 'frozen?' So much so, that Homer himself had a hard time applying the term to Swingers early on. But as he came to a full understanding of the importance of the Flying Wedge Alignments and Structure (6-B-3-0-1), his view changed -- I have this discussion on tape -- and he came to believe that the Frozen Right Wrist serves Swingers equally well as Hitters. From the Third Edition's 10-18-0 'General' Section (applying to both Hitters and Swingers):
"...the Right Wrist, if it moves at all, moves in accord with the Left Wrist. Ideally, it should be frozen in its Impact Fix Position --preferably from the Top of the Stroke to well into, or through, theFollow-Through." [Bold by Yoda.]
The term 'frozen' -- Webster: "rendered immobile" -- denotes that the Right Wrist is 'locked' -- that word again -- in its Level and Bent condition. In other words, it cannot produce any Vertical Motion or any Horizontal Motion (other than its Impact Fix Degree of Bend). Instead, it can only produce only Rotational Motions (Turn and Roll). To the extent the Right Wrist deviates from that Frozen condition, the Clubface will be misalignedat Impact.
The bottom line is that, as usual, Homer said exactly what he meant in terms that were unmistakably clear. Through Impact, your Left Wrist must be Flat, Level and Vertical, and your Right Wrist must be Bent, Level and Vertical. The best way to achieve this Ideal Impact Alignment is to permit during the Stroke only Left Wrist Vertical and Rotational Motions and Right Wrist Rotational Motions. And the way you do that is to Lock your Left Wrist in its Flat Condition and Freeze your Right Wrist into its Bent and Level condition early in the Stroke and then maintain those conditions until the end of the Follow-Through.
Interestingly, I have thus far not mentioned Grip Pressure. That is because, within limits, Gripping ‘light’ or ‘tight’ is the player’s option. What matters is that the essential Wrist Conditions be maintained throughout the Stroke. And that requires a highly developed kinesthetic sense of Wrist Alignments, not necessarily a tight Grip.
That said, the Hands are best viewed as strong, Educated Clamps attaching the Club to the Arms. Per 1-L #3, there should be “no wobble in the Clubshaft attachment.” The player with Uneducated Hands might do well with a lighter Grip Pressure because he may then be less likely to ‘horse’ the Club out of the correct alignments that Centrifugal Force is trying its best to produce.
The skilled player, on the other hand, can use the tighter Grip Pressure to give his Educated Hands a more complete control of the Club throughout the Stroke. The Tight Grip is especially effective as resistance against the terrific forces of Impact Deceleration. Remember, per Isaac Newton’s Third Law (2-C-0), the Ball hits the Club just as hard as the Club hits the Ball. Said another way, and summing up this entire discussion…
Impact is a place for Science, not “Seems as ifs.”
The easy answer to your question is that the Closed Stance relates to Component#5 (Plane Line) and the Pre-Turned Hip relates to Component #15 (Hip Action). As separate Components, they have and deserve their separate identities.
Here's more detail, including why those separate identities are important:
The Stance Line concerns the positioning of the Feet -- Square, Open or Closed -- as it relates to the Plane Line. In turn, the Plane Line is defined -- Square, Open or Closed -- in relation to the Target Line (the Ball Line of Flight). Thus, there are nine possible Stance and Plane Line Combinations.
The Hip Action Component defines the work done by the Hips in leading -- or being led by -- the Shoulder Turn (in both directions). The Delayed Hip Action(10-15-B) is one of four Hip Action Variations, and it can be executed in relation to any of the nine Combinations of Stance Line and Plane Line -- not just Square-Closed (10-5-C) or the Open-Closed (third option of 10-5-D) or Closed-Closed (10-5-E).
In its separate identity, the Delayed Hip Turn serves two primary functions. First, it inhibits Overswinging. By postioning the Pre-Turned Hip as desired, the player can automatically limit the amount of Shoulder Turn possible and thus limit the length of the Backstroke. This is in contrast tothe Closed Stance (in its own separate identity) which encourages the Maximum Hip Turn -- even more than the amount it is already pulled 'Off theLine' at Address -- and therefore the Maximum Shoulder Turn and MaximumTotal Motion of the Stroke.
The second function of the Delayed Hip Turn is to better enable the Hands to Trace the Straight Plane Line during Start Up. Failure to Clear the Right Hipblocks the proper On Plane Path of the Hands. When this happens, the Hands simply go around the impeding Hip, and the Clubhead Oribit is destroyed. The Pre-Turned Right Hip assures that the Hip is, in fact, Cleared and that the Hands can then Trace the selected Plane Line. This function is the same regardless of whether that Stance Line is Square (10-5-A), Open (10-5-B) orClosed (10-5-C) or the Square and Open Stance Line Combinations of the Open(10-5-D) and Closed (10-5-E) Plane Lines.
In the Closed Stance, the Right Hip is pulled 'Off the Line' at address for each of the available Three Plane Lines (Square, Open and Closed), and it therefore serves to clear the proper Path of the Hands during Start Up. However, the Delayed Hip Action would serve the same purpose not only for the Closed Combinations, but for the Square and Open Combinations as well. Also, it serves to prevent Overswinging with all three Plane Lines, whereas the Closed Stance Combination encourages the opposite.
Linear Mode
