Cure To A Slice
"Everybody seems that they slice the ball and they want a solution. Well, there are several things I tell. The first thing I look at is the grip. A lot of the time, that's the only solution that's necessary for people who slice the ball." Tom Watson
How Can I Stop Slicing The Ball By Tom Watson
Lessons of A Lifetime, Disc Two, filmed at The Greenbrier America's Resort (where Sammy Snead "was the pro" writes Norman Von Nida). Double DVD on Amazon : Tom Watson: Golf Lessons of a Lifetime (2010) [DVD]
What I Call The "Throw of The Club" (1907) By Alex Smith
"All the old authorities and text books will tell you that in the downswing the left is the master hand ; that it should pull the club down from its position at the top of the swing.
This I believe to be quite wrong, at least for my grip and swing.
My theory is that the power of the down swing comes from what I call the "throw of the club."
Moreover, with the left hand in command, the left elbow swings away from the body as the club comes through and the effect is to cause a depression of the right shoulder, which means an instant loss of power, for the ball is whipped up into the air instead of being driven straight through.
I told you that near the top of the swing the wrists must be bent sharply towards the right shoulder. (Note that this is bending is different from the turning of the wrists.)
In this way you set the trigger for the "throw of the club" - you feel the weight of the club head poised for the downward swing.
If you allow the wrists to become too slack, you inevitably overswing and so lose the sense of the set trigger, and the club head becomes a dead weight which must be lifted back to its proper position before you can use it.
At this point the wrists will be under the shaft, their proper position.
With the right elbow well to the back and close to the side you must now reverse this inward bend of the wrists.
Throw them back and out as sharply as possible, and when the club head is some two feet away from the ball let the right wrist take command.
This is the "throw of the club" and upon its proper execution depends in great measure the power and accuracy of the stroke."
The Early Part of The Downswing (1909) By James Braid
"The early part of the downswing should be from the arms.
Keep the body and wrists under tension a little longer.
Another most important point in the timing - there is a strong inclination on the part of the head and body to sway forward as soon as the club gets well under weigh in the downward swing, in too eager anticipation of the finish.
When this happens it is fatal.
When the body and head get in front of the club the latter is rendered almost useless, and at the moment of impact it is being merely dragged through.
Be determined to hold the body well back, and the head well back too, but don't go to extremes. Keep them well behind the club ; never let them get in front.
In this way the sense of tension and available spring is still further increased, and much is done towards the proper timing of the ball.
Everything is let loose, and round comes the body immediately the ball is struck, and goes slightly forward until the player is facing the line of flight.
The right shoulder must not come round too soon in the downward swing, but must go fairly well forward after the ball is hit.
If the tension has been properly held, all this will come quite easily and naturally."
Reference : 'Advanced Golf Or, Hints And Instruction For Progressive Players' By James Braid Chapter IV Long Driving, Timing The Stroke, page 61. OPEN CHAMPION, 1901, 1905, AND 1906. With Eighty-Eight Photographs And Diagrams Fifth Edition Methuen & Co. 36 Essex Street W. C. London. Fifth Edition August 1909.
Download : 'Long Driving, Timing The Stroke. That is the whole secret of the thing' By James Braid, First Published April 1908, Fifth Edition 1909.
" Assuming that the golfer knows how to swing, this premature movement of the body is always the cause of slicing." Harry Vardon
Slice Its Cause And Cure (1913) By Harry Vardon
"Slicing is the most unprofitable vice in the game. The worst of the sliced ball is that it seldom travels very far.
As a rule it is caused by swaying the body to the right during the upward swing (that is to say, not turning at the hips), or by perpetrating at the top of the swing, when the hips have screwed up properly, the common error of beginning to unwind at the hips before starting the club on its return journey.
Assuming that the golfer knows how to swing, this premature movement of the body is always the cause of slicing.
It results in the arms being thrown forward, whereupon the face of the instrument cuts across the ball and produces the slice.
The remedy is to determine that the club-head shall always lead, and to aim at the beginning of the downward swing at a point slightly behind the player.
COMING DOWN - The wrong downward swing. The body has turned too soon and the club has therefore been pushed forward. As the club should come down, i.e., behind the player
It is a good tip to take up a position close to a tree (although not sufficiently near to hit it) so that the timber is to the right of you and a few inches in the rear of the line which you are occupying.
Then, turning the hips correctly to the top of the swing, try to imagine that you want to hit that tree as the club comes down.
As previously explained, it is necessary for an intentional slice to give the body a slight turn before the start of the downward swing (at least, that is how I secure the effect);
in just the same way is the slice provoked when you are not standing for it and do not want it.
When playing for a straight shot, the club should begin to descend before the body changes from its top-of-the-swing position, save in one respect.
As the club starts to return, the left hip may be pushed slightly towards the hole - not unscrewed, but urged an inch or two sideways so as to facilitate the unwinding of the frame which follows immediately.
For the rest, the arms should follow the club as it comes down, and the body should follow the arms as they come round.
If you aim behind at the outset, the body will not often turn first."
Reference : 'How To Play Golf' By Harry Vardon (H. V.) With Forty-Eight Illustrations Methuen & Co. Ltd. 36 Essex Street W.C. London. First Published September 26th, 1912 Fifth Edition March 1913. Chapter XII Some Common Faults, page 74 Illustration 'Coming Down' and text page 149.
Open Champion 1896, 1898, 1899, 1903. American Champion, 1900.
Now This is Very important Watch It Closely By Bobby Jones
The Bobby Jones "How I Play Golf" Collection 1931-1932 Presented By Jack Nicklaus. Volume 2. These unique golf lessons show the unmatched quality and unsurpassed talent of Bobby Jones. Available on Amazon
"In starting the club down from the top of the swing, there is a very definite pull of the left arm from the shoulder." Bobby Jones
"If the club is started by a left hand pull it is apt to come down too straight, and the arc described by the club head will approximate that of a true circle." Alex Smith
A Drag With The Left Hand (1953) By Bobby Locke
"What I learned early, and this is something I commend to all handicap golfers, was that a drag with the left hand at the beginning of the downswing is vital.
As I said earlier, it keeps the club-head 'inside' as it goes down, prevents looping and, if the follow-through is correct, it also prevents slicing.
If you hit from the top there will only be about 60 per cent. of power left when the club-head meets the ball, whereas if the hitting begins at right-knee-high, the power at impact will be 100 per cent.
5. DOWNSWING TO IMPACT
First Movement of The Downswing
Please examine this position most carefully and practise and practise until you can emulate it faithfully.
And always remember that the first movement of the downswing is a slight drag with the left hand.
The importance of starting the downswing with the drag with the left hand is that it keeps the club-head travelling 'inside', and that prevents the grievous fault of looping the club-head at the top of the swing.
The club-head should reach the top of the swing and start back on the downswing in an easy, flowing movement: no halting, no jerking.
thedrag With The Left Hand
Illustration 2 overlaying Illustration 1 reveals thedrag With The Left Hand
To return to the left hand:
Also Starts The Main Weight of The Body Moving Over
Its use at this point also starts the main weight of the body gradually moving over from the right foot to the left as the left heel returns to the ground.
Notice that my chin is still in its original position.
When I get to the position you see in this illustration, I begin to unwind the wrists, but not before."
It is here that the right hand takes possession to square the club-face with the ball at impact.
It is utterly wrong to start hitting from the top of the backswing - and by that I mean consciously hitting. If you do that, 40 per cent. of the power of the shot is spent by the time the club-head reaches the ball.
The fault of 'hitting from the top' is largely caused by not fully completing the backswing.
The club-head has just hit the ball, which can be seen in the picture as an elongated, white blur. Nearly all the weight of the body is now on the left foot and my left side is braced.
The right hand has squared the club-face with the ball. Note particularly the position of the right hand."
Illustrations 1-6, 1-4, 1-4 thedrag In Motion for The driver
Illustrations 1-8 thedrag In Motion for The No. 7 iron
"Golf is not an easy game, but I believe it is made much harder by all the 'laws' that have sprouted around it.
Things like attempting (in imagination of course) to keep a handkerchief under the right arm during the swing.
In my method of swinging all these points are taken care of, with the utmost simplicity."
Reference : 'Bobby Locke On Golf' By Bobby Locke. First published in 1953. Country Life Limited 2-10 Tavistock Street London W.C.2. Part Two: How I Play Golf 1. Five Fundamentals, 5. Downswing to Impact, page 88-89, 6. The Full Follow-Through, page 90-91, 19. Teaching and Learning, page 125. British Open Champion 1949, 1950, 1952 and 1957.
"What I learned early, and this is something I commend to all handicap golfers, was that a drag with the left hand at the beginning of the downswing is vital. As I said earlier, it keeps the club-head 'inside' as it goes down, prevents looping and, if the follow-through is correct, it also prevents slicing." Bobby Locke
Introducing Bobby Locke Four Times British Open Golf Champion
Benson & Hedges 'Golden Greats of Golf 1859 to the Present Day' with Peter Alliss. Creative Film Makers Ltd. © 1986 Looping swing? Exaggerated draw? Finest Putter the world has ever seen Available on Amazon
"When the sports writers saw my swing, they wrote it off as 'the worst swing they had ever seen'." Bobby Locke
Five Fundamentals of The Game (1953) By Bobby Locke
"My golf success has been founded on seeking perfection in what I term the five fundamentals of the game:
- THE GRIP
- THE STANCE
- THE BACKSWING
- THE DOWNSWING TO IMPACT
- THE FULL FOLLOW-THROUGH
I state categorically that it is impossible to be a good golfer unless you get it fixed in your mind that these are the essentials and concentrate on getting each one right in that sequence.
I feel my method is one of the simplest to follow, though I do not suggest for one moment that golf is an easy game.
It is my intention here to explain how I play golf - and once again let me stress those five fundamentals, in the sequence I have given.
I am not a theorist. I have never filled my head with a string of confusing injunctions: head down, left arm straight, left heel off the ground, and all that sort of thing.
Too many people approach a golf shot with their heads buzzing with a variety of tips and hints- 'Do this', 'Don't forget that', 'Remember not to do the other'. Wrong, absolutely wrong!
Make sure that you have those five fundamentals correct, that at all times you are relaxed, and from then on it is a matter of practice, practice and more practice. And remember you must avoid tension, which is the ruin of good, consistent golf.
How to make sure that you are doing the right things?
Well, if you read on, study carefully the illustrations I have given, and faithfully copy my methods, you will be right.
I have always aimed at achieving a perfect swing. In the course of this book I shall include some 'don'ts', but I want the reader always to remember that it is the perfect swing we are seeking and that the perfect swing depends on those five fundamentals."
Download this extract, FIVE FUNDAMENTALS by Bobby Locke, from 'Bobby Locke On Golf'.
Includes additional chapters like 'Teaching And Learning', 'Advice To Young Golfers', 'Fading The Ball' with this key instruction, on the 'drag with the left hand':
- "And always remember that the first movement of the downswing is a slight drag with the left hand,
- Its use at this point also starts the main weight of the body gradually moving over from the right foot to the left as the left heel returns to the ground,
- Notice that my chin is still in its original position (see page 88),
- As I said earlier, it keeps the club-head 'inside' as it goes down, prevents looping and, if the full follow-through is correct, it also prevents slicing (see page 125)."
A definition of 'drag' is 'the force that acts against the forward movement of something'.
It can also mean 'hang back', 'get behind', 'retarded force', as found on Visual Thesaurus
|Bobby Locke beating Byron Nelson, back row, third from the right. Sam Snead, back row, third from left. Wykagyl Country Club and read more about this victory|
Reference : 'Bobby Locke On Golf' By Bobby Locke. Country Life Limited 2-10 Tavistock Street London W.C.2. First published in 1953. Part Two: How I Play Golf, 1. Five Fundamentals, 2. The Grip, 3. The Stance, 4. The Backswing, 5. Downswing To Impact, 6. The Full Follow-Through, page 75-91.
In this book, Bobby Locke, four times British Open Golf Champion, repeats his demonstrations (with explanatory notes and illustrations, as above for the driver and the short irons) for:
- The Long Irons, page 94-96,
- The Wooden Shots No. 3 wood page 97-99, and,
- The Wedgemaster Backspin with a capital B! - High and low wedge shot - page 100-102,
- The Sand-Trap Shot, page 103-105,
- The Pitch and Run Chip Shot, page 106-108,
- Fading The Ball, page 109-111,
- How To Play A Draw Shot, page 112-113,
- Low Shots Into The Wind with a No. 2 iron, page 114-116,
- High Shots For Carry, page 117-118,
- Putting, page 119-123.
Winner of the Carolina's Open Tournament, U.S.A. The Chicago Victory Open Tournament, U.S.A. (by a record 16 strokes), 1948. British Open Champion, 1949, 1950, 1952 and 1957. Houston Open Tournament, U.S.A. 1947. Tam O'Shanter All-American Tournament, U.S.A. 1947, 1950. French Open Championship, 1952.
Buy on Amazon : Bobby Locke On Golf
"I state categorically that it is impossible to be a good golfer unless you get it fixed in your mind that these are the essentials and concentrate on getting each one right in that sequence." Bobby Locke
The Great, The Near-Great, And The Good Golfers (1956)
"The position in golf history of the Parks, the Morrises, Alan Robertson, John Ball, Taylor, Vardon, Ouimet, Hagen, Jones and Sarazen is too secure ever to be disputed, and certainly I for one am not going to do so.
First, the great golfers - I say there are five; next the near-great; and then the good golfers, those who are just knocking at the door.
In nearly twenty-five years of professional golf and tournament play all over the world, I believe I have played with all the best contemporary golfers.
But before going on to them, I must just mention (as any golf lover must) two of the greats of a generation just before mine, namely, Walter Hagen and Robert Tyre Jones Jnr.
These two great players dominated golf in the twenties almost to the complete exclusion of all others. Between 1924 and 1930 the won every British Open - then the major world golf title - except one, the 1925 Open, which was won at Prestwick by another American Jim Barnes...
The Greatest Golfers of Our Time
- Ben Hogan "Mechanical Man of Golf"
- Slammin' Sammy Snead "Most Natural Swinger"
- Bobby Locke "The Majestic Maestro"
- Byron Nelson "Mr. Golf"
- Henry Cotton "Best British Golfer since Vardon, Taylor, and Braid"
Many people will disagree with my rankings.
But I have played with all the golfers I have mentioned.
That is the best way of judging that I know!
"The only road to a straight shot is to send the club well out to the right and a little behind the body at the beginning of the downward swing. Then it will come round with a "Swish," gathering pace all the while, and the ball will go as straight as an arrow - well, as far as you can send it." Harry Vardon
"It hardly needs to be argued that the ability to hook or slice a golf ball deliberately when the situation calls for it, is a valuable asset to a golfer.
So let's proceed to the matter of how to do it, beginning with the slice.
A golf ball curves to the right for a right-handed player for the one essential reason that a left-to-right spin is imparted to it while the clubhead is in contact with the ball.
This type of spin may be imparted in two ways:
- The clubhead may be drawn across the ball from right to left on the downswing.
- The clubface may be slanted to the right (open) at impact.
Either one of these methods can be used to produce a shot that follows a left-to-right path of flight, and the two can be used in combination so that each will augment the other.
The simplest method of causing the ball to follow a left-to-right pattern of flight is to set the clubhead back of the ball square to the objective in the normal way, slant the club face open a few degrees, grip the club with the face still open, and swing as for a straight ball.
Meeting the ball with the club face still open tends to produce a shot that has a slight left-to-right curve on it, due to the spin on the ball produced by the open club face. This shot is of some value in sending the ball around an obstacle.
The next simplest way to slice is by adjusting the grip.
Bring the knuckles of the left hand back under the shaft and fold the right hand over the top of the shaft.
A wide slice figures to result if the V formed by the thumb and first finger of the left hand points to the right shoulder and that V on the right hand points toward the left shoulder.
(With the normal grip, the Vs will be just about parallel and pointing slightly to the right of the chin.)
This slice grip will cause the club face to sort of flip open as the clubhead comes into the ball.
This result figures to be a shot that starts off fairly straight but starts following a left-to-right pattern a few yards after leaving the clubface.
The slice shot that is generally the most effective in getting around obstacles is the one that travels several yards in a straight line after leaving the clubface, and then curves rather abruptly to the right. This action is the one produced by drawing the clubface across the ball from right to left in the latter stages of the downswing.
The best method for bringing this about is to start the clubhead back from the ball outside the line.
Having done so, and assuming no off-setting adjustments during the course of the swing, the clubhead will come back into the ball from the outside in - or across the ball.
With this type of stroke, the forward power of the swing will send the ball out in a generally straight line until the left-to-right spin, caused by the clubhead's slicing across the ball, takes effect.
Here is a simple way of achieving the proper start on the backswing for a deliberate slice.
After lining up in the normal way to the shot, pick out some object that catches the eye about a foot back of the ball and about two inches to the right of the ball. A particular blade of grass will do. Then set it in your mind that the clubhead must pass over the top of that small object on the backswing.
Now for a way of trying to insure that nothing happens during the course of the swing to offset the cut-across pattern you have set up by taking the clubhead back outside the line: Determine to pattern your swing so that at the end of the follow-through the palm of your left hand will be down and roughly parallel with the ground - or, if you prefer to think of it another way - that the back of your left hand will be up.
This action will keep the hands from rolling over, which is, naturally, a part of the hooking action.
Of itself, the stance will have nothing to do with whether the shot slices, but an open stance makes it easier to produce a slicing swing.
The open stance simply calls for advancing the right foot about six inches closer to the intended line of flight than the left. The effect will be to move the left hip out of the way of the arms so that the clubhead may be easily brought across the ball, and to place the right hip in the way so that the arms will have to go out and around it and produce an outside-in swing.
It is clear, I think, that the sliced ball can result from any of a number of factors, or from any combination of these factors, provided there is no offsetting action in the rest of the swing.
An example of such offsetting action would occur if the hands were permitted to roll over as the clubhead came into the ball. That is to say that a player might adjust his grip for a slice, take the club away from the ball outside the line, and try to cut across the ball, but if the hands rolled over quickly just before impact, the shot would tend to go straight, or even hook. (There are, indeed, many players who use some part of the slicing method in the early stages of the swing to offset a natural tendency to hook.)...
Implicit in these instructions for slicing and hooking are some pointers for those players who are continually trying to keep from doing either.
The golfer who is always fighting a hook could hardly do better than to practice a finish with the right palm facing up. In this way he can do much to eliminate the hand roll that is the cause of most troublesome hooks.
The natural slicer should reverse the pattern."
Reference : 'Advanced Golf' Cary Middlecoff Edited by Tom Michael of The Commercial Appeal, Memphis. Prentice-Hall, Inc. Englewood Cliffs, N.J. © Copyright, 1957, By Prentice-Hall, Inc.
"The kind of putting that Locke can turn on when necessary was seen in the 1950 Tam O' Shanter Tournament, when he got four birdies in a row over the last five holes to tie for first place with Lloyd Mangrum.
He holed no fewer than four putts of 30 feet - all in succession - to do it.
The next day he turned on a 69 to beat Mangrum by four strokes for first money."
Reference : 'Golf is my business' by Norman Von Nida. Page 165. First Published By Frederick Muller Ltd. In 1956. Copyright, 1956, Norman Von Nida And Muir Maclaren.
"Archeological discoveries have shown that archery in China dates back 20,000 years.
Practical archery requires three elements:
- a bow strong enough to propel arrows;
- arrows that are sharp enough;
- and a technique to ensure the stability of arrows in flight.
The bow and arrow of ancient China fully met these three conditions".
Reference : 'Ancient Chinese Inventions' by Deng Yinke. Translated from the original Chinese by Wang Pingxing. Archery, page 134. Cambridge University Press. © China Intercontinental Press 2010. © Cambridge University Press 2011.
"During the first stage of training, when the archer still has to concentrate on individual movements and manipulations, he does not shoot at the actual target but at a bundle of straw (makiwara) placed about two metres away. The distance of two metres roughly corresponds to the length of a Japanese bow.
The archer practises technique on this bundle of straw 'on dry land' as it were. The intention is that he should become fully aware that shooting is not merely a matter of hitting or missing since even a beginner will have hardly any difficulty in hitting the bundle of straw.
The development of any ambition is thus counteracted from the very start, simply by not giving the archer any object which could foster it.
From the first training session, the master guides him on the way towards understanding that the greatest obstacle usually lies in the egotistical desire to score a hit, ultimately preventing him from really hitting the mark and advancing on the Way.
The practice of Kyudo: Hassetsu - The Eight Stages leading Release of the Arrow and Stepping Back from the Shooting Line:
- Ashibumi - The Stance
- Dozukuri - Balance
- Yugamae - Being Prepared. Focusing on the tanden. Torikake, Tenouchi, Monomi
- Uchiokoshi - Raising The Bow
- Hikiwake - The Draw
- Kai (Nobiai, Jiman)
While implementing these eight stages the archer must be inwardly aware of the fact that each phase contains the one that follows, and that each consecutive stage continues to incorporate all the preceding ones, so that individual movements, manipulations, and phases of concentration imply one another and could not possibly exist in isolation from one another.
If the archer has fulfilled that primary condition, the action involved in shooting his bow will resemble the continuous, uninterrupted flow of a wide river which is steadily heading towards its destination and cannot be diverted by anything."
Reference : 'KYUDO The Art Of Zen Archery', Part III. The Practice of Kyudo, by Hans Joachim Stein © 1988 Translated by Frauke and Tim Nevill Element Books.
"And Locke's golf tour of the United States was no mere holiday. He'd played on the PGA Tour for three seasons, from 1947 to 1949, and won eleven of fifty-nine events.
He also finished second ten times, third eight times, and fourth five times.
In fact, he was so good that the other players began to resent that he was taking so much money out of their pocket and the tour found a way to ban him on a technicality.
Although the ban was later lifted, Locke didn't feel welcome and never returned to play in the United States full-time.
Thirty years later, those ill feelings seemed to be gone as he welcomed an American from Texas and spoke warmly about his time in the States.
In that first meeting with Locke, he taught me a lot about putting. I wouldn't say he had a great stroke, technique-wise.
He used a lot of wrist action, and the path of his putter head came into impact extremely from the inside.
It certainly wasn't a stroke that I would teach to my students. But Locke had grooved his stroke and he had confidence."
Reference : '18 GAME-CHANGING LESSONS' Talking Golf with Legends & Pros Mark Steinbauer with Hunki Yun. Stewart, Tabori & Chang New York. Published in 2010 by Stewart, Tabori & Chang. Text copyright © 2010 Mark Steinbauer. Lesson 6 Bobby Locke The Joy of Putting, page 69.
Compare that text with Bobby Locke's on PUTTING, from 'Bobby Locke On Golf' First Published in 1953 by Country Life Limited, 2-10 Tavistock Street London W.C.2. Part Two: How I Play Golf 17. Putting, page 119-123. British Open Champion 1949, 1950, 1952 and 1957.
"Among golfers the putter is usually known as the pay-off club, and how right that is!
Putting, in fact, is a game by itself. I am recognized as a good, consistent putter.
From early in my career I realized that there was far more in putting than actually striking the ball, and I do not think any prominent golfer has devoted more time and thought and practice to this side of the game than I have.
Illustration 1 Here you can see how I change my grip for putting...
Throughout the swing, the putter stays square to the hole. I want to emphasize that the blade does stay square to the hole. There are people who say it is impossible to take a club back 'inside' without opening the face. With a putter it is not impossible, and this is how I putt.
Illustration 6 ...It is essential in the method I am showing here that there should be no wrist-work.
Wrist-work results in inconsistency - and missed putts".
Learn more about putting technique from Bobby Locke in 'Bobby Locke On Golf' First Published in 1953 by Country Life Limited, 2-10 Tavistock Street London W.C.2. Part Two: How I Play Golf 17. Putting page 119-123. This extract of page 119 and 121
"When a man has reached, I will say, thirty-five or forty years of age, his inclination is in the direction of the steady game, a style of game at which I feel confident he may do well.
He will not be inclined to strive after effect or to "play to the gallery," as not infrequently happens with the younger generation of golfers.
The tortoise, it will be recollected, succeeded in defeating the hare.
"Slow and sure" is another crusted, but apposite saying, and personally I am by no means certain that the steady, careful game is not after all the most sensible one. There can be no denying the fact that the one thing necessary in the game is steadiness and stamina combined.
There is, of course, an advantage in learning the game when young, but yet there is no reason to despair of getting well up in the lists even if a man has found it impossible to handle the clubs until he has reached the late thirties.
In proof of my statement in this respect I may instance Mr. C. Hutchings, of Hoylake, as an example.
Mr. Hutchings did not commence playing golf until, comparatively speaking, late in his life, but after this brilliant example who will be found bold enough to say that to learn late in life is an impossibility?
Mr. Hutchings at the age of fifty-three is not only capable of holding his own in excellent company, but has actually become the winner of the amateur championship, and if one man is able to do this, why not another?"
Reference : 'Taylor on Golf' Impressions, Comments and Hints by J. H. Taylor Chapter XV. The Most Common Fault. Open Champion 1894, 1895, 1900 and 1909 With Forty-Eight Illustrations Fifth Edition London Hutchinson & Co. Paternoster Row 1911.
"Full extension is a matter of using all your physical self as you swing - of fully stretching and coiling all the muscles of your body that need stretching and coiling.
Most of that stretching and coiling is done during your backswing, to allow for later unstretching and uncoiling as you return the club to the ball.
Full extension is easy to explain, but physically demanding to execute.
It involves three things during your backswing:
- Making as full a turning of the hips as you possibly can short of straightening your right leg or shifting your weight onto the outside of your right foot.
- Making as full a shoulder turn as you can while keeping the head steady.
- Swinging your hands on as wide and as high an arc as you can short of shifting your head position or loosening your hold on the club."
Reference : 'On The Lesson Tee' A Sports Publication by: The Athletic Institute Basic Golf Fundamentals Jack Grout Jack Nicklaus' Teacher and Coach Illustrations By Jim McQueen Sterling Publishing Co., Inc. New York Copyright © 1982 by the Athletic Institute
"If there is an aspect of the tour player's game that inspires a sense of awe and wonder, it is his ability to crush the ball 300 yards or more with such grace and seeming lack of effort.
The distance these pros are able to achieve (with accuracy as well) can be unfathomable to the average golfer. It obviously is not a product of sheer size or strength since many pros are small physically yet capable of hitting the ball inordinate distances.
The casual golfer can attribute this skill only to equal parts skill and magic.
In fact, there is skill involved and some magic too, though the "magic" is attainable by anyone possessing average strength and coordination.
It all can be traced to the transition move, the critical series of events that occur as the backswing evolves into the downswing (fig. 4-1).
If you've been looking for the greatest source of power in golf, this is it, hands down...
To set the stage for a correct, powerful downswing, it is necessary for the upper and lower body to move in opposite directions just before the downswing actually gets under way (fig. 4-3).
That's what the transition move is all about."
Reference : Dr. Ralph Mann and Fred Griffin, with Guy Yocom's book 'Swing like a Pro, The Breakthrough Method Of Perfecting Your Golf Swing, based on the Computer-Generated Pro', Chapter Four, Transition, The Magic Move, page 101. Broadway Books, New York, Copyright © 1998 by CompuSport International.
Download : 'Transition The Magic Move' By Dr. Ralph Mann and Fred Griffin with Guy Yocom.
"If the grip be left out of the picture on the ground that it is in truth a preliminary, and we can assume that this is correct, then I should say that the most important movement of the swing would be to start the downswing by beginning the unwinding of the hips.
It is possible to play good golf without a straight left arm; it is possible to do so using a square, closed, or open stance; and one may get along with a short and fast backswing if there are compensating virtues.
But there can be no power, and very little accuracy or reliability, in a swing in which the left hip does not lead the downstroke.
One sees any number of players who take the club back almost in a vertical arc, thereby violating the principles of the true swing.
In other words, instead of swinging it back, they lift it up over their shoulders; but a lot of them, because they initiate the downswing by beginning the turn of the hips before they move anything else, manage to play good golf.
No matter how perfect the backswing may have been, if the hands, or the arms or the shoulders start the downward movement, the club immediately loses the guidance of the body movement, and the benefit of the power the muscles of the waist and back could have contributed.
When this happens, the turn of the body during the backswing becomes entirely useless, and the club finds itself in midair, actuated by a pair of hands and arms having no effective connection with anything solid.
I think we may well call this the most important movement of the swing."
Reference : 'Bobby Jones On Golf', Robert Tyre (Bobby) Jones. Chapter Four. 2 The Most Important Movement. Page 56. Foreword by Charles Price. Illustrations by Anthony Ravielli. 1966 Doubleday & Company, Inc. New York.
"Misconception 6: The arms swing and the body simply responds to that motion or the hands and arms move first and then the shoulders and hips follow.
Reasons: If the hands and arms move first in the backswing, the shoulders will turn late in the backswing. As a result, the golfer will lose his extension and create an overly long and loose swing that is likely to come outside and over-the-top on the downswing.
Actually, the first part of the backswing should be a one-piece movement with the hands, arms, clubhead, shoulders and hips all moving away together. This ensures a weight shift, arm and club extension and a firm and short swing.
Furthermore, if the swing produces centrifugal force, the center of the swing must move first to create the force. The true center of the swing is located in the posterior lower spine somewhere behind the hips.
This part moves first and the hands, arms and clubhead simply respond to this initial movement. The big muscles of the shoulders, back and hips are the slowest moving yet most powerful muscles in the body. These muscles move first and keep the faster moving muscles of the hands an arms under control. Correct movement is always produced from the center of the body outward - never from the clubhead inwards."
Reference : 'Appendix 3 Golf Swing Misconceptions by Dr. Jim Suttie, PGA Professional Cog Hill Golf Course Lemont, Illinois, The PGA Manual of Golf by Gary Wiren PGA Master Professional, Ph.D. MacMillan USA Copyright © 1991 by The Professional Golfer's Association of America.
Bobby Locke, Open Champion, explains it this way : "And always remember that the first movement of the downswing is a slight drag with the left hand."
"The proper first move of the downswing involves the fundamental of footwork already mentioned - a lateral shifting of weight from the inside of the right foot to the inside of the left.
If you make this move before you start uncoiling your shoulders or uncocking your wrists, you will not only start your club down on a proper path, but you also may actually increase the extension and coiling of your muscles.
This occurs because your feet and legs are shifting forward while your hands and club are still moving toward the finish of your backswing.
Once you develop your footwork as described in fundamental 4, this first move of the downswing will take place automatically, so long as you give it time to happen.
While I don't believe that there should be an actual pause at the top of the backswing - some part of you should always be in motion - I do think that most golfers need to at least feel a momentary "waiting" at the top: a waiting with the hands and shoulders for the feet to shift some weight toward the target.
It is also extremely important that you remember always to swing the club.
That may sound ridiculously elementary, but too many golfers, in their efforts to use their legs correctly, lose sight of the fact that it is the golf club that strikes the ball. While the feet start the downswing, the arms - not the hands - must do their part to swing the club down and forward and "through" the ball.
So long as your feet work correctly and lead your downswing, on all of your shots you should try to accelerate your arms - and thus the club - through impact as fast as you possibly can without losing your balance.
Do this and your hands will react automatically to the weight and speed of the moving clubhead.
Do this and your wrists will uncock automatically to square the clubface at the proper time, so long as you also shift your weight and keep a steady head.
You'll risk big trouble, however, if you consciously attempt to apply your hands and wrists to the shot."
Reference : 'Let Me teach You Golf As I Taught Jack Nicklaus' Six Fundamentals Jack Grout with Dick Aultman Illustrated by Jim McQueen Atheneum / SMI New York 1975 Copyright © 1975 by Jack Grout and Dick Aultman Designed by Kathleen Carey.
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"At the University of Calgary, Joan Vickers Director of the Neuro Motor Psychology Laboratory did an excellent study on putting.
The article, in Golf Magazine (Oct. 1991) "Look and Launch - Make your eyes talk effectively to sink more putts." They say, "Feel does not come from mechanics. It comes from the eyes sending information about distance and the line of your hands, arms and shoulders. The more effectively your eyes talk to the rest of your body, the better you will putt."
The study found that higher handicap golfers stare at the ball and club with too many quick glances to the hole. As a result visual information is not processed very well.
Good putters do the opposite. They stare at the hole and glance at the ball.
The following procedure for putting is what they found to be most effective:
- Get into position and check the club with a quick look and then the ball with a longer look. This is your impact position so it is a good place to start.
- Turn your head and focus on the hole for the feel of distance. Do not look or focus on the green between the ball and hole. Focus on the hole for at least two seconds so that distance information is registered in the memory.
- Run your eyes back down the target line to the club for a real quick check, then fixing on the ball for only a half second or less, stroke the ball while the distance information is still fresh in the mind.
- Keep your eyes fixed on the ball throughout the stroke. Do not look at the club and ball at the same time, as this may give information overload. See the grass under the ball after the stroke."
Reference : 'The Golf Superbook' by Dr. Gerald A. Walford, Gerald E. Walford.
Reference : 'The Quiet Eye' It's The Difference Between A Good Putter and A Poor One. Here's Proof by Dr. Joan N. Vickers, Professor of Kinesiology at the University of Calgary, in Alberta, Canada. Illustrations by + ISM. Photograph by Corbis. GolfDigest.com January 2004. For more detailed information on The Quiet Eye, visit www.ucalgary.ca/
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