I saw another way recently. Set up as to a normal straight shot, but as the downswing starts, keep both right shoulder and right hip back as you swing your arms thru. Is this something anybody has tried or will recommend?
We did this, Air. Over and over again.
From the Top . . .
Start Down Waggle.
Lower Body lead. Upper Body lag. Hands toward the Base Line.
Lower Body lead. Upper Body lag. Hands toward the Base Line.
Over and over again.
From Start Up . . .
"Sharp Turn, Slide, Swing!"
Please tell everybody we did this.
Please.
I'm not so good at recognizing how I look when I'm swinging. I know we did a lot, but It's difficult to say what's what compared to what others do. So I'm not certain if this is exactly what we worked on: http://shawnhumphries.com/humpday/Hit-the-Draw.php. Is he leading with his lower body?
And I honestly can't say that I'm capable of hitting a draw at will.
You know what you are talking about. I don't always. That's one of the reasons I need another trip to Cuscowilla.
I have hardly hit a draw in my life - a lot of pulls and even more slices. There are some ways to hit draws (if you don't come OTT). Set up with a closed stance and aim at the target. I saw another way recently. Set up as to a normal straight shot, but as the downswing starts, keep both right shoulder and right hip back as you swing your arms thru. Is this something anybody has tried or will recommend?
Air,
To hit a proper draw, you need to swing a little inside to out, and you need to create a little axis tilt. By keeping your shoulders back, you are creating that axis tilt, but IMHO, you are robbing yourself of some power. If you look closely at YODA's teaching, you will find he creates the necessary axis tilt by moving his hips forward during the stroke, in fact he sets up with his hips a little forward. One of his biggest keys is keeping his chest over the ball. Not moving the head and shoulders back, maintaining the TRIPOD.
YODA creates a very powerful swing with this method, and when you hear the compression you are sold.
Visuals of his action help me with this Air. I hope this helps. It's the Holy Grail I'm chasing...
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__________________
I could be wrong. I have been before, and will be again.
To hit a proper draw, you need to swing a little inside to out, and you need to create a little axis tilt. By keeping your shoulders back, you are creating that axis tilt, but IMHO, you are robbing yourself of some power. If you look closely at YODA's teaching, you will find he creates the necessary axis tilt by moving his hips forward during the stroke, in fact he sets up with his hips a little forward. One of his biggest keys is keeping his chest over the ball. Not moving the head and shoulders back, maintaining the
I'm sure he is a wonderful teacher, but even with a quick glance it just doesn't fit with Homer Kelley's teaching. He is WAY under plane on the down stroke. Remember 1-L-6?
1-L-6) The Clubshaft always points to the Plane Line except when they are parallel to each other.
That is one of the basics we need to focus on. I'm sure Mr. Humphries is a wonderful teacher, but we must focus on one method, and Lynn would never want you in that position. The internet is a wonderful place to learn, but can also get us in trouble. No right, wrong, or best, but different teachers ideas don't always work together...
Kevin
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I could be wrong. I have been before, and will be again.
I'm sure he is a wonderful teacher, but even with a quick glance it just doesn't fit with Homer Kelley's teaching. He is WAY under plane on the down stroke. Remember 1-L-6?
1-L-6) The Clubshaft always points to the Plane Line except when they are parallel to each other.
That is one of the basics we need to focus on. I'm sure Mr. Humphries is a wonderful teacher, but we must focus on one method, and Lynn would never want you in that position. The internet is a wonderful place to learn, but can also get us in trouble. No right, wrong, or best, but different teachers ideas don't always work together...
Kevin
Actually I didn't remember. But since you mention it, I remember Tom Tomasello saying it in one of his tapes, so now I can relate it to your remark. That mean's I'm a little wiser today than yesterday. Thx again. You are a BIG help. (Yoda has probably said it a dusin times as well - one too few it seems..)
Actually I didn't remember. But since you mention it, I remember Tom Tomasello saying it in one of his tapes, so now I can relate it to your remark. That mean's I'm a little wiser today than yesterday. Thx again. You are a BIG help. (Yoda has probably said it a dusin times as well - one too few it seems..)
I know YODA has said it, because everything I know I learned from him! I'm about 2% of the way to his knowledge.
I'm a pretty basic teacher AIR, I always start with the Imperatives and the Essentials. I believe in them, and I believe in YODA's interpretation of them. After that I try to tie what I teach to 1-L. If I go at it in this manner, it's pretty hard to hurt anybody.
After that, I believe in OPTIONS. You should see how differently YODA treats each students swing. He has a talent for seeing what their tendencies and preferences are. Different for all. Thats why you need to focus on what he is teaching YOU. After that, all your studies should go back to the Imperatives, Essentials, and 1-L.
When you feel lost, apply these principles to BASIC MOTION and get your compression back!
Just one mans opinion.
Kevin
__________________
I could be wrong. I have been before, and will be again.
It is very close to how I think the shot when I don't trust my swing 100% and want to be 100% certain of getting a push draw with the driver.
This is also pretty close to what I did when I killed my slice several years ago. The other ting I did was to use a stronger grip. I keept on strengthen it until a slice was impossible. That got the good spiral going for me. It's amazing how easy it becomes to hige the club late in the down stroke when you feel like you don't have to do it in order to square up the club face. Eventually I developed a hook and had to go in the other direction to find new middle ground.
One thing that is likely to happen when you find the draw is that your release will become gradually more efficient. Because you don't have to force it anymore. And when you get a more efficient release you may have to reverse a couple of things slightly to avoid a snap hook, just like I dit. But I think it is necessary to visit the other side to establish a compensation free impact as the middle ground.
It is very close to how I think the shot when I don't trust my swing 100% and want to be 100% certain of getting a push draw with the driver.
This is also pretty close to what I did when I killed my slice several years ago. The other ting I did was to use a stronger grip. I keept on strengthen it until a slice was impossible. That got the good spiral going for me. It's amazing how easy it becomes to hige the club late in the down stroke when you feel like you don't have to do it in order to square up the club face. Eventually I developed a hook and had to go in the other direction to find new middle ground.
One thing that is likely to happen when you find the draw is that your release will become gradually more efficient. Because you don't have to force it anymore. And when you get a more efficient release you may have to reverse a couple of things slightly to avoid a snap hook, just like I dit. But I think it is necessary to visit the other side to establish a compensation free impact as the middle ground.
I guess you didn't have so much OTT - or you got rid of it as you got rid of the slice? This can also be a steering problem? Since I have been watching the Tom Tomasello tapes (and what Yoda has said), I think that the down and out message (and not so much forward) can be the way to go..?
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