Definitely losing some posture through the shot. I've worked hard on getting the club up on plane better. More work seems to be necessary, but I'm wondering if part of the below plane look is due to bending the right hand. Not sure. I'm also curious... what do you think my handicap is?
I would guess single figures - however what a great example of how to post images and text for discussing swing components. When an image is combined with the discussion it is so much easier to follow.
What did you use to create those composites? Very cool way of doing it. I'm too green to comment on the swing, but I do see some movement (sway) in the second set.
I meant verticle. that clubface is looking at the moon.
this one probably felt a little heavier than most...
Hi roll-gybe,
Seems like you are asking two separate questions here.
1) An analysis of your swing along with a stab at what your handicap is.
2) How to study TGM
My answers....
1) First, your handicap is whatever you want it to be! I am teasing, but from your swing sequences ALONE, I would say it is in the mid-teens, probably a solid 18?
Address 8-3: (Frame 1 - Head On View)
Your head is not centered in the middle of your stance. Per 1-L-1: " The Stationary Post (player's head) accurately returns the Clubhead through the ball (Centered Arc)
You can do 1-L-1 two ways, with no compensations (setting up with a centered head) and with compensations (getting the head back to center of the stance at impact - assuming a correct ball position for straightaway ball flight).
Your uncentered head may be an attempt to try to "stay behind" the ball for whatever reason you may have. Also in trying to look at the back of the ball, instead of focusing the eyes, you have moved the neck and as a result the head moves back of center.
The head is always related to low point and when you set the head back of center, the low point correspondingly moves backwards.
If ball position is not compensated, fat shots are the result. Your swaying, the Fourth Snare per 3-F-7-D, will further increase the likelihood of hitting fat shots if the compensation is not made.
Per 1-L-2: "The Post may turn (Pivot) but does not "sway" or "bob".
Per 6-F-2, "Compensations are like temporary taxes - seldom eliminated and soon forgotten."
In addition, your Right Forearm and your clubshaft are on separate planes. Please compare with Frame 10 in the Down The Line sequence. Notice that at proper impact, the right forearm and the shaft are in the same line.
If you do not have this alignment at address, yet another compensation has to be made to get them to match up at impact.
Per 7-3: "ALWAYS, for all procedures, the Right Forearm is positioned "On Plane" - pointing at the Plane Line as the Angle of Attack (2-N)."
Please see 9-2-3 #1 in this respect.
Also per 5-0, tracing the plane line to ensure an on plane swing per 1-L-6 is "done as though a flashlight were lashed to the Right Forearm with the #3 Pressure Point as the lens causing its beam to move along the Reference Line."
Start Up 8-4: (Frames 2 Down The Line View)
It appears that you have correctly applied a Standard Wrist Action per 10-18-A, ideal for a swinger's swinging motion per 7-9.
Backstroke 8-5: (Frames 2,3,4 and 5 Down The Line View)
Your clubshaft is under the established plane that you are swinging on which is the Turned Shoulder Plane per 10-6-B.
Per 10-6-B: "This Plane Angle has far better performance characteristics than any other because any Plane Angle Shift is very hazardous.
This procedure does not refer to the disruptive Shoulder Turn Takeaway - which is always too "Flat" and/or too "Low" making a Plane Angle Shift mandatory and usually unintentional and unsuspected."
Read the paragraph above carefully. This concerns you.
You are using a Shoulder Turn Takeaway which is why you are under plane. Instead of your current procedure, Mr. Kelly recommends the Right Forearm Takeaway.
Per 2-F: "But precision is lost unless Start Up is a Three Dimensional parallel to the Three Dimensional Impact, i.e., the Clubhead moves Backward, Upward and Inward - On Plane - INSTANTLY AND SIMULTANEOUSLY." This in essence is the Right Forearm Takeaway.
The only instance where the Shoulder Turn Takeaway has pratical application is a "Relative Translation procedure (3-B) to true "Hand Controlled Pivot" procedures." - 10-24-F
This occurs when one is trying to coordinate Zone 1 (9-1) with Zones 2 and 3 (9-2/3).
Per 9-2: "Zone #3 can never be any better than its Zones #1 and #2 support."
You are using a Double Shift Plane Angle Variation per 10-7-C.
Again, please see what I wrote about compensations above.
You should strive for a Zero Shift per 10-7-A, simply because it is easier to do so.
Per 1-H: " Component Variations are listed progressively - that is, where possible, from the simplest to the most sophisticated or else from the least restrictive to Zero."
Per 3-0: "This book presents the "uncompensated" Stroke as a goal, guide and progress report, not as the minimum entrance test."
Top 8-6: (Frame 8 Face on and Frame 7 Down The Line)
You have an End Power Package Assembly Point per 10-21-C, which requires you to use a Top Arc and Straight Line Delivery Path per 10-23-C.
This is because the hands have to travel back down to the right shoulder for "When the Shoulder moves on the same Downstroke Plane as the Hands it provides its greatest support and its best guidance to the Stroke." - 7-13.
It also appears that you lack structure in your swing - the tip off being a bent left arm at the top of the backstroke.
Per 6-B-1-D: "Extensor Action is exclusively the steady effort to straighten the bent Right Arm...this action promotes:
-1. the full extension of the Left Arm at all times
-2. the full extension of the Right Arm for the Follow-through
-3. the correct rate of "Clubhead Closing"
-4. the proper type of support for "passive" Clubhead Lag Pressure involving wristcock"
At the Top position, it is also very evident now that the head is out of center...a compensation is necessary if the ball is to be hit.
Startdown 8-7: (Frame 9 Face On and Frame 8 Down The Line View)
The proper startdown sequence is always per 6-M-1: "Feet, Knees, Hips, Shoulders, Arms, Right Elbow, Left Wristcock and/or Left Hand rotation."
Per 7-17, a startdown that begins at the feet pulls the power package down to the ball and gives the stroke max radius. This is the gear train effect per 6-C-0 para 2.
Per 7-12, "ALL motion...prior to the Downstroke Turn, a (hip) Slide parallel to..." The hip slide should be the first "conscious" move down, but it is the feet and the knees that accomodates this hip motion and thus they react accordingly.
You appear to have done this very well, "leaving the hands" alone well enough until such a time in the downstroke where its time for them to rock.
Downstroke & Release 8-8/9: Frames 10, 11 & 12 Face On
You load the lag with a proper startdown sequence, but alas, you lose the "angle" by releasing specifically the #2 Power Accumulator per 6-B-2-0
Per 10-24-B, you appear to be using a Non-Automatic Random Sweep Release. This is compatible with your power package loading action per 10-22-B, a Random Sweep.
Per 7-20, "Sweep with Sweep, Snap with Snap etc."
However, per 6-N-0: "The earlier in the Downstroke the Release occurs, the larger, longer and slower the Release Arc will be for both Clubhead and Hands.
Other things being equal, this will require higher Hand Speed to produce yardage equivalent to that of the short, quick Arc of the Maximum Delay."
This as mentioned is related to the angle of the left wrist or the #2 Power Accumulator per 6-B-2-0.
The question that I cannot answer from looking at the pics is...do you have high hand speed? If not, you may find yourself losing distance needlessly. On a sidenote, compare the picture in my avatar to your swing. See how I sustain the angle?
Impact 8-10: Frame 13 Face On
Perfect Impact Alignment. The first two imperatives per 2-0-B-1/2 are evident here:
The Flat Left Wrist and the Clubhead Lag Pressure Point.
Hinge action occurs during the impact interval, which is the period of time when the ball is struck by the clubhead to the time when it separates from the clubface.
You say that you are reproducing a vertical hinge action per 10-10-B and indeed it is.
However, you are missing something...Lets move on to the next section.
Follow Through 8-11: Frames 14 & 15 Face On and Frames 12 & 13 Down The Line.
The follow through is the only instance in the swing where the both arms are straight. Per 6-H-C: "Take all Strokes to the Both Arms Straight Position (8-11)"
In those frames that I have highlighted, there is no "both arms straight"
The reason for this is that the right shoulder has moved off plane instead of down the turned shoulder plane. This is roundhousing per 2-N-0 and in turn it causes you to run out of right arm per 7-13.
There must always be an Underhand Pitch motion and Feel. In this stroke there was no such motion nor feel, therefore the resultant pull.
With proper shoulder motion, your divots with the sandwedge to 6 iron will point to the right of the target. Divots with the 5 iron on will be "relatively" straight.
Finish 8-12: Frame 12 Face On and Frame 15 Down The Line
Your flat downstroke shoulder turn has caused you to lose your spine angle again, another tipoff to the compensations that are present in your golf swing.
If there are any errors in my post, I would appreciate correction. Thank you.
First of all, TGM is NOT a method. It is merely a catalog of the things that happen in a golf swing and the things that should be in a effective golf swing.
The foundations of the book are the primary concepts per 1-L: "the Hinge Action (2-G) of an Angular Motion (2-K) operating on an Inclined Plane (2-F)"
The golf swing has 24 components (from putt to drive) and they each have a varying number of variations. Chapter 7 and 10
The golf swing passes through 12 sections. Chapter 8
The motion that makes up the golf stroke can be divided into 3 zones. Chapter 9
There are 20 points through which every swing must comply with in order to produce a geometrically correct swing. All these 20 points can be represented by a geometric figure. 1-L-1 to 21
The science of the book is laid out in Chapter 2.
Chapter 3 shows you the correct way to build your golf stroke.
Chapter 4 talks about Wrist Positions
Chapter 5 talks about Monitoring
Chapter 6 talks about the Power Package
Chapter 11 is a summary of the variations and outlines what are and are not compatible.
Chapter 12 contains zero compensation beginner stroke patterns for both hitting and swinging. It also contains a curriculum with which to begin learning G.O.L.F.
Chapter 13 speaks about non-interchangeable components
Chapter 14 talks about the role of the human mind in golf.
Should you study TGM with professional help? In the timeless words of Mr. Kelly: "Preferable with. Advisedly with! Imploredly with!!!"
Professional instruction can be found right here on LBG. Just send Yoda or Yodasluke a PM and I am sure they will set you on the right track.
just a wild guess.
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