Of the plane and plane line, I believe compliance with the plane line to be more important.
The Sweetspot is always swinging on a Plane. It may not be the Plane the golfer wants it on -- unintentional Twists and Loops abound -- or, even the Plane he thinks it's on ("I feel no shifts at all." -- Jim Furyk). Nevertheless, it's always on some Plane or other. In fact, its motion defines the Plane being employed.
With the Turning Shoulder Plane (10-6-D), for example, the Loading Action is in a Vertical Plane (and not an Inclined Plane). For the most part, though, the ideal is to play 'Inclined Plane Golf'. In which case, the Club usually shifts almost vertically during the Backstroke from an Elbow Plane at Address to one of the Shoulder Planes (Turned or Squared) at the Top. This is defined as the Single Shift (10-7-B). A Double Shift (10-7-C) occurs when the Club returns to its original Plane Angle during the Downstroke.
At all times, however, with or without a Plane Shift, the ideal is to maintain "a straight line relationship to a straight line" (2-N-0). In other words, the Clubshaft -- one end or the other per 1-L-#6 -- continues to point at the Baseline of the Plane. [Note: Though the Inclined Plane concept always references the Sweetspot Plane unless otherwise noted, the Clubshaft Plane (the visible) is used as the Visual Equivalent (2-F) of the Sweetspot Plane (the invisible). In fact, they are indeed one and the same as the Clubshaft rotates about the Sweetspot during the Backstroke, Downstroke and Follow-Through, thus causing the Clubshaft and Clubface to lay on the same Plane.]
So, no matter what Plane or Planes are employed, always remember:
"Changing the Plane Angle has no effect on the Plane Line" (1-L-#18 ).
Furyk, when viewed from the perspective of the hands and their travel, has very little/no shift. A big part of the reason he is so accurate and consistent.
IMO - too much emphasis is placed on the the shaft's travel, and it causes great confusion re: planes and 'shifts'.
The hands, and their path, are much more telling of what 'on plane' really means.
Monitor the hands.
__________________
"Support the On Plane Swinging Force in Balance"
"we have no friends, we have no enemies, we have only teachers"
Simplicity buffs, see 5-0, 1-L, 2-0 A and B 10-2-B, 4-D, 6B-1D, 6-B-3-0-1, 6-C-1, 6-E-2
Furyk, when viewed from the perspective of the hands and their travel, has very little/no shift. A big part of the reason he is so accurate and consistent.
IMO - too much emphasis is placed on the the shaft's travel, and it causes great confusion re: planes and 'shifts'.
The hands, and their path, are much more telling of what 'on plane' really means.
If my thinking is oriented around establishing...or ideally... maintaining an in-line relationship between the shaft (proxi-sweetspot) and my right forearm... am I on track? I am almost to the point where I have just about substituted the clubface with my FLV left wrist...the clubhead with my BLV right wrist and the shaft with my right forearm. What I have to focus on the most at this stage is my right forearm wedge staying intact. If I fan correctly it is a beautiful thing!
A little more than a year into THIS, the game has taken on a sweet simplicity. I now count all the hair pulling and gnashing of teeth as joy! My wife says that I am more at peace with myself! Golf too is a knowable, albeit complex, quantity.
I got me a left hand, a right hand, a forearm and a pivot that does what it is told...let's play G.O.L.F!
Question about elbow postions and forearm fanning. Is pitch more conducive to fanning than punch?
I'm looking forward to the lreease of the Blake/Trolio collaboration. I enjoyed the smackerel...the dedication to "my teacher, Homer Kelley" plucked on my one heart string.
Saturday morning musing
Not to sound too "schmultsy" but I "know" Homer Kelley primarily through the book, but especially through Lynn's narrative and personal anecdotes. I understand the loyalty he attracted, not cultic sycophance as cynics suggest, but rather awe for his selfless desire to assist others. Although I never had the pleasure of his company...I have learned a great deal from him...after my college coach, I consider HK my most important golfing influence. 4 of the top 5 have been added since my discovery of TGM! No need to rank 'em all but Lynn is there...and can you believe...BUCKET...another selfless seeker.
Question about elbow postions and forearm fanning. Is pitch more conducive to fanning than punch?
The Right Elbow fans with both Pitch and Punch. Of the Major Basic Strokes (10-3-A/B/C), only the ponderous Push keeps the Hands between the Elbow and the Ball.
Yoda...you just made my day! Thanks for the elbow response. While alternating from pitch to punch in the mirror this morning (I was sort of brushing my teeth with my left hand) it got me thinking :
Pitch - the elbow is in front of the right hip. does this put the elbow slightly to the left (towards the belt buckle?)
Punch - the elbow is to the side of the right hip, placing the elbow further right of the right hip when compared to pitch?
It seems as if it is anatomically "easier" to fan when the joint around which the motion occurs is closer to the center of the body. I am trying to ascertain if this is "codswallop", a personal "seems as if", or universally true.
Are elbow positions a spectrum deal? Pitch on one end...and push on the other? I know you can and must fan from punch...but if you were going to teach a beginner right forearm fanning would it be easier to start from pitch?
I love to hit...although I generally swing. one of my preferences for swinging is that I "feel" (pardon) more adept at fanning from pitch. I just finished clapping from both pitch and punch. My wife is shaking her head with mock exasperation! Actually, I found it easier to fan clap from punch. Crud...let me go check Dianne out...again!
Yoda...you just made my day! Thanks for the elbow response. While alternating from pitch to punch in the mirror this morning (I was sort of brushing my teeth with my left hand) it got me thinking :
Pitch - the elbow is in front of the right hip. does this put the elbow slightly to the left (towards the belt buckle?)
Punch - the elbow is to the side of the right hip, placing the elbow further right of the right hip when compared to pitch?
It seems as if it is anatomically "easier" to fan when the joint around which the motion occurs is closer to the center of the body. I am trying to ascertain if this is "codswallop", a personal "seems as if", or universally true.
Are elbow positions a spectrum deal? Pitch on one end...and push on the other? I know you can and must fan from punch...but if you were going to teach a beginner right forearm fanning would it be easier to start from pitch?
I love to hit...although I generally swing. one of my preferences for swinging is that I "feel" (pardon) more adept at fanning from pitch. I just finished clapping from both pitch and punch. My wife is shaking her head with mock exasperation! Actually, I found it easier to fan clap from punch. Crud...let me go check Dianne out...again!
Experiment with Right Elbow location EVERYWHERE in the stroke. Homer said the Right Elbow HAS TO BE SOMEWHERE (at all times right?). He also siad he'd build his swing around the right elbow.
Soooooooo . . . Pitch Punch Push are basically thought about around "Delivery" . . . but try getting "pitchy" on your backstroke and see what happens.
Notice how at Top the Right Elbow Location in space can impact the Plane Angle . . . Plane Shifts . . . .
Experiment with Right Elbow Location (and Left Elbow too) ThROUGH THE BALL. Notice how it Impacts the Location of the Clubshaft (amount of lean and amount that the handle is raised or lowered).
Pay attention to how your right elbow moves in space . . . Is it moving out and away from you? Is it moving in an "arc" like trajectory around our rib cage?
Notice how the Right Elbow motion and location also impacts the angle your shoulder turn on . . . which is basically a Hand Path deal. Hand Path and the resulting Elbow Location is HUGE . . . impacts lots of areas in the stroke.
Golf too is a knowable, albeit complex, quantity.
Hybrid Mode
