How To Bring It Down, By Bobby Locke

"I enjoyed teaching and I made a success of it.

When golfers came to me, I looked them over and took each one through a routine I had devised myself, starting with the suitability of their clubs.

Many of the people that came to me did not have suitable clubs.

I remember one example. It happened in 1946 - I resumed as club pro. at Vereeniging for a short spell - when a local solicitor came to me for lessons.

He told me he was golf crazy and that I was his last resource.

He added that he had had something like seventy lessons from other professionals, had never broken 100, and that if I would get him down to an 18 handicap he would remember me in his will.

I told him that if I did not reduce him to 18 in three months, there would be no fee.

He was a man about five feet nine inches tall and medium of build, but his hands and wrists were weak.

I decided the clubs he was using were too heavy and told him he must get a set of ladies' clubs. He replied, 'Good Heavens, I could not do that; people would laugh me out of the club'.

Eventually he agreed, and I began to give him a lesson every morning at seven o'clock.

His grip was wrong - in fact he was doing most things wrong. I showed him the correct grip, how to take the club back, how to bring it down, and how to follow-through.

In six weeks he was playing to 18, and winning most of his week-end games.

He was a good pupil, he practised hard, and he did what I told him.

What he said to me afterwards gives, I think, a clue to what everyone teaching golf should try to achieve.

'For the first time in my life', he told me, 'you have given me a complete picture of how to set about playing golf, and now that I can see the picture, I can act accordingly.'

Today that man is playing to 11 and is hard to beat on that handicap.

Another rule I made about teaching was that if I did not reduce a player's handicap, I would not accept any fee."

Reference : 'Bobby Locke On Golf'. Part One: My Golfing Life, 6. Golf Teacher, page 34. First published in 1953 by Country Life Limited, London. Bobby Locke South African Amateur Champion 1935, Irish Open Champion 1938, New Zealand Champion 1938, Dutch Open Champion 1939, South African Open Champion 1946, Houston Open Champion 1947, U.S.A., Canadian Open Champion 1947, Goodall Round Robin Champion 1947, U.S.A., Chicago Victory Open Tournament Champion, 1948, U.S.A., Tam O'Shanter All-American Tournament Winner 1950, U.S.A., Mexican Open Champion, Mexico City, 1952, French Open Champion, 1952, British Open Champion 1949, 1950, 1952 and 1957.

Bobby Locke On Golf 1954 Simon And Schuster, New York I was his last resource

Available on Amazon

Cure To A Slice

"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


Work Away From The Right Shoulder By Vivien Saunders Open Champion

The Golf Swing And The Long Game 1991 VHS by Vivien Saunders. "Check your grip"
Filmed at Abbotsley Golf Hotel New! A complete guide in 6 DVD's Golf from Tee to Green – 6 DVD set

Action Of The Right Hand (1903) By J. H. Taylor

Downward Swing

Not To Allow The Arms To Go Away From The Body

The wrists start bringing the club down ; care should be taken not to allow the arms to go away from the body, otherwise the arc described in the upward swing will not be repeated.

The club is brought down principally by the left wrist, the right doing very little until the hands are opposite the right leg, when it begins to assert itself, bringing the full face of the club to the ball.

This action of the right hand combines to accelerate the speed at which the club-head meets the ball.

Assuming that the club-head is travelling at its highest speed at the moment of contact, and the right knee working properly, the follow through is the natural result.

The right knee commences to bend towards the ball at the moment of impact, and the weight is thrown on to the left leg, which has gradually resumed its original position."

Reference: 'GREAT GOLFERS Their Methods At A Glance' By George W. Beldam J. H. TAYLOR By HIMSELF, Dec. 10th, 1903, page 99. With Contributions By Harold H. Hilton J. H. Taylor James Braid Alex. Herd Harry Vardon Illustrated BY 268 Action Photographs London MACMILLAN AND CO., Limited 1904 All rights reserved Dedicated By Kind Permission To The Right Hon. A. J. Balfour Prime Minister Who Has Done So Much For The Royal And Ancient Game. Richard Clay and Sons, Limited Bread Street Hill, E.C., And Bungay, Suffolk. First Edition, March 1904 Reprinted, May 1904

Download : 'GREAT GOLFERS Their Methods At A Glance' By George W. Beldam, J. H. TAYLOR By HIMSELF, page 99, 'My Notes On Each Stroke' J. H. TAYLOR 1903 Open Champion 1894, 1895, 1900, Part One.

Download : 'Golf Faults Illustrated' By G.W. Beldam & J.H. Taylor New & Enlarged Edition Fourth Impression, First Chapter Essential Principles Illustrated For Beginners page 1. London: George Newnes, Limited Southampton Street, Strand, W.C. 1911.

Download : 'R. A. Whitcombe Says Golf's No Mystery! Thirty Photographs 2/6 Net London: J.M. Dent And Sons Ltd. Golf's No Mystery! A book for golfers and beginners By R. A. Whitcombe Open Champion With a Foreword by Peter Lawless Illustrated with thirty photographs All rights reserved Made in Great Britain at The Temple Press Letchworth for J. M. Dent & Sons Ltd Aldine House Bedford St London First published 1938 Reprinted 1938 (twice) CHAPTER XXI. Back To Bread-And-Butter Page 126 "The right hand is the master of the golf shot." by R. A. Whitcombe Open Champion.


"The club is brought down principally by the left wrist, the right doing very little until the hands are opposite the right leg, when it begins to assert itself, bringing the full face of the club to the ball. This action of the right hand combines to accelerate the speed at which the club-head meets the ball." J. H. Taylor


Throw Them Back And Out (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.

Alex Smith

Alex Smith Body In Front Of Ball Causing Poke To Right Or A Slice

Body In Front of Ball Causing Poke To Right Or A Slice

This I believe to be quite wrong, at least for my grip and swing.

My Theory

My theory is that the power of the down swing comes from what I call the "throw of the club." 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 be approximately that of a true circle.

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.

Now, the true course of the club head in all full driving shots is that of the slightly flattened circle - an ellipse, if you want to use the mathematical term.

They secure the flattened arc of the true swing by the backward movement of the right elbow.

Throw Them Back And Out

I told you that near the top of the swing the wrists must be bent sharply towards the right shoulder. (Note that this 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.

One Further Point, And A Most Important One

One further point, and a most important one, although I have never seen it brought out in any of the previous text-books.

Reference : 'Lessons in Golf' By Alex Smith Open Champion, United States and Western Open Champion. Lesson II Stance, Grip, and Swing. New York, Arthur Pottow, 48 West 27th Street. Copyright 1907 by Arthur Pottow. Grannis Press. U. S. Open Champion 1906, 1910. 1903 Western Open, 1905, 1909, 1913 Metropolitan Open.

Download : Lesson II Stance, Grip, and Swing "The Throw Of The Club" By Alex Smith, 1907.

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"Do not allow the left elbow to swing out and away from the body. It must be kept back so as to allow of the "snap of the wrists" at the critical moment when the ball is struck." Alex Smith


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.

The Common Error

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.

At A Point Slightly Behind The Player

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 As the club should come down i.e., behind the player Harry Vardon How I Play Golf 1913

COMING DOWN
- 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.

The Half Cleek Shot By Harry Vardon 1911

Harry Vardon

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, Second, Third, and Fourth Editions October 1912, Fifth Edition March 1913. Open Champion 1896, 1898, 1899, 1903. American Champion, 1900.

Download : 'How to Play Golf' 'Chapter V. How To Drive, Coming Down', Illustrations, page 74, Chapter VII. Some Common Faults including 'Slicing' page 149, Chapter XIII Prominent Players And Their Methods, By Harry Vardon.

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"I do not say - as some people do - that you are sure to come down correctly, because you may make the grievous mistake of throwing out your arms. There is one admirable means of preventing such a sure producer of disaster. It is to aim at an imaginary something to the right of the player and about a foot behind the line in which he is standing." Harry Vardon


Snap The Club Head Thru (1930) By Seymour Dunn

"Timing" The Stroke

"Each and every set of muscles must make its effort in such a manner that the climax of all is concentrated on the ball. This is called "Timing" the stroke.

Good timing of the golf stroke is the secret of both distance and direction.

Slicing Bad Timing of The Stroke

The most common fault in golf is slicing. This is caused by bad timing of the stroke, the wrists failing to snap the club head thru on time.

Exerting too much pressure with the shoulders, or too little with the hands, or a combination of both is the chief cause of bad timing. When too much shoulder pressure is applied or too little hand pressure, the club head gets behind. Usually the shoulders are at fault. Because of their great strength they race ahead, carrying the wrists past the point where they should do their work before they get a chance to do so.

The club handle being carried thru ahead of the club head, causes the club to face to the right of intended line of play and the shoulders getting ahead throw the swing out of line, the club being dragged across the line of play from outside the line of play to inside.

This is really a combination of two slicing causes: (1) cutting across the ball, and (2) the club face is not square to the line of play. The two faults may be treated as one. However, first must be determined: are the shoulders exerting too much pressure or are the hands loafing. So far I have merely explained the cause of this slice.

The next step is to prescribe a sure cure for it.

The Cure For The Slice

The Cure for the Slice above described: Take a golf club in hand, address the ball as for play, but push it away from you so that it will be about a foot beyond your reach. The object of the ball is not to strike at it, but merely to have it to line with up. (Any other small object will do just as well).

Now draw an imaginary line from your nose to the ball. We will call this the center line. Now swing your club up to the top of your full swing just as if you were going to drive a ball. Now strike down very easily in the regular order of your driving swing, i.e. start the weight shifting first, putting down the left heel and transferring the body weight from the right foot to the left. As soon as the weight is started forward start the arm action dragging the club down handle foremost, When the left wrist comes to within six inches of the center line stop it there, absolutely and completely.

Fundamental 11 Concentration of Power and Timing The Cure for the Slice Seymour Dunn 1930

Learn To Snap The Club Head Thru On Time

Now by the wrist action snap the club head down and thru the center line as far as you can, but do not let the left hand pass thru this line. At first do this exercise very easily or you may hurt your left wrist; as you become better acquainted with the action increase the force with which you snap the club head thru. Just be a good soldier and take your medecine, you want to cure your slice, and this exercise will certainly do it.

It Will Increase Your Distance

It will increase your distance tremendously by teaching you to let your club head go thru on time and with a snap.

Fundamental 10 Order of Dynamics of Stroke Downswing 6 Seymour Dunn 1922

Do not overlook these points with regard to the position you are to end this exercise in, and remember that the nine all important points are...:

9 The left hand is to be stopped short of the center line and is to stay there. (See Illustration on page 223).

Never Known This Cure To Fail

Now repeat the exercise. At first you will think you are going to break your left wrist, but just go easy and be sure you persevere. Of thousands of cases of slicing I have never known this cure to fail.

Doing this exercise you are snapping your wrists too soon, which is the cure for snapping them too late. In this you are simply doing the opposite of your fault. Instead of letting your shoulders race ahead around to the finish of the swing, you are cutting them out of it entirely thus giving you hands a chance to learn to snap the club head thru vigorously and on time.

When you have done enough of this exercise try to hit the ball and deliberately try to hook it by snapping the wrists too early."

Reference : 'Golf Fundamentals' By Seymour Dunn The Saratogian Printing Service Saratoga Springs, N. Y. Copyright 1930 by Seymour Dunn All rights reserved Fundamental 9 Wrist Action Fundamental 11 Concentration of Power and Timing Page 124 (See Illustration on page 223).


"Thus the wrists are set two ways. They are (1) turned due to the twist of the forearms, and they are (2) bent, or cocked. It is the combined uncocking and untwisting action that produces the so-called snap of the wrists. And this last instant snap, or whipping movement, is responsible for 85% of the velocity of the club head." Seymour Dunn


Mr Jones Tell Me Something How Can I Get Rid of My Slice?

"Pushing the club away from the body" by Bobby Jones "How I Play Golf" Collection 1931-1933
by Warner Brothers at The Scioto Country Club

"This transition from upswing to downswing is a truly crucial point, and it is here that ninety-nine out of a hundred bad golf shots are incubated. Just let the player's hands move a few inches towards his front, or let him turn his head a few degrees towards the objective, and the shot will be spoiled beyond any recovery. Even in the most competent golfing company this is the real danger point of the swing." Bobby Jones


Clubhead Does Not Move Outward (1933) By Henry Cotton

At The Beginning Of The Downswing

HINTS on PLAY with STEEL SHAFTS by HENRY COTTON Starting Down Page 15 Right hand takes possession to square the club face with the ball at impact by Bobby Locke 1953 It is my interpretation, exaggerated intentionally, of how to ensure that the clubhead does not move outward at the beginning of the downswing Henry Cotton 1933 Hints On Play With Steel Shafts by Henry Cotton 1933

Reference : 'HINTS on PLAY with STEEL SHAFTS' by HENRY COTTON, including The Address, Starting Back, Starting Down, A Wrist Exercise, The Grip Published by BRITISH STEEL GOLF SHAFTS LTD., 26 Exchange Street East, Liverpool 2, by whom the Copyright of the text and illustrations is reserved. Circa 1933. Henry Cotton, Champion Belgian Open 1934, Italian Open 1936, German Open 1939, French Open 1947. British Open Champion 1934, 1937, 1948.

Movement down necessary in every inside to out hit By Henry Cotton 1964

Download : 'Study The Golf Game With Henry Cotton' The Driver: Looking Down The Fairway including "This shows the movement down necessary in every inside to out hit, where the clubhead falls backwards" Page 13. Published in 1964 by Country Life Limited Tavistock St. London WC2 Printed in Great Britain by D. H. Greaves Ltd Scarborough.


"The club head, in the case of most top golfers, can be seen to drop backwards, away from the golfer's head, as it starts its downward path. This backward movement of the club head is an insurance against its arc drifting outside the ball-to-hole line. In other words, the club head is kept firmly on the 'inside-to-out' line." Henry Cotton


Absorption Of Shoulder Turn (1934) By Seymour Dunn

Seymour Dunn 1916"The first movement in the down swing is the shifting of the body weight by a sidewise action of the hips.

This movement, in fact, starts before the backswing of the club is completed.

Outside Of The Right Foot

The second movement in the down swing is the downward pull of the left arm, which drags the club down handle foremost, first in the direction of the outside of the right foot, and then as if you intended to hit the back side of the ball with the butt end of the club handle.

The wrists remain cocked until the first and second movements are almost completed.

Absorbed By Further Pronation Of The Left Forearm

While the hip shift and left arm pull are taking place, the shoulders slowly unwind.

This unwinding of the shoulders would throw the swing out of line were it not counteracted or absorbed by further pronation of the left forearm during the down swing. This absorption of the shoulder turn by the forearms is the most complicated movement in the entire swing, so I will analyze it in detail.

Counteracting Their Movement By A Pronation Twist

In the down swing the lateral hip action, automatically starts the arms downward to the right in an arc following the oblique plane of the swing. Meanwhile, the shoulders are slowly unwinding and gradually approaching their original position, parallel with the line of play which they occupied at the address.

Golf Fundamentals Orthodoxy Of Style Seymour Dunn  shows direction in which initial effort should be made from the top of the swing

Note position of peg in ground,
to player's right. This shows direction in which initial effort should be made from the top of the swing

While the shoulders are turning and the arms are descending, the left forearm is counteracting their movement by a pronation twist that keeps the club parallel with the line of play.

Golf Fundamentals Orthodoxy Of Style Seymour Dunn  merely to illustrate the idea of -start the club down to the right of you

Merely to illustrate the idea
- start the club down to the right of you.

The club head during this stage of the swing does not turn with the shoulders but lags behind."

Reference : 'Standardized Golf Instruction' Third Edition, Published by Seymour Dunn Queens Plaza Outdoor Golf School 21st Street and 41st Avenue Long Island City, New York, U. S. A. Seymour Dunn Author of Golf Fundamentals Golf Professional Teterboro Golf School Hasbrouck Heights, New Jersey, U. S. A. Copyright 1934 - Seymour Dunn All Rights Reserved. Analysis of the Back Swing Movements, Downswing Page 89.

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"This unwinding of the shoulders would throw the swing out of line were it not counteracted or absorbed by further pronation of the left forearm during the downswing. This absorption of the shoulder turn by the forearms is the most complicated movement in the entire swing, so I will analyze it in detail. The club head during this stage of the swing does not turn with the shoulders but lags behind." Seymour Dunn


Introducing Bobby Locke Four Times British Open Golf Champion

Liberator Squadron pilot in 'Golden Greats of Golf 1859 to the Present Day' with Peter Alliss © 1986 VHS Available
on Amazon Looping swing Exaggerated draw? Finest Putter the world has ever seen

A Drag With The Left Hand (1953) By Bobby Locke

Bobby Locke On Golf Part Two How I Play Golf 19. Teaching And Learning

THE DOWNSWING TO IMPACT

How I Play Golf By Bobby Locke 1. FIVE FUNDAMENTALS

How I Play Golf The Five Fundamentals of The Game By Bobby Locke Four Times British Open Champion
Open Champion 1949, 1950, 1952, 1957

To All Handicap Golfers - A Drag With The Left Hand

"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.

Illustration I

Please examine this position most carefully and practise and practise until you can emulate it faithfully.

Illustration 2

And always remember that the first movement of the downswing is a slight drag with the left hand.

Drag with the left hand at the beginning of the downswing by Bobby Locke

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.

Illustration 2 overlaying Illustration 1 the drag with the left hand

Drag with the left hand at the beginning of the downswing by Bobby Locke. Surimposed images.

To return to the left hand:

Also Starts Main Weight 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.

'Right-Knee-High'

Illustration 3

I am now down almost to the 'right-knee-high' position with my hands, and this is the hitting position.

To Square The Club-Face

It is here that the right hand takes possession to square the club-face with the ball at impact."

Right-knee-high position is the hitting position by Bobby Locke

What I learned early by Bobby Locke

Bobby Locke On Golf 1953 Country Life Limited Cure To The Slice The DragDownload : 'Bobby Locke On Golf' 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, Major Tournament Victories, 7. The Short Irons, 19. Teaching And Learning and "the importance of starting the downswing with the drag with the left hand." First published in 1953 by Country Life Limited, London.

Download : 'King of The Links' The Story of Bobby Locke Golfing Immortality By Ronald Norval Maskew Miller Limited Cape Town Printed by The Standard Press, Limited 44/46 Commercial Street Cape Town.

"I have now started the club on the downswing, and once more the first movement is a slight drag with the left hand. Again let me repeat that this prevents looping at the top, and it also keeps the club travelling on the 'inside' downward movement to the ball. At this stage the left foot is already back firmly on the ground." Bobby Locke


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The Most Important Thing In The Golf Swing Is Ben Hogan Sam Snead

Ben Hogan and Sam Snead in SHELL'S Wonderful World of GOLF Houston Country Club Houston U.S.A. DVD Available on Amazon. "The first movement in the down swing" Seymour Dunn 1934

"A loop is caused at the top of the backswing when the hitter becomes overanxious, turns his body before the clubhead starts down, and thereby causes the club to hit across the ball. This usually results in a wild pull to the left or a smothered shot. It can also end in a bad slice, depending on the angle at which the club face actually comes across the ball." Sam Snead


About Curing The Slice (2014) By Vivien Saunders

"Many thanks for the link to your site. It is great. Thanks for the mention on it.

I have just produced a new series of 6 instructional DVDs, one of which on the long game focuses on the slice cure and have also set it out on the DVD re practising etc.

I also have one of my books Advanced Golf up on Kindle and more to follow.

The great thing about curing the slice is to get the clubface and head working correctly where so many pros try to tackle the out to in swing first which as you know is hopeless and the wrong way round."

Source : 'Vivien Saunders, 1977 Women's British Open Champion. Managing Director, OBE PhD FCMI (Solicitor - retired) Abbotsley Hotel, Golf & Country Club 24 September 2014, Email.


Cure To A Slice thedrag®

"The most common slice is the one caused by bad timing of the wrist whip which results in the club handle going through ahead of the club head. Slicers should learn to get the club head through on time with the handle. In this way the slice will be cured and distance gained instead of lost." Seymour Dunn


Principal Causes of Slicing (1901) By Walter J. Travis


Insights

by Dr. Bob Rotella - The hard part

"If you've read this far, you might well be thinking: Find a pro, make a commitment, and take lessons, huh? It can't be that simple, that easy.

You're half right. It is that simple. But it's not that easy. If it were that easy, golf would not be the game that it is. Everyone would play at or near par.

The Golf Of Your Dreams Dr. Bob Rotella With Bob CullenTitanium factories could resume selling sheet metal to the Air Force. The folks who make the latest slice-curing club would have to find honest work. People in search of a real challenge might have to take up something like figuring out the origins of the universe or understanding the tax code. But golf is a hard game to play well.

The hard part, of course, is not finding a pro, making a commitment, taking lessons, practising, or anything else I've discussed thus far.

The hard part is honoring your commitment."

Reference : 'By The Author Of Golf Is Not A Game Perfect The Golf Of Your Dreams' Dr. Bob Rotella With Bob Cullen Pocket Books London * Sydney * New York * Toronto This edition first published by Pocket Books, 2005 An imprint of Simon & Schuster Ltd A CBS Company Copyright © Robert J. Rotella, 1995 From the best selling author of Golf Is Not a Game of Perfect and Putting Out of Your Mind comes a book that shows all golfers, no matter what their handicap, how to play the golf of their dreams. Chapter 4 The Hard Part Page 59.

Reference : 'Jimmy Hitchcock Master Golfer' Stanley Paul © J. Hitchcock 1967 including "the secret of good putting is simply this:"

by Steve Gould and D. J. Wilkinson - Poor chap spent months slicing

Ben Hogan's Five Lessons The Modern Fundamentals of Golf 1957"Whilst writing this lesson our thoughts went back to the late 1970s when one good old client of ours had terrible trouble turning his shoulders from the top of the backswing, bringing the club over and across the ball.

He put this down to reading Ben Hogan's 'Modern Fundamentals of Golf' and trying to start his downswing with a turn of the hips.

As discussed earlier, it is virtually impossible to turn the hips without turning the shoulders and the poor chap spent many months slicing his way around the golf course.

Once we had improved his follow through and shaped his backswing, we taught him the exercise overleaf and he loved it.

The Golf Delusion Steve Gould and D. J. Wilkinson page 91In fact, he made it his own and it stayed with him permanently!

He found it so helpful and he hit the ball so much better that he actually played around the golf course, stopping at the top, pumping his arms up and down and thumping it!

Did it affect his handicap?

Well he certainly looked strange; he was the talk of the club and the butt of many a joke, as for his handicap, yes, it changed from 15 to 7."

Reference : 'The Golf Delusion Why 9 out of 10 Golfers Make The Same Mistakes' by Steve Gould and D.J. Wilkinson. Introduced by Hugh Grant. First published 2009 by Elliott and Thompson Limited, London. Copyright © Steve Gould and D.J. Wilkinson. 'Lessons and Stories' from the Knightsbridge Golf School founded by Leslie King in 1951.

On Amazon : The Golf Delusion: Why 9 Out of 10 Golfers Make The Same Mistakes

by Walter Hagen - Learning to control my hooks and slices

"During those months of practice, also, I tried to pave my swing with guards.

What is a guard? Well, a guard is the method of controlling the power a golfer gets from the combined use of arms, hip action and the placement of the hands.

They always said I started my shots with a sway and ended with a lunge page 55 The Walter Hagen Story By Walter Hagen With Margaret Seaton HeckKeeping the arms together and pinching the knees together in unison, with complete hand control of the club, allows the player to fade or slice intentionally by letting the left hand be the master. In drawing or hooking a shot the right hand becomes master.

Movement plays a very important part throughout the swing. With a fade the hips go forward with the arms, while with a hook one must pivot sooner. Don't exaggerate this action, for it's wise to retain enough energy for extra-curricular activity - perhaps some night work on a fancy tango or a few lively steps of the Charleston.

Guards are necessary throughout the game of golf, particularly when the prevailing wind is on one side or the other - or when trees block the way. This last, over a period of years, was my biggest problem, for I found myself in the woods so continuously I began carrying a hunting licence.

So I practised using guards by placing two newspapers at given distances on the fairway, and spent longs hours learning to control my hooks and slices.

Needless to say, I did not acquire the rhythm and ease and smoothness I desired within the next few months or even the next few years. But I continued to work on it, polishing, practising and perfecting...gaining in some small measure as the time passed."

Reference : 'The Walter Hagen Story' By Walter Hagen With Margaret Seaton Heck Heinemann Melbourne London Toronto First published 1957 Printed in Great Britain at The Windmill Press Kingswood, Surrey. Part One: The Tee 5 Champion, 1914 Page 36.

by Dai Rees - A golfer challenged my assertion

"On one occasion, in Glasgow, the film projector broke down and I had to start the programme from the end while it was being repaired. A golfer in the audience challenged my assertion that the down swing must begin with a hip movement.

'This is not what John Shade thinks, and he has produced a world champion,' he said, referring to John's son, Ronnie Shade. Fortunately I knew I had some evidence on the film which would substantiate my case, and so I asked the man point-blank if he would be convinced if my views were corroborated by Sam Snead and Ben Hogan.

He said of course he would, and so I ran the film in which the two American players say the same thing. Because of these lecture tours I have become convinced that the average golfer is bogged down by theory. If you took a complete beginner and told him to hit the ball, the chances are that he would strike it very well, yet many golfers believe that they will only succeed in hitting a powerful and accurate ball if they tie themselves up in a position from which they cannot go wrong.

Thirty Years of Championship Golf Dai Rees An AutobiographyBy the time Mr. Novice Golfer has read a typical instructional book, even one by as great 'brain' as Ben Hogan, and has not actually had the swing explained and demonstrated personally, his head buzzing with so much theory that it is a wonder he hits the ball at all; keep your head down, hit past the chin, tilt the chin, get under/through/behind/beneath the ball, swivel the hips but use the hands, keep the head still/down/tucked on the shoulder/behind the ball, imagine you're tolling a bell/chopping a tree/lashing a whip, hit late/later/very late and keep the left side STIFF!

See what I mean?"

Reference : 'Thirty Years of Championship Golf DAI REES' An Autobiography (with John Ballantine) Stanley Paul Stanley Paul & Co Ltd 178-202 Great Portland Street, London W1 First published 1968 © Dai Rees 1968, page 114.

by Audrey Howell - Vardon had not been happy with his driving and the magic returned

Harry Vardon The Revealing Story of a Champion Golfer Audrey Howell"Over the previous few weeks, Vardon had not been happy with his driving.

Arriving at Prestwick for a practice round, he noticed a forgotten club propped against the professional's shed. He picked it up and tried it out on his practice round and, feeling satisfied with its performance, used it throughout the tournament.

It did not concern him that it was a woman's driver.

In his large hands it did what he asked of it and the magic returned."

Reference : 'HARRY VARDON The Revealing Story of a Champion Golfer' Audrey Howell & Vardon's son Peter Vardon Howell National Golf Croquet Champion, Tempus Foreword by Tommy Horton First published 1991 Revised edition 2001 Published in the United Kingdom By: Tempus Publishing Ltd The Mill, Brimscombe Port Stroud, Gloucestershire GL5 2QG © Audrey Howell 2001, 10 Against All Odds Page 80. www.jerseybookshop.co.uk

by Sam Snead - If you have a feeling that you must swing out from the top

"Keep that swing slightly inside out across the direction line.

If you have a feeling that you must swing out from the top you are probably a slicer. You should have the feeling of pulling your hands down from the top more towards your right hip.

If you will do this your clubhead will swing in more nearly a perpendicular arc, enabling you to hit the ball with a slightly inside-out action at the ball.

By inside-out I mean the clubhead will approach the ball from slightly inside the direction line and pass slightly outside the direction line as you follow through.

Sam Snead Tells You How To Play Better GolfThis gives control and added distance to the flight.

Remember to start those hands straight down towards your right pocket and you can depend upon the reversal of your hip and shoulder pivot to carry the clubhead itself out to correct impact with the ball.

If you swing your hands outwards instead of almost straight down at the start, you add that outward motion to the hip and shoulder pivot so that almost inevitably the clubhead will swing outside-in across the direction line, which is wrong.

An outside-in swing will produce a slice or at the very best, a ball driven off-line to the left.

All clear?"

Reference : 'SAM SNEAD Tells You How To Play Better Golf' (Former British Open Champion).

by Gene Sarazen - While taking flying lessons in Florida

"Necessity is the mother of invention, so the cliche goes, and it was necessity that compelled me to invent the sand-iron almost 30 years ago.

In 1931 I was intent on winning a British Open and also copping another National Open.

Taking stock of my game, I realized that I was throwing away championships always because of one disastrous stroke in the course of 72 holes. And almost invariably this disastrous stroke could be traced back to a sloppily played trap shot that cost cost me a double-bogey, if not a worse score.

GOLF Magazine's Your Short Game Award Books 1962 The sand-iron was born by Gene SarazenPlainly, something drastic had to be done to improve my bunker play. That something came to me, strangely enough, while taking flying lessons in Florida that winter.

I was observing the action of the tail fins in making the plane go up or down.

Perhaps, I thought, a "tail fin" on a niblick would help me to put quick loft on a trap shot. At any rate, I could hardly wait to get the plane back on the ground to see if some sort of a flange could be attached to a club that would serve the purpose of generating pronounced loft. I wanted to make myself a club that would drive the ball up as I drove the clubhead down.

When a pilot wants to take off, he doesn't raise the tail of his plane, he lowers it. And so the sand-iron was born."

Reference : 'GOLF Magazine's Your Short Game' Foreword by Bobby Jones Instruction Editors: Jimmy Demaret, Gene Sarazen, Louise Suggs Illustrations by: Lealand Gustavson, Joe Farris Award Books New York Tandem Books London Copyright © 1959, 1960, 1961, 1962 by Universal Publishing and Distributing Corp. 5. Development Of The Sand Wedge By Gene Sarazen, page 78.

Download : 'Golf Magazine's Your Short Game' Development of the Sand Wedge by Gene Sarazen.

by Bob Christina, Ph.D. - Why are slices so tough to fix?

The game's not much fun when you're reaching into your bag to replace a ball you sliced out of play -- for the fourth time in six holes!

You're not alone. Like many weekend players, no matter how hard you work at it, you just can't shake your card-wrecking banana ball.

Why are slices so tough to fix?

After all, everybody knows the cure: an inside-out swing path.

Okay, there may be clubface issues at work, too, but there's a consensus that grooving an inside-out path is the most powerful no-slice secret.

So why can't most golfers execute it?

We were curious if the answer might lie in the kind of swing thought we use when trying to hone an anti-slice swing, so we took this question to the golf lab. There are hundreds of ways to practice swinging from the inside out. But they all fall into one of two categories:

(1) Those that focus your attention on what the club is doing; and

(2) Those that focus your attention on what your body is doing.

For you science-lingo lovers, thoughts about the club (for example, "rotate the toe past the heel through impact") are called external cues, while thoughts about your body ("turn your left shoulder under your chin on the backswing") are called internal cues.

Plenty of research into athletic performance suggests that external cues are more effective at optimizing performance than internal ones. Although most of the studies to date have focused on outcomes (i.e., free throws made, bull's-eyes hit, etc.), we decided to explore whether external cues might offer the same edge when it came to mastering mechanics -- in this case, honing a repeatable, inside-out, slice-stopping swing.

We wanted to know whether we're better off thinking about what the club should do or about what our body should do.

The Participants

We recruited 39 slicers [average handicap: 20.3] and randomly divided them into three groups, 13 in each. The three groups each received a different instruction on how to best groove a slice-busting inside-out swing.

1. The Club-Thought Group

This group was instructed to swing the clubhead along an 8 o'clock-to-2 o'clock axis through the impact zone [with the target at 12 o'clock]. Alignment rods were positioned on the ground to indicate the target line and the proper inside-out clubhead path.

2. The Body-Thought Group

These golfers were instructed to use a time-honored slice-fix: bring the right elbow down toward the right hip in the downswing. This internal cue focuses on a body movement with no reference to the clubhead. An alignment rod was placed on the ground solely to indicate the target line.

3. The Control Group

These 13 slicers were instructed on the shape of an inside-out downswing, but they weren't offered any club cues or body-thought cues. They made their own decisions on how to best trace the appropriate inside-to-outside swing.

How We Did It

Using video, we assessed each golfer's swing path by comparing the position of the clubhead at waist height in the downswing to the shaft plane established at address. A clubhead above address plane = outside-in path (slice); a clubhead below address plane = inside-out path (slice fixed!). The data showed that the subjects were chronic over-the-top swingers. The average downswing was 7.7 to 12.9 degrees above plane -- serious slice conditions. Each golfer received a 15-minute swing-path lesson and was told to practice using only their assigned cues -- or, in the case of the control group, their self-selected cues. They were asked to swing without a ball, then to hit an actual drive, and then to repeat this routine 36 times.

Afterward, we again assessed their swings to see if their swing planes had improved. Then, the following day, we did yet another test to see if any improvement had a shelf-life of at least 24 hours.

The Results

The instruction and cue-based practice paid off. The swing planes for all groups were clearly less likely to produce a slice in the post-test (chart, opposite).

But the real discovery? The improvement was far more dramatic in one group than it was in the other two.

  1. The club-thought group not only improved their swing paths the most, but the next day, they showed the greatest retention of the inside-out move. In the post-test, the club-thought group was 97 percent closer to the perfect plane than the body-thought group.
  2. The control group, which selected their own cues -- some were club thoughts, others were body thoughts -- learned to swing more inside-out. Their retention wasn't as good as the club-thought group's, but it was better than the body-thought group's.
  3. The body-thought group showed the least amount of improvement and the poorest retention of correct moves.

Here's what we found fascinating. The instructional content of the prescribed cues was essentially identical -- trying to swing the clubhead from 8 o'clock to 2 o'clock requires the same movements used to implement the "pull my elbow down to my right hip" body thought -- but produced varying results.

The only real difference is where you place your focus.

Sure, you need good information, but how you use it in your swing is crucial to how much the information helps you hit straighter shots, and how deeply it takes root.

Reference : 'FIX-IT WEEK ON GOLF.COM The Ultimate Slice Fix By BOB CHRISTINA, Ph.D.; Top 100 Teacher ERIC ALPENFELS; DAVID DeNUNZIO Published: Tuesday, September 10, 2013 on golf.com

by Scott Seifferlein - Seven golf myths that are destroying your game. Missing one (?)

"For years I faced the same struggles as you are now - always getting advice from my friends but never improving.

"Play the ball off your front foot!" or "Slow Down," they would always tell me. But I just wasn't getting any better.

Fortunately, I took a job in the golf business. At this point, I was able to work with some of America's top golf instructors, and I realized that they were not telling me any of the advice my friends told me. In fact often times they were telling me the exact opposite.

Before long, I was teaching golf as a member of the PGA of America.

The clients I worked with would always tell me that they knew what their problems were. Time after time they would tell me some of the same things my friends had told me when I struggled with golf. So I started to use high speed video software and 3D wireless technology - www.K-Vest.com - to research what was really happening in my clients' golf swings.

What I found will blow the lid off all the common golf advice that is floating around the links.

As a result I have made it my mission to Save Every Golfer on Planet Earth from Miserable Golf!! That is why I have created "Stop Slicing in Five Swings."

Take this very seriously, and never allow anyone to tell you any of the golf myths without first proving their advice.

Seven most common Golf Myths that cause you to slice the ball

All-time #1 Golf Myth: "You Are Looking Up...Keep Your Head Down"
All-time #2 Golf Myth: "Keep Your Eye On the Ball"
All-time #3 Golf Myth: "Slow Down, You are Swinging Too Fast"
All-time #4 Golf Myth: "Position the Ball Along Your Left Foot for Tee-Shots"
All-time #5 Golf Myth: "In the Bunker - Aim Left and Open the Clubface"
All-time #5 Golf Myth: (continued): "The Sand Shot Swing"
All-time #6 Golf Myth: "The Club Needs to Go Under the Ball"
All-time #7 Golf Myth: "Shift Your Weight (in the Backswing)"
Conclusion

Stop Slicing in Five Swings Scott SeifferleinThere you have it: "The Seven Golf Myths That Are Destroying Your Game."

However, you are missing one final Golf Myth. The Grand-Daddy Golf Myth of them all.

The one that will stop your slicing forever! E-mail: (...) to get this bonus Eight Golf Myth.

Special Bonus Offers

To learn more about these Seven Golf Myths and the necessary drills to correct your errors call (...) to set up your learning experience."

Reference : 'Scott Seifferlein STOP SLICING in Five Swings The Seven Golf Myths that are Destroying Your Game' All-time #5 Golf Myth: In the Bunker - Aim Left and Open the Clubface, page 23. Black Lake Press Copyright © 2012 by Scott Seifferlein PGA Golf Guru. Published by Black Lake Press of Holland, Michigan. Printed in Germany by Amazon Distribution GmbH, Leipzig.

Download : 'Myths, Understanding Champions' By Bobby Locke, Henry Cotton, Bobby Jones, Dai Rees, Tommy Armour, Jack Nicklaus, Sam Snead, Percy Alliss.

by Mark Steinbauer - Thirty years later. He used a lot of wrist action !

"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.

18 Game-Changing Lessons By Mark Steinbauer with Hunki Yun - Bobby Locke on PuttingAlthough 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 Bobby Locke on Golf 1953

Wrist-work results in inconsistency - and missed putts".

Learn more about 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. Putting By Bobby Locke pages 119 and 121

by Norman Von Nida - The kind of putting he can turn on when necessary

"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.

by Dr. Ralph Mann and Fred Griffin - Transition The Magic Move

"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.

Swing Like a Pro - Dr Ralph Mann and Fred GriffinIt 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.

by Dr. Jim Suttie, PGA Professional - This part moves first

The PGA Manual Of Golf by Gary Wiren"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."

by Jack Grout - The proper first move of the downswing

"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.

Let Me Teach You Golf As I Taught Jack Nicklaus by Jack GroutSo 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.

Available on Amazon : Let Me Teach You Golf as I Taught Jack Nicklaus


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