P2 to P4 - Setting the club and ending the backswing

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All right, coaches, here we go for the next installment.

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We're going to look at setting the club.

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So basically, after the takeaway, what

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takes us up to the top of the swing.

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So from P2 to P4 in the P system.

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We'll be looking at arms versus body.

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That's one of the constant themes.

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We'll be looking at the foot cut contact

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and how the lower body is moving and what that's

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going to say about what they're going to do in transition.

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And then we'll look at what the arms are doing as well.

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So arm support and loading.

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OK, so as far as revisiting the simple movement guides,

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these are those nine movement guides in this,

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now we're getting into the top of the backswing.

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I'd say everything except for the force producing thing.

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So number nine is still being held off

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until transition or the downswing.

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But we always want to keep in context.

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And we always want to look at what's moving, what's not,

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where is the fixed point?

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Because that'll help you indicate or figure out

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where the movement is being built around.

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Think relationally.

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So not just what's happening at one specific joint or area,

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but how does that influence what's going around it locally?

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The inside out.

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So the center of the joint versus the big muscles

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or the small muscles versus the big muscles.

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We talked about inner unit versus outer unit at core.

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We'll look at it a little bit with the shoulders as well

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in this class.

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OK, lever arms, that'll show up in one particular area.

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So we'll talk about that.

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Why, what's happening in this swing phase?

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So during the setting in the club,

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we'll go over the kind of the requirements of what

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we're trying to do during the second half of the backswing.

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Power wasn't necessarily supposed

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to be highlighted any more than the other two.

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But we'll look at that a little bit.

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What gets loaded gets unloaded.

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So that's starting to put the context of the whole swing

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as a whole and how this setting the club is a part of it.

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But it also shows you what the brain wants to unload

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because they're going to load that specific segment.

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When we look at some swings, it'll make a lot more sense.

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And then working the pattern backwards,

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I highlighted it because we're now

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seeing the start of the force phase.

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So we're starting to see, by the time the club has

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changed direction, the lower body and sometimes the core

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is already started to reveal how it's going to create force.

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And so we'll get into it a lot more in the next two classes.

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So before we dive in, we're just

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going to look at a quick little recap.

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So P1 looking at setup, again, you

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can look at weight distribution, axis till grip strength,

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alignment, posture, some of these key parameters.

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And then as they move into P2, the first checkpoint,

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we can start to see what did they use to initiate

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by looking at the hip movement, the pelvis movement,

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the trail arm bend, looking at the club face

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on how they might be starting to influence,

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like starting to reveal how they're controlling the swing.

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Big one we talked about was the sway,

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reverse turn, versus extend.

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We'll continue that discussion in this class.

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So if you remember the takeaway goals,

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we wanted to shift pressure, kind of start

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getting that path and face lined up,

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and we're going to start loading muscles.

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These are all going to continue in the second half

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of the backswing, but we're going to add a couple new things

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as well.

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If you remember, one of the good goals of a takeaway movement

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is this spiral movement starting with the lead foot.

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So whether it's a lead foot external rotation

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or adduction or extension in the knee,

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but we're basically trying to start from the ground up

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and work through the core into the arms.

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Okay, I will start each class with questions

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from the previous class.

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So had a couple questions come in from the takeaway class.

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How do you best get your golfers

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the feeling of the connection

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through the serratus anterior or anterior serratus

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at address other than just telling them

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to set the shoulder blade down and in?

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And this is a great question.

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So this is easier done with a partner,

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but I'll demonstrate what I do here real quick.

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Okay, so if you recall,

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the serratus is on the inside of the shoulder blade here.

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So I actually don't really cue down and in a lot.

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Typically what I'll do is I will have them bend their arm

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and I'll say, don't let me move your elbow.

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And so they'll feel, I'll try and move it

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kind of in different directions

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and they'll feel the inside of the shoulder blade there.

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If they're having a real hard time doing it,

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then I'll get them to do a few serratus anterior activation

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exercises of basically resisting this movement here.

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And then I'll just say, okay,

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now that you've pushed it forward like this,

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I want you to not let me move it

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and I'll have them hold that and I'll say, okay,

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you can see how you can hold it while still moving the arm,

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but there's some kind of heat

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or some activation going on in the shoulder.

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And then I'll often,

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'cause we're gonna look at this even some more

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at the top of the swing.

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So I'll often have them make a backswing

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where they're getting some of that pressure.

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You can kind of get a little bit of it

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with the opposing arm, the way I'm doing it right now,

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but it's easier as a partner exercise.

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If they really struggle with it,

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then I'll give them a basic exercise

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of a serratus anterior activation.

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So you'll get up against the wall kind of like this

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and then you're going to round your back,

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which pushes your shoulder blades into the wall

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kind of like this and then keeping that pressure,

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you're gonna try and lengthen your spine.

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So your shoulder blades are gonna come around and forward

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and then you're gonna try to extend your spine

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while keeping them around and forward.

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So that's a good little circuit or way

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to feel serratus anterior activation.

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Second question, what position do you like

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to see the elbow pointing in and address?

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That one, there's a lot, I'd say,

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there's a couple that I try to avoid,

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but other than that, I have pretty big ranges

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of what I tolerate.

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So I don't like to see this lead elbow

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pointing way in like this.

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There are probably some players on tour

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who have it a little bit more locked out like that,

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but because of what I want the shoulder blades to do,

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I'm gonna tend to air a little bit more on elbow pointing

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at the target instead of pointing at the belly button.

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And then with this, I'm gonna tend to go more

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towards the opposite, other than potentially some specific.

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In general, the main thing I'm looking at here

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is kind of that first movement as an indication

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of what's going on at the shoulder blade.

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So I could have my arm, I don't like to see the arm

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more on the side of the body, but whether the elbow

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is pointing this way or that way, depends a little bit

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on what's going on with the forearm and their grip strength.

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So I'm not too picky as far as exactly where

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the elbow is pointing, but I don't like to see this arm

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too much on the side of the body.

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Like this is one of my kind of pet peeve setup positions

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that a lot of people get into.

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I like to see the arms a little bit more connected

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and more on front.

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That does affect the body arm connection.

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Okay, so then second question that came in,

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can you go over how much left side tilt you like to see

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and should it be gradual process in the backswing?

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What visual cues would you give on the lesson T

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to help with thoracic spine extension?

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Okay, let me jump the slide ahead.

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All right, so there is just a classic AMM 3D torso position.

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So looking at this and you'll tend to see

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that the blue line is the side bend

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and the red line is rotation.

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So you'll tend to see it's a little bit dominant

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up until about arm parallel and then kind of quiets

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a little bit at the top of the swing

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as the lower body is doing more of its thing,

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but the spine extension is pretty gradual.

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So what I tend to see is that golfers get flat pretty early

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and then so the blue line and the red line

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will disconnect a little bit more in that takeaway.

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So I tried to cue it happening earlier

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rather than later.

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I'm not a huge fan of trying to really,

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other than some specific loading patterns,

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I'm not a huge fan of trying to specifically

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finish the end of the backswing with that side bend move.

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I like to have it happen earlier

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in the backswing rather than later.

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As far as spine extension,

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so if we think about the shoulder class

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and how the spine and the shoulders move together

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because of some of the ligament connections,

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I'll tend to cue kind of opening up this chest

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in order to get spine extension.

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So I'll usually walk them through a little progression

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of hands in front and then really make a T

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with some rotation and then I'll have them

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do that same thing down in golf posture

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and then I'll come and I'll grab their ribs

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and hold them in that position and say,

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"Bring your arms together."

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And they will typically be like,

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"Oh, I'd normally be way over there."

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So they'll feel a little more centered

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and a lot more open.

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That's a common cue that I'll use for getting

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the rest of the spine extension.

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And then I'll actually have them walk

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through a little progression of taking it,

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bringing it to there and then actually trying

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to hit from that position just to get used

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to making contact from that extended spine.

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So good question, hope the graphs help.

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I'm gonna jump ahead.

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Okay, so this is looking at this left side thing

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and why I'm not a huge fan of triggering it

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at later in this way.

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So this is Dr. Kwan's way of looking at the spine movement,

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especially the rib cage, the thoracic spine.

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So he's got an example there of the top graph

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is the classic ones of basically what I just showed

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and then the bottom one is using orientation angle.

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So basically, the second one would be like

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if I've got these orientation angles,

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but instead of doing it locally

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to where my chest actually is,

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if we created like, okay, here's a vertical line

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and the red line there is looking at how much

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the center of the rib cage compared to the pelvis

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is at an angle compared to this vertical line.

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And so what you'll see here is the red line,

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when it goes up, it's moving towards the target

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and when it goes down, it's moving away from the target.

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And then the green line is looking at this angle here.

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So whether you wanna call it spine angle or inclination,

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you'll see that that green angle stays pretty constant.

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So they're basically rotating around an axis.

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Now, so his big contention is that talking about it

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in terms of side bend versus rotation

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can kind of blur the points

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because the way that the data's collected

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and that's a little bit higher.

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I don't totally understand the calculations of why,

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but he's one of smart guys and I kind of trust him on this.

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And this presentation makes it looks

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a little bit more simple.

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I'll see if I can dig into it a little bit more

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for when I do the individual graph analysis

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later in this year for you guys.

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But you'll basically see that for the most part,

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they have a little shift this way

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and very little shift this way.

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So in order, that's one of the ways

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that I'll cue side bend is teaching them

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to basically stay in their spine angle.

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'Cause so windmill drills, shoulder plane drills,

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things like that to stay in your spine angle

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helps trigger the side bend move pretty effectively.

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00:13:09.260 --> 00:13:13.500
Okay, so if you have questions about this class,

259
00:13:13.500 --> 00:13:15.220
you can email them to me afterwards

260
00:13:15.220 --> 00:13:17.780
and I will include them at the start of the next one.

261
00:13:17.780 --> 00:13:18.860
All right, so here we go,

262
00:13:18.860 --> 00:13:20.980
jumping into setting the club,

263
00:13:20.980 --> 00:13:22.580
moving on from the takeaway.

264
00:13:22.580 --> 00:13:28.420
So when we're looking at shaft parallel,

265
00:13:28.420 --> 00:13:31.220
again, we're looking at the tilts and the club face

266
00:13:31.220 --> 00:13:34.540
and the arm location and the pressure

267
00:13:34.540 --> 00:13:36.720
as a quick little summary.

268
00:13:36.720 --> 00:13:41.140
When we start getting up towards setting the club,

269
00:13:41.140 --> 00:13:43.900
I look at this as now the arms are starting

270
00:13:43.900 --> 00:13:46.300
to kind of get stuff in position.

271
00:13:46.300 --> 00:13:48.780
So there's some checkpoints that we'll look at.

272
00:13:48.780 --> 00:13:53.780
I'm not as far as like P3 versus P4.

273
00:13:53.780 --> 00:13:57.540
I believe that it's kind of one movement

274
00:13:57.540 --> 00:14:00.340
from P2 to P4.

275
00:14:00.340 --> 00:14:04.620
And so I put P3 in here just 'cause I know

276
00:14:04.620 --> 00:14:07.860
that a lot of guys like to use that as a reference,

277
00:14:07.860 --> 00:14:11.740
but for me, that's kind of in the middle of a movement

278
00:14:11.740 --> 00:14:16.740
and I don't do a whole lot of trying to break down

279
00:14:16.740 --> 00:14:18.300
the middle of a movement.

280
00:14:18.300 --> 00:14:20.340
I'm gonna focus mostly on the beginning and the end

281
00:14:20.340 --> 00:14:23.180
and let the brain and the body kind of coordinate

282
00:14:23.180 --> 00:14:24.540
what's going on there.

283
00:14:24.540 --> 00:14:26.260
So we're gonna continue.

284
00:14:26.260 --> 00:14:27.860
So if we look at this,

285
00:14:27.860 --> 00:14:32.980
you'll see that what we do from two to four includes three,

286
00:14:32.980 --> 00:14:35.420
but it's kind of all one movement.

287
00:14:35.420 --> 00:14:40.300
But some of the checkpoints would be looking at shoulder tilt,

288
00:14:40.300 --> 00:14:42.380
sway versus turn versus extend.

289
00:14:42.380 --> 00:14:43.780
We started that in the last class.

290
00:14:43.780 --> 00:14:46.020
We'll continue looking at it here.

291
00:14:46.020 --> 00:14:49.380
The wrist orientations that can give you a clue

292
00:14:49.380 --> 00:14:52.660
as to what they're doing control wise.

293
00:14:52.660 --> 00:14:55.740
The knee separation or being able to see that little gap

294
00:14:55.740 --> 00:15:00.180
between the knees, it depends a little bit on camera angle

295
00:15:00.180 --> 00:15:01.500
and how much pelvis rotation.

296
00:15:01.500 --> 00:15:04.580
So if you don't see any gap and the camera is better

297
00:15:04.580 --> 00:15:06.580
than I have here, this is,

298
00:15:06.580 --> 00:15:10.020
I set it up a little closed on, unfortunately.

299
00:15:10.020 --> 00:15:14.220
When the knee separation, when you're not seeing anything,

300
00:15:14.220 --> 00:15:16.420
it's probably a good indication that they're just turning

301
00:15:16.420 --> 00:15:20.100
their upper body and not really using their legs a whole lot.

302
00:15:20.100 --> 00:15:23.200
But you can also start to look at the trail foot pressure,

303
00:15:24.340 --> 00:15:27.220
whether it's going heel toe, whether it's going inside outside.

304
00:15:27.220 --> 00:15:30.220
So that's kind of the new addition from the takeaway.

305
00:15:30.220 --> 00:15:34.460
All right, top of the swing, P4.

306
00:15:34.460 --> 00:15:37.980
This one I do think is an important piece of the puzzle

307
00:15:37.980 --> 00:15:38.820
to look at.

308
00:15:38.820 --> 00:15:40.660
This is typically when the club head

309
00:15:40.660 --> 00:15:42.180
is going to change direction.

310
00:15:42.180 --> 00:15:45.940
So ideally, the lower body has already changed direction.

311
00:15:45.940 --> 00:15:48.220
The pelvis has already started to change direction.

312
00:15:48.220 --> 00:15:50.660
The ribs have started to change direction.

313
00:15:50.660 --> 00:15:55.660
And the arms typically have not yet,

314
00:15:55.660 --> 00:15:59.420
but the lower body and the power producers

315
00:15:59.420 --> 00:16:02.540
are already starting on the way down at this point.

316
00:16:02.540 --> 00:16:08.180
That's often an important discussion for some amateurs

317
00:16:08.180 --> 00:16:11.060
who tend to think of it more as kind of a one in two

318
00:16:11.060 --> 00:16:14.060
where you go all the way up and then all the way down.

319
00:16:14.060 --> 00:16:17.220
This is kind of working on some transition sequencing.

320
00:16:17.220 --> 00:16:22.220
So, again, we're looking at,

321
00:16:22.220 --> 00:16:25.580
if I broke it into the pieces, you kind of have,

322
00:16:25.580 --> 00:16:26.420
what are the arms doing,

323
00:16:26.420 --> 00:16:28.700
what are the legs doing, what are the spine doing?

324
00:16:28.700 --> 00:16:32.020
And so, you've got your shoulder tilts,

325
00:16:32.020 --> 00:16:33.820
your club face at the top,

326
00:16:33.820 --> 00:16:37.340
your sways versus turns versus extends.

327
00:16:37.340 --> 00:16:39.140
That's a huge one that we talk about a lot

328
00:16:39.140 --> 00:16:41.020
in the backswing and the loading phase.

329
00:16:41.020 --> 00:16:44.420
And then we're adding into like,

330
00:16:44.420 --> 00:16:46.860
hey, we can check early extension at this point.

331
00:16:46.860 --> 00:16:48.660
We can look at the trail foot pressure

332
00:16:48.660 --> 00:16:50.740
and what's happening at the limb.

333
00:16:50.740 --> 00:16:53.980
But basically staying centered, full turn,

334
00:16:53.980 --> 00:16:56.900
arms starting to get in a good position,

335
00:16:56.900 --> 00:16:58.420
club face relatively square,

336
00:16:58.420 --> 00:17:01.860
gives you kind of the majority of what we're looking for here.

337
00:17:01.860 --> 00:17:03.980
But if I was to break it out,

338
00:17:03.980 --> 00:17:06.940
here are my real goals for P2 to four.

339
00:17:06.940 --> 00:17:12.100
So from P2 to four, I'm trying to lengthen the hand path.

340
00:17:12.100 --> 00:17:13.860
This gives me more time and space

341
00:17:13.860 --> 00:17:15.300
to apply force to the club.

342
00:17:15.300 --> 00:17:18.940
So it's an important parameter for creating speed.

343
00:17:18.940 --> 00:17:23.420
I'm trying to create a difference or a distance

344
00:17:23.420 --> 00:17:27.700
between the center of mass and the center of pressure vector.

345
00:17:27.700 --> 00:17:30.020
I'm gonna slide, we'll look at coming up here.

346
00:17:30.020 --> 00:17:36.300
That's another important component for creating speed.

347
00:17:36.300 --> 00:17:40.300
And we'll just dig into it a little bit.

348
00:17:40.300 --> 00:17:43.380
Now we'll get into that more in transition.

349
00:17:43.380 --> 00:17:46.980
So number three, load muscles for transition.

350
00:17:46.980 --> 00:17:50.540
One common question I kind of work through

351
00:17:50.540 --> 00:17:54.220
with some of my students is what ends your backswing.

352
00:17:54.220 --> 00:17:56.300
So at the top of the swing,

353
00:17:56.300 --> 00:17:58.700
what, where are you feeling stretched?

354
00:17:58.700 --> 00:18:02.700
'Cause that's a good indication of what is like,

355
00:18:02.700 --> 00:18:05.540
I'm basically looking for where's the signal

356
00:18:05.540 --> 00:18:07.540
that's telling your brain, okay, I'm done.

357
00:18:07.540 --> 00:18:08.540
Why'd I stop my backswing?

358
00:18:08.540 --> 00:18:09.860
Why didn't I keep going?

359
00:18:09.860 --> 00:18:13.460
And there's usually somewhere that I'm feeling a stretch,

360
00:18:13.460 --> 00:18:16.220
whether it's in the shoulder or the wrist or the core,

361
00:18:16.220 --> 00:18:18.720
the back, the abs, the hips, the feet.

362
00:18:18.720 --> 00:18:21.940
That's a fun discussion to try to figure out,

363
00:18:21.940 --> 00:18:26.620
especially for golfers who have a fair amount of back,

364
00:18:26.620 --> 00:18:30.900
let's say over swing or sway or trail off

365
00:18:30.900 --> 00:18:35.580
or things where parts of the swing just tend to keep moving.

366
00:18:35.580 --> 00:18:40.100
And then I'm starting to look at what's happening

367
00:18:40.100 --> 00:18:44.180
with the arms, are we getting set up for some arm shallowing

368
00:18:44.180 --> 00:18:45.860
and what's our sequence gonna look like?

369
00:18:45.860 --> 00:18:48.460
Are we getting set up for more of an arm pull?

370
00:18:48.460 --> 00:18:51.380
So looking at the arm position up at the top of the swing.

371
00:18:51.380 --> 00:18:57.020
Okay, so movement goals, we got a picture there

372
00:18:57.020 --> 00:19:01.700
we'll talk about here in the second part there.

373
00:19:01.700 --> 00:19:05.540
Okay, so loading the glutes, we can look at

374
00:19:05.540 --> 00:19:08.340
where the trail foot pressure is.

375
00:19:08.340 --> 00:19:12.740
So is the foot rolling towards the outside of the foot?

376
00:19:12.740 --> 00:19:15.780
It were coming up off the ground, too much in the heel,

377
00:19:15.780 --> 00:19:17.540
too much in the toes.

378
00:19:17.540 --> 00:19:20.620
That gives us an indication, are we loading the glute

379
00:19:20.620 --> 00:19:21.780
or are we loading the core?

380
00:19:21.780 --> 00:19:26.780
Are we loading the IT band or what's called the TIT?

381
00:19:28.700 --> 00:19:31.780
The one of the other important components

382
00:19:31.780 --> 00:19:34.780
for loading the glutes is the trail knee bend.

383
00:19:34.780 --> 00:19:38.260
So I know that it's in vogue to talk about straightening

384
00:19:38.260 --> 00:19:42.260
the leg, which I do think that you want to have

385
00:19:42.260 --> 00:19:44.420
some straightening, the average I've seen

386
00:19:44.420 --> 00:19:46.660
is about eight degrees on AMM.

387
00:19:46.660 --> 00:19:51.380
But if you straighten it completely,

388
00:19:51.380 --> 00:19:54.460
you're going to make it harder to activate the glute.

389
00:19:54.460 --> 00:19:56.940
You're gonna take away tension from the glute.

390
00:19:56.940 --> 00:20:01.940
The maximum tension for the glute is at about 15,

391
00:20:01.940 --> 00:20:04.380
that should be degrees, not percent,

392
00:20:04.380 --> 00:20:08.220
but about 15 degrees of knee bend.

393
00:20:08.220 --> 00:20:11.180
Keep in mind from the anatomy class

394
00:20:11.180 --> 00:20:14.580
that the glute has superficial and deep fibers.

395
00:20:14.580 --> 00:20:17.740
The deep fibers connect on the femur up near the hip,

396
00:20:17.740 --> 00:20:21.740
but the superficial fibers connect below the knee

397
00:20:21.740 --> 00:20:23.340
on the tibia.

398
00:20:25.100 --> 00:20:29.900
So making sure that we're keeping some tension

399
00:20:29.900 --> 00:20:34.900
or tightness through that fascia from the glute

400
00:20:34.900 --> 00:20:38.940
all the way down to the knee is important.

401
00:20:38.940 --> 00:20:40.780
And then the other component is having

402
00:20:40.780 --> 00:20:42.260
a fast enough backswing.

403
00:20:42.260 --> 00:20:45.740
So if I'm talked about a little bit in the last class

404
00:20:45.740 --> 00:20:48.980
where if I'm too slow in my movement,

405
00:20:48.980 --> 00:20:51.380
then I'm not gonna have anything to really resist

406
00:20:51.380 --> 00:20:54.820
and resisting the turn into the hip

407
00:20:54.820 --> 00:20:57.020
helps to activate the glutes.

408
00:20:57.020 --> 00:21:00.780
So sometimes working on rhythm,

409
00:21:00.780 --> 00:21:03.380
which feels like a more of a faster backswing

410
00:21:03.380 --> 00:21:05.860
for a lot of golfers can help with loading the core,

411
00:21:05.860 --> 00:21:06.760
loading the glutes.

412
00:21:06.760 --> 00:21:10.100
When we're looking at loading the core,

413
00:21:10.100 --> 00:21:16.580
we've got your rectus, so six pack abs,

414
00:21:16.580 --> 00:21:18.660
hopefully somewhere right around here.

415
00:21:18.660 --> 00:21:20.700
So loading those would look like this.

416
00:21:20.700 --> 00:21:22.940
That would be more of some golfers

417
00:21:22.940 --> 00:21:24.740
who really kind of extend up.

418
00:21:24.740 --> 00:21:28.380
They're loading more of this chop crunch move,

419
00:21:28.380 --> 00:21:29.780
loading the oblique.

420
00:21:29.780 --> 00:21:31.700
That's where this rotation would come in.

421
00:21:31.700 --> 00:21:34.940
I'd lengthen the distance between my pelvis right here

422
00:21:34.940 --> 00:21:38.180
and these last ribs like that.

423
00:21:38.180 --> 00:21:41.940
I can load in terms of pure side bend

424
00:21:41.940 --> 00:21:45.540
and I could load flexion for extension.

425
00:21:45.540 --> 00:21:48.740
So some golfers kind of really squat down

426
00:21:48.740 --> 00:21:51.460
so that they can go into an extension move again.

427
00:21:51.460 --> 00:21:53.020
This is now where we're starting to think

428
00:21:53.020 --> 00:21:57.780
about that whole idea of what's loaded gets unloaded.

429
00:21:57.780 --> 00:21:59.260
Now the lat is an interesting one

430
00:21:59.260 --> 00:22:03.060
'cause the lat can help with spine rotation

431
00:22:03.060 --> 00:22:04.980
and it can help with arm pull.

432
00:22:04.980 --> 00:22:07.620
So pretty much everybody's gonna load their lats.

433
00:22:07.620 --> 00:22:09.980
It's more of a question of what are we doing

434
00:22:09.980 --> 00:22:11.660
or how are we loading the lat.

435
00:22:11.660 --> 00:22:16.980
So if I'm lifting those arms up,

436
00:22:16.980 --> 00:22:18.620
that stretches the lat

437
00:22:18.620 --> 00:22:22.460
and can help me create more of a vertical pull like this.

438
00:22:22.460 --> 00:22:24.780
If I'm pulling these arms across,

439
00:22:24.780 --> 00:22:29.780
that loads the lat more kind of the spine fibers

440
00:22:29.780 --> 00:22:31.300
instead of the pelvis fibers.

441
00:22:31.300 --> 00:22:34.900
So more rotationally and that can help me pull like this.

442
00:22:34.900 --> 00:22:36.980
Now the important thing with the lats

443
00:22:36.980 --> 00:22:40.740
is they're gonna be contributing to transition

444
00:22:40.740 --> 00:22:43.180
but I don't want them to dominate transition.

445
00:22:43.180 --> 00:22:46.780
I want transition that happened primarily from the legs.

446
00:22:46.780 --> 00:22:50.380
At least for your longer clubs.

447
00:22:50.380 --> 00:22:52.500
So just keep that in mind.

448
00:22:52.500 --> 00:22:53.540
The lats will get loaded.

449
00:22:53.540 --> 00:22:55.140
It's more of a question of how

450
00:22:55.140 --> 00:22:57.220
when we're looking at lat contribution.

451
00:22:57.220 --> 00:22:59.660
And then lastly looking at positioning

452
00:22:59.660 --> 00:23:01.780
the arms for transition.

453
00:23:01.780 --> 00:23:04.100
So one of the things that I always highlight

454
00:23:04.100 --> 00:23:06.220
is if you look at the 3D graphs,

455
00:23:06.220 --> 00:23:09.740
the wrist graphs, the elbow graphs, the shoulder graphs,

456
00:23:09.740 --> 00:23:12.780
they all breach their maximum stretch

457
00:23:12.780 --> 00:23:15.100
during the downswing, not at the top of the backswing.

458
00:23:15.100 --> 00:23:17.940
So that's where when I ask golfers,

459
00:23:17.940 --> 00:23:19.980
what ends your backswing?

460
00:23:19.980 --> 00:23:24.100
A lot of them will feel the stretch more in the shoulder

461
00:23:24.100 --> 00:23:27.740
'cause they're really loading the maximum stretch

462
00:23:27.740 --> 00:23:28.860
for some part of their arms

463
00:23:28.860 --> 00:23:30.460
where they're bending the arms,

464
00:23:30.460 --> 00:23:34.860
lifting those arms up, really hinging the wrists.

465
00:23:34.860 --> 00:23:38.420
Those can all be signs that they are

466
00:23:38.420 --> 00:23:42.380
overloading the arms which is an indication

467
00:23:42.380 --> 00:23:43.900
that they're gonna use more of the arms

468
00:23:43.900 --> 00:23:45.660
as the power source in transition.

469
00:23:45.660 --> 00:23:49.140
And then that last picture over on the right

470
00:23:49.140 --> 00:23:52.660
is that was meant for the load the core.

471
00:23:52.660 --> 00:23:55.220
So one of the key relationships there

472
00:23:55.220 --> 00:23:57.940
if you dig into it anatomically

473
00:23:57.940 --> 00:24:02.380
is that's a cross section.

474
00:24:02.380 --> 00:24:05.580
Basically if I took a knife, took a scalpel

475
00:24:05.580 --> 00:24:08.900
and I think it was an L4 kind of right around here.

476
00:24:08.900 --> 00:24:10.540
If we were looking top down.

477
00:24:10.540 --> 00:24:12.620
So the spine is on the back, you got the muscles

478
00:24:12.620 --> 00:24:13.820
and then you got the core muscles

479
00:24:13.820 --> 00:24:16.060
going around the peritoneum.

480
00:24:16.060 --> 00:24:18.140
Well, one of the interesting things that you'll see on that

481
00:24:18.140 --> 00:24:22.580
is that, and this isn't like a dissection drawing

482
00:24:22.580 --> 00:24:24.100
so it's not the most accurate,

483
00:24:24.100 --> 00:24:27.460
but what you'll see is that the lat

484
00:24:27.460 --> 00:24:29.980
and the internal oblique share a tendon

485
00:24:29.980 --> 00:24:31.660
as they connect to the spine.

486
00:24:31.660 --> 00:24:35.700
So oftentimes golfers who don't really stabilize well

487
00:24:35.700 --> 00:24:37.660
from the deep, that inner unit

488
00:24:37.660 --> 00:24:40.180
from compared to the outer unit.

489
00:24:40.180 --> 00:24:41.700
So if you don't stabilize very well

490
00:24:41.700 --> 00:24:43.300
with your internal oblique,

491
00:24:43.300 --> 00:24:47.060
you can create the same tension in the spine

492
00:24:47.060 --> 00:24:49.300
by activating the lat,

493
00:24:49.300 --> 00:24:52.460
but you're using a power muscle for a stability role

494
00:24:52.460 --> 00:24:53.820
that doesn't make a whole lot of sense

495
00:24:53.820 --> 00:24:55.400
with what we're gonna try to do.

496
00:24:55.400 --> 00:24:59.700
So I would prefer to use the lat as a power move,

497
00:24:59.700 --> 00:25:02.980
not as a stabilizer, but watch out for that.

498
00:25:02.980 --> 00:25:04.940
Especially if you're in the,

499
00:25:04.940 --> 00:25:05.980
I know we have a bunch of coaches

500
00:25:05.980 --> 00:25:08.980
who are in the more of the fitness realm.

501
00:25:08.980 --> 00:25:12.780
Training internal oblique activation and isolation

502
00:25:12.780 --> 00:25:14.340
can be helpful for shutting down

503
00:25:14.340 --> 00:25:15.820
some of these lat pull patterns.

504
00:25:15.820 --> 00:25:18.340
And the picture there is one of the reasons why.

505
00:25:18.340 --> 00:25:22.780
Okay, so just like we had takeaway alternatives,

506
00:25:22.780 --> 00:25:25.660
we have setting the club alternatives.

507
00:25:25.660 --> 00:25:29.140
So if I'm not gonna load the core,

508
00:25:29.140 --> 00:25:31.420
I'm typically going to be overloading

509
00:25:31.420 --> 00:25:32.880
the shoulders or the wrists.

510
00:25:32.880 --> 00:25:35.660
Or I might be,

511
00:25:35.660 --> 00:25:37.340
if I'm not gonna load rotation,

512
00:25:37.340 --> 00:25:39.780
I might be loading more of a chop pattern.

513
00:25:39.780 --> 00:25:42.740
So that's typically what we're gonna see.

514
00:25:42.740 --> 00:25:45.260
So overloading the shoulders,

515
00:25:45.260 --> 00:25:47.820
overloading the shoulders and the wrists,

516
00:25:47.820 --> 00:25:51.260
we talked about again, we've got the lats,

517
00:25:51.260 --> 00:25:53.180
you've got the pec and the tricep.

518
00:25:53.180 --> 00:25:57.660
So a lot of women will overload the tricep.

519
00:25:57.660 --> 00:26:01.340
This would be more of an overload of the pec.

520
00:26:01.340 --> 00:26:03.820
And then the overload of the lat

521
00:26:03.820 --> 00:26:07.260
is typically like a really big reach off this way

522
00:26:07.260 --> 00:26:10.460
for then a big dominant shoulder pull.

523
00:26:10.460 --> 00:26:15.380
One of the other common ones that you'll see

524
00:26:15.380 --> 00:26:18.820
is really overloading radial deviation.

525
00:26:18.820 --> 00:26:22.140
So you'll see as they go up towards the top of the swing,

526
00:26:22.140 --> 00:26:24.460
they'll really set those wrists,

527
00:26:24.460 --> 00:26:28.860
which usually leads to then unloading

528
00:26:28.860 --> 00:26:31.280
or casting really early.

529
00:26:31.280 --> 00:26:33.980
Typically when you're seeing more

530
00:26:33.980 --> 00:26:35.460
of these arm dominant patterns,

531
00:26:35.460 --> 00:26:37.060
you'll either see the pelvis or the knee

532
00:26:37.060 --> 00:26:38.820
as the fixed point.

533
00:26:38.820 --> 00:26:40.940
So you'll see some of these sequences

534
00:26:40.940 --> 00:26:42.580
where more they'll go into their toes

535
00:26:42.580 --> 00:26:45.300
and kind of bend like this,

536
00:26:45.300 --> 00:26:49.860
or they'll pull them together to activate their adductors

537
00:26:49.860 --> 00:26:52.800
and kind of lock it up kind of like that.

538
00:26:52.800 --> 00:26:55.100
So there's a couple of different ways,

539
00:26:55.100 --> 00:26:57.220
but look for the knee and the pelvis.

540
00:26:57.220 --> 00:27:00.980
And the last one of overbending the arms

541
00:27:00.980 --> 00:27:03.340
is a common sign.

542
00:27:03.340 --> 00:27:06.140
It's not 100% 'cause you can see guys

543
00:27:06.140 --> 00:27:08.100
like a Jordan's beef,

544
00:27:08.100 --> 00:27:11.020
occurs strange back in the day

545
00:27:11.020 --> 00:27:13.140
where we would have plenty of arm bend,

546
00:27:13.140 --> 00:27:15.940
but then it would be more of like a stable arm bend.

547
00:27:15.940 --> 00:27:20.260
They wouldn't then rapidly fire it in transition.

548
00:27:20.260 --> 00:27:23.820
So if they're not overloading the arms,

549
00:27:23.820 --> 00:27:25.180
then there's probably a good chance

550
00:27:25.180 --> 00:27:28.060
that they're loading more of their core.

551
00:27:28.060 --> 00:27:30.220
So this is just kind of like a good little filter

552
00:27:30.220 --> 00:27:33.180
to see how much load are they doing more

553
00:27:33.180 --> 00:27:35.980
than the lower body versus the upper body.

554
00:27:35.980 --> 00:27:38.900
And then loading the chop,

555
00:27:38.900 --> 00:27:41.500
that's a very common power source.

556
00:27:41.500 --> 00:27:44.780
You know, I've got this way up here

557
00:27:44.780 --> 00:27:47.740
and I can pull this down to create speed,

558
00:27:47.740 --> 00:27:50.740
but that typically causes more of a jack knifing

559
00:27:50.740 --> 00:27:52.580
than if I was pulling around.

560
00:27:52.580 --> 00:27:54.580
We'll get into the chop pattern

561
00:27:54.580 --> 00:27:58.140
versus body rotation in transition.

562
00:27:58.140 --> 00:28:01.300
But typically the pull down pattern

563
00:28:01.300 --> 00:28:04.020
is going to have some type of overloading

564
00:28:04.020 --> 00:28:08.540
either into the quads or into the rectus,

565
00:28:08.540 --> 00:28:11.980
not as much the oblique, but into the rectus

566
00:28:11.980 --> 00:28:14.260
or the pec or the lat.

567
00:28:14.260 --> 00:28:17.020
But again, we're gonna cover that a whole lot more

568
00:28:17.020 --> 00:28:18.380
when we look at transition.

569
00:28:18.380 --> 00:28:22.980
All right, so that's enough kind of theory talk.

570
00:28:22.980 --> 00:28:24.500
Let's look at some swings

571
00:28:24.500 --> 00:28:27.300
and kind of dig into it a little bit more.

572
00:28:28.900 --> 00:28:33.420
So Alan, if you remember, had some stuff going on

573
00:28:33.420 --> 00:28:34.500
in the takeaway.

574
00:28:34.500 --> 00:28:38.500
So now as we go up towards the top of the swing,

575
00:28:38.500 --> 00:28:45.020
we'll see a couple of interesting things.

576
00:28:45.020 --> 00:28:47.500
I always like to kind of scrub back and forth

577
00:28:47.500 --> 00:28:51.460
a few times to see what's kind of the last thing

578
00:28:51.460 --> 00:28:53.140
to really get moved.

579
00:28:53.140 --> 00:28:56.020
And you can see the last thing for him

580
00:28:56.020 --> 00:28:59.100
is a combination of that lateral shift

581
00:28:59.100 --> 00:29:02.740
of the lower body and then a little bit extra set

582
00:29:02.740 --> 00:29:07.580
of the arms, especially that right arm.

583
00:29:07.580 --> 00:29:12.620
So it kind of builds into,

584
00:29:12.620 --> 00:29:15.860
we saw his little knee move to start.

585
00:29:15.860 --> 00:29:18.380
That's more of an arm trigger.

586
00:29:18.380 --> 00:29:23.380
And then a little bit of that sway, that late sway

587
00:29:23.380 --> 00:29:28.180
is a way to create some tension more for the pelvis

588
00:29:28.180 --> 00:29:31.900
for arm pulling rather than pushing the leg.

589
00:29:31.900 --> 00:29:34.180
It's not a really strong, it creates tension.

590
00:29:34.180 --> 00:29:35.540
Either one of them will create tension,

591
00:29:35.540 --> 00:29:37.420
whether you rotate or kind of sway,

592
00:29:37.420 --> 00:29:42.420
but the rotational tension will kind of load more

593
00:29:42.420 --> 00:29:45.700
rotation for the downswing.

594
00:29:45.700 --> 00:29:49.800
Where the sway move doesn't really load the rotation,

595
00:29:49.800 --> 00:29:52.100
but it sets the pelvis up in a good position

596
00:29:52.100 --> 00:29:55.140
for the lat or the peck to pull.

597
00:29:55.140 --> 00:30:00.180
We'll look at that more in transition.

598
00:30:00.180 --> 00:30:03.300
Transitions, the downswing, I think,

599
00:30:03.300 --> 00:30:08.300
is where a lot of the important stuff really gets going.

600
00:30:08.300 --> 00:30:10.940
Okay, so if we remember Mr. Happy Feet

601
00:30:10.940 --> 00:30:15.700
from the down the line, again,

602
00:30:15.700 --> 00:30:17.380
we're just kind of going up to look at,

603
00:30:17.380 --> 00:30:19.420
well, what ends that backswing?

604
00:30:20.380 --> 00:30:23.820
So we'll see, everything seems like it's going fine.

605
00:30:23.820 --> 00:30:25.820
He's probably been told he gets really flat,

606
00:30:25.820 --> 00:30:28.980
and then we'll see, as he goes to end,

607
00:30:28.980 --> 00:30:33.260
you can see there's a fair amount of movement that way.

608
00:30:33.260 --> 00:30:36.180
We'll see it here.

609
00:30:36.180 --> 00:30:41.060
So that last movement,

610
00:30:41.060 --> 00:30:44.060
we can see really getting to the outside of the foot.

611
00:30:44.060 --> 00:30:48.020
I usually start from the foot and work my way up.

612
00:30:48.020 --> 00:30:53.020
So he's creating tension in the outside line of the leg.

613
00:30:53.020 --> 00:30:57.060
And while it appears that the pelvis is rotating a ton,

614
00:30:57.060 --> 00:31:00.100
because of what the foot is doing,

615
00:31:00.100 --> 00:31:01.900
the tension isn't really in the hip.

616
00:31:01.900 --> 00:31:05.500
It's more kind of the outside of the knee.

617
00:31:05.500 --> 00:31:10.620
So we'll see in transition what might be the case for that.

618
00:31:10.620 --> 00:31:17.980
But, yeah, if we're looking at this

619
00:31:17.980 --> 00:31:20.340
and kind of making some assessments,

620
00:31:20.340 --> 00:31:24.020
we could just say, well, the shoulders kind of turn late.

621
00:31:24.020 --> 00:31:28.420
They're not very blended in how they turn.

622
00:31:28.420 --> 00:31:31.820
Weight distribution moves more towards the outside

623
00:31:31.820 --> 00:31:33.940
of the foot, and from this view,

624
00:31:33.940 --> 00:31:37.660
we can see a little bit moves towards the outside

625
00:31:37.660 --> 00:31:40.620
of the heel as well.

626
00:31:40.620 --> 00:31:43.540
So we'll ask ourselves when we get to transition,

627
00:31:43.540 --> 00:31:45.460
why would I want to get all this tension

628
00:31:45.460 --> 00:31:48.260
in the outside of the heel, what's that going to help me do?

629
00:31:48.260 --> 00:31:53.420
Okay, so we have an example of overturning.

630
00:31:53.420 --> 00:31:59.620
And we'll see as we go up, it'll be a little bit easier

631
00:31:59.620 --> 00:32:05.060
to see from this face-on view.

632
00:32:05.060 --> 00:32:08.500
The down the line, I think, is better

633
00:32:08.500 --> 00:32:11.820
for looking at transition and some of the arm-setting things.

634
00:32:11.820 --> 00:32:15.260
But if I only had one view, I'd prefer to see the face-on view.

635
00:32:15.260 --> 00:32:17.820
I think there's a lot more to be seen

636
00:32:17.820 --> 00:32:21.700
with kind of what's getting loaded and overloaded.

637
00:32:21.700 --> 00:32:28.540
So we can see in this particular golfer,

638
00:32:28.540 --> 00:32:30.020
hey, there's a fair amount of overturn,

639
00:32:30.020 --> 00:32:31.980
but there's not a really big,

640
00:32:31.980 --> 00:32:35.500
like he keeps the connection in the foot.

641
00:32:35.500 --> 00:32:39.020
Knee might swap this way a little bit,

642
00:32:39.020 --> 00:32:41.780
but it'd be hard to have no knee sway

643
00:32:41.780 --> 00:32:46.180
with what he's doing with his spine.

644
00:32:46.180 --> 00:32:48.180
So you'll see he's kind of, I would say,

645
00:32:48.180 --> 00:32:51.500
loading more of this ab-chopped pattern,

646
00:32:51.500 --> 00:32:53.780
and he's really loading that trail shoulder.

647
00:32:53.780 --> 00:32:58.100
Like a really big wind-up before the throw.

648
00:32:58.100 --> 00:33:04.780
It's also, he's got some interesting stuff going on

649
00:33:04.780 --> 00:33:05.700
with his neck.

650
00:33:05.700 --> 00:33:07.220
You'll see right around here,

651
00:33:07.220 --> 00:33:08.900
he kind of hits a sticking point,

652
00:33:08.900 --> 00:33:13.540
and then whenever his chest moves, his neck moves with it,

653
00:33:13.540 --> 00:33:17.180
that's more of just an observation.

654
00:33:17.180 --> 00:33:21.300
If it doesn't seem to disrupt any of his,

655
00:33:21.300 --> 00:33:25.020
how consistency you can make contact or anything like that,

656
00:33:25.020 --> 00:33:26.820
I would probably leave it alone.

657
00:33:26.820 --> 00:33:29.980
But I wanted to show an example of someone

658
00:33:29.980 --> 00:33:34.300
who not all overturns are gonna have really poor foot function.

659
00:33:34.300 --> 00:33:35.780
There are a couple other reasons

660
00:33:37.980 --> 00:33:40.900
for loading more of the core,

661
00:33:40.900 --> 00:33:44.220
or loading more of the upper body that this can happen.

662
00:33:44.220 --> 00:33:47.220
But we'll dig into it more in transition.

663
00:33:47.220 --> 00:33:50.580
Remember, we're kind of building up to the stuff

664
00:33:50.580 --> 00:33:52.060
that I think is the most important,

665
00:33:52.060 --> 00:33:55.020
which will be when we get into transition and release.

666
00:33:55.020 --> 00:34:01.780
Okay, so I got a kind of the classic arms bending

667
00:34:01.780 --> 00:34:04.620
kind of beginner woman.

668
00:34:04.620 --> 00:34:06.940
We'll talk through this real quick.

669
00:34:06.940 --> 00:34:09.060
So you'll see this a lot,

670
00:34:09.060 --> 00:34:14.060
not a, you know, if we scan what's loading in the backswing,

671
00:34:14.060 --> 00:34:16.480
we'll A in the takeaway.

672
00:34:16.480 --> 00:34:22.500
We can see it's kind of the hands moving first, right?

673
00:34:22.500 --> 00:34:25.380
So this is more of an arm dominant

674
00:34:25.380 --> 00:34:28.600
or hand dominant swing from the get-go.

675
00:34:28.600 --> 00:34:31.940
Body stayed pretty centered,

676
00:34:31.940 --> 00:34:34.720
but you can see what moves last.

677
00:34:36.460 --> 00:34:39.820
Boom, the last thing is kind of really bending those arms.

678
00:34:39.820 --> 00:34:42.140
You'll see from the down the line,

679
00:34:42.140 --> 00:34:44.420
the right arm gets significantly bent.

680
00:34:44.420 --> 00:34:48.020
And then that's a clear indication

681
00:34:48.020 --> 00:34:50.860
that we're probably going to release those arms first.

682
00:34:50.860 --> 00:34:53.260
If I asked her why'd she stop,

683
00:34:53.260 --> 00:34:58.060
she probably would feel some tension more in the tricep

684
00:34:58.060 --> 00:35:00.180
of that left shoulder,

685
00:35:00.180 --> 00:35:02.660
possibly in the backside of that right shoulder.

686
00:35:02.660 --> 00:35:06.140
But foot stayed in decent contact, centered pivot,

687
00:35:06.140 --> 00:35:09.500
but some major issues with kind of arm structure

688
00:35:09.500 --> 00:35:13.780
and what's getting loaded from the down the line.

689
00:35:13.780 --> 00:35:18.420
We saw her, we got a glimpse there

690
00:35:18.420 --> 00:35:20.060
that contact wasn't that great.

691
00:35:20.060 --> 00:35:24.900
But again, we can see kind of disconnecting

692
00:35:24.900 --> 00:35:28.940
and again, look at how bent that right arm goes.

693
00:35:28.940 --> 00:35:33.940
So we know that those arms were loaded or stretched a ton.

694
00:35:33.940 --> 00:35:38.580
Now, this is the first kind of relationship

695
00:35:38.580 --> 00:35:42.180
of looking at some of these moment arms.

696
00:35:42.180 --> 00:35:46.340
When I pull my arms in closest to me like this,

697
00:35:46.340 --> 00:35:50.220
then my back muscles don't have to support quite as much.

698
00:35:50.220 --> 00:35:54.540
So this can be physically less demanding.

699
00:35:54.540 --> 00:35:58.300
And oftentimes, I wanted to highlight this.

700
00:35:58.300 --> 00:36:02.660
You'll see often just kind of talking

701
00:36:02.660 --> 00:36:06.180
through this kind of collapsed look

702
00:36:06.180 --> 00:36:09.380
that you see with a lot of your higher handicapped women.

703
00:36:09.380 --> 00:36:10.860
Oftentimes, she doesn't do it,

704
00:36:10.860 --> 00:36:14.900
but oftentimes you'll see the wrist kind of go this way.

705
00:36:14.900 --> 00:36:17.020
That's usually more of an indication

706
00:36:17.020 --> 00:36:20.300
that I'm really using this bicep to create the height.

707
00:36:20.300 --> 00:36:26.820
Basically, this bicep flex pattern,

708
00:36:26.820 --> 00:36:30.300
some of the fascia will make it,

709
00:36:30.300 --> 00:36:31.580
extends all the way down to the hand

710
00:36:31.580 --> 00:36:33.180
and it'll make it more effective.

711
00:36:33.180 --> 00:36:36.660
It'll make it more connected or powerful.

712
00:36:36.660 --> 00:36:39.100
So you'll often see this pattern here

713
00:36:39.100 --> 00:36:42.140
right before kind of throwing it

714
00:36:42.140 --> 00:36:43.380
by straightening the arms and going

715
00:36:43.380 --> 00:36:45.340
into more of that internal shoulder rotation.

716
00:36:45.340 --> 00:36:46.780
She doesn't do that quite as much.

717
00:36:46.780 --> 00:36:50.940
We'll look at that in more detail in the transition.

718
00:36:50.940 --> 00:36:54.380
But you can clearly see like, okay, it was led there,

719
00:36:54.380 --> 00:36:56.620
kept my body pretty stable.

720
00:36:56.620 --> 00:37:01.100
So I'm not really planning to create a lot of the engine

721
00:37:01.100 --> 00:37:02.500
from the core,

722
00:37:02.500 --> 00:37:05.620
more creating the engine up here in the shoulder griddle.

723
00:37:05.620 --> 00:37:11.700
Quite common amateur pattern.

724
00:37:11.700 --> 00:37:13.780
It shows up in a bunch of different varieties,

725
00:37:13.780 --> 00:37:17.460
but quite common amateur loading pattern bending the arms.

726
00:37:17.460 --> 00:37:19.380
All right, so now we've got,

727
00:37:19.380 --> 00:37:20.660
this is just a practice swing.

728
00:37:20.660 --> 00:37:23.020
Someone posted on our site.

729
00:37:23.020 --> 00:37:26.420
You'll see kind of that last movement there

730
00:37:26.420 --> 00:37:28.940
of over setting the wrist.

731
00:37:28.940 --> 00:37:31.260
There's a little bit, you know,

732
00:37:31.260 --> 00:37:33.860
yeah, lower body has some sway to it

733
00:37:33.860 --> 00:37:36.020
that supports an arm pull pattern.

734
00:37:36.020 --> 00:37:38.860
Left shoulder has a good amount of reach,

735
00:37:38.860 --> 00:37:40.820
but the really obvious thing here

736
00:37:40.820 --> 00:37:45.820
is how narrow and how over cupped that wrist gets.

737
00:37:45.820 --> 00:37:51.500
If we look at it from the down the line,

738
00:37:51.500 --> 00:37:53.420
we'll see this is gonna potentially

739
00:37:53.420 --> 00:37:55.060
when he over sets his wrist.

740
00:37:55.060 --> 00:37:59.380
It really goes more from,

741
00:37:59.380 --> 00:38:04.340
or it gets the club a little bit more across the line, right?

742
00:38:04.340 --> 00:38:06.700
So now we've kind of preset a little bit

743
00:38:06.700 --> 00:38:08.100
of the steepening pattern

744
00:38:08.100 --> 00:38:10.660
by getting a little bit more across the line.

745
00:38:10.660 --> 00:38:13.300
We'll talk about that in the steeps and shallows

746
00:38:13.300 --> 00:38:15.460
when we start looking at transition.

747
00:38:15.460 --> 00:38:19.860
But the reach from the left shoulder,

748
00:38:19.860 --> 00:38:22.620
the over setting the wrist, the minor sway,

749
00:38:22.620 --> 00:38:25.540
I'm looking at kind of, you know, the whole system

750
00:38:25.540 --> 00:38:27.300
and he's got a few different checks

751
00:38:27.300 --> 00:38:30.860
relating to loading the arms,

752
00:38:30.860 --> 00:38:32.220
but in a slightly different way

753
00:38:32.220 --> 00:38:35.220
than what we saw with the woman, right?

754
00:38:35.220 --> 00:38:37.620
We didn't see quite as much,

755
00:38:37.620 --> 00:38:40.780
we don't see quite as much arm bend or lift.

756
00:38:40.780 --> 00:38:44.140
He's obviously a more accomplished golfer,

757
00:38:44.140 --> 00:38:45.580
but there are gonna be consequences

758
00:38:45.580 --> 00:38:46.700
for over setting the wrist

759
00:38:46.700 --> 00:38:48.300
that we'll see in the downswing.

760
00:38:49.580 --> 00:38:52.780
Okay, so we'll look at a couple pro examples now,

761
00:38:52.780 --> 00:38:54.540
but just keeping in mind,

762
00:38:54.540 --> 00:38:56.100
our goal is to lengthen the hand path,

763
00:38:56.100 --> 00:38:58.620
but not over stretch the arms.

764
00:38:58.620 --> 00:39:03.620
Our goal is to get a C-O-M, the C-O-P vector.

765
00:39:03.620 --> 00:39:07.260
I'll actually cover that here

766
00:39:07.260 --> 00:39:09.980
when we start talking about turn versus swaver's lift,

767
00:39:09.980 --> 00:39:13.420
and then load the muscles for transition

768
00:39:13.420 --> 00:39:16.020
while setting up the arm shallowing

769
00:39:16.020 --> 00:39:17.180
in sequence of the downswing.

770
00:39:17.180 --> 00:39:20.180
I want maximum stretch at the top of the swing

771
00:39:20.180 --> 00:39:23.420
to be in your hips or core,

772
00:39:23.420 --> 00:39:26.140
not so much in the shoulders or hands.

773
00:39:26.140 --> 00:39:31.300
Now, that's not necessarily where golfers always feel it,

774
00:39:31.300 --> 00:39:34.060
but that's the reality of what we're going for.

775
00:39:34.060 --> 00:39:38.540
All right, so first we'll look at Rory.

776
00:39:38.540 --> 00:39:43.020
So from P2 there up to P4,

777
00:39:43.020 --> 00:39:44.300
you'll tend to see,

778
00:39:45.580 --> 00:39:48.620
we're looking at the trail foot.

779
00:39:48.620 --> 00:39:54.340
You'll see heat,

780
00:39:54.340 --> 00:39:56.940
you will see a little bit of the toe coming off the ground,

781
00:39:56.940 --> 00:39:59.100
but you'll see it in more of a spiral pattern

782
00:39:59.100 --> 00:40:00.940
where that foot is twisting more like this,

783
00:40:00.940 --> 00:40:03.900
as opposed to rolling more like that.

784
00:40:03.900 --> 00:40:05.340
It's a little trickier to see.

785
00:40:05.340 --> 00:40:07.980
It'll show up in transition again,

786
00:40:07.980 --> 00:40:09.500
but you'll see it right there.

787
00:40:09.500 --> 00:40:14.340
Lower body, that leg is straightening,

788
00:40:14.340 --> 00:40:17.740
but again, hasn't crossed that 15 degree threshold.

789
00:40:17.740 --> 00:40:20.780
And you'll see that kind of ending that backswing

790
00:40:20.780 --> 00:40:24.340
is more in the pelvis and in the core.

791
00:40:24.340 --> 00:40:26.780
Doesn't look like he's reaching

792
00:40:26.780 --> 00:40:29.660
a maximum stretch in his shoulder.

793
00:40:29.660 --> 00:40:34.540
There is a little bit of kind of late arm bend or wrist set,

794
00:40:34.540 --> 00:40:38.660
but if you're just kind of looking at some of the,

795
00:40:38.660 --> 00:40:41.220
like lines of tension,

796
00:40:41.220 --> 00:40:43.740
there looks like there's still a little bit of slack

797
00:40:43.740 --> 00:40:45.340
in his shoulder.

798
00:40:45.340 --> 00:40:47.260
Here, he's gonna reach his maximum stretch

799
00:40:47.260 --> 00:40:48.980
further down in the downswing.

800
00:40:48.980 --> 00:40:51.100
But if we're looking at that pelvis movement

801
00:40:51.100 --> 00:40:53.060
right around there, it doesn't look like he has

802
00:40:53.060 --> 00:40:55.620
much range to go.

803
00:40:55.620 --> 00:40:57.740
So foot is in good connection,

804
00:40:57.740 --> 00:41:00.140
posture is in good connection,

805
00:41:00.140 --> 00:41:03.140
club face and everything looks really solid.

806
00:41:03.140 --> 00:41:05.540
And we can see as we pump,

807
00:41:05.540 --> 00:41:07.420
scroll back and forth,

808
00:41:07.420 --> 00:41:10.620
like more of what's looking like it's getting wound up

809
00:41:10.620 --> 00:41:15.620
is in his hips, in his core, not so much in his shoulder.

810
00:41:15.620 --> 00:41:17.380
So from a loading perspective,

811
00:41:17.380 --> 00:41:22.100
the tour pros are a little bit more boring to look at

812
00:41:22.100 --> 00:41:23.140
at the top of the swing.

813
00:41:23.140 --> 00:41:27.700
You won't see as many kind of major outliers.

814
00:41:27.700 --> 00:41:30.980
So again, you'll see good foot connection,

815
00:41:30.980 --> 00:41:35.820
kind of rotational tension through the pelvis and the core.

816
00:41:38.660 --> 00:41:42.620
And depending on, you'll see the arms get loaded,

817
00:41:42.620 --> 00:41:43.980
but not overloaded.

818
00:41:43.980 --> 00:41:45.820
Again, the big reason for that

819
00:41:45.820 --> 00:41:48.860
is they're gonna reach their maximum load

820
00:41:48.860 --> 00:41:50.380
right around here in the downswing,

821
00:41:50.380 --> 00:41:53.740
which will, depending on the segment,

822
00:41:53.740 --> 00:41:56.260
we'll talk about in the transition class.

823
00:41:56.260 --> 00:42:01.260
So I just wanted a couple examples

824
00:42:01.260 --> 00:42:04.460
where you'll see kind of the centered turn,

825
00:42:04.460 --> 00:42:07.780
the good spiral line through the lower body,

826
00:42:07.780 --> 00:42:10.620
up into the core and the arms getting in position

827
00:42:10.620 --> 00:42:15.700
for a shallowing and creating leg in the downswing.

828
00:42:15.700 --> 00:42:19.800
So let's dig into the turn versus wavers lift.

829
00:42:19.800 --> 00:42:23.860
Okay, I'm gonna, you're gonna get so sick of this,

830
00:42:23.860 --> 00:42:27.100
what gets loaded gets unloaded phrase

831
00:42:27.100 --> 00:42:29.980
to probably gonna start fast forwarding.

832
00:42:29.980 --> 00:42:34.980
Okay, so from a just kind of muscle loading perspective,

833
00:42:37.260 --> 00:42:39.580
the main things that we can load in the core

834
00:42:39.580 --> 00:42:43.300
are going to be the glutes and then the abs.

835
00:42:43.300 --> 00:42:47.460
So the external oblique or the transverso spinalis,

836
00:42:47.460 --> 00:42:51.380
which is not an ab muscle, that's a back muscle.

837
00:42:51.380 --> 00:42:55.900
But they, you know, I did this in the takeaway class

838
00:42:55.900 --> 00:42:58.860
where, okay, the glute is pretty easy.

839
00:42:58.860 --> 00:43:03.620
In order to load it, I'm going to slightly flex the hip

840
00:43:03.620 --> 00:43:05.980
and I'm going to rotate in.

841
00:43:05.980 --> 00:43:07.500
Because when I unload it,

842
00:43:07.500 --> 00:43:10.940
I'm going to extend the hip and rotate out, right?

843
00:43:10.940 --> 00:43:13.460
So if I back up a little bit here,

844
00:43:13.460 --> 00:43:15.940
that is the primary function of the glute.

845
00:43:15.940 --> 00:43:17.740
It can either go back or out,

846
00:43:17.740 --> 00:43:19.380
but if you did both of them together,

847
00:43:19.380 --> 00:43:22.220
that's activating kind of all the fibers.

848
00:43:22.220 --> 00:43:24.140
So when I make a backswing,

849
00:43:24.140 --> 00:43:26.340
the hip is flexing a little bit

850
00:43:26.340 --> 00:43:28.800
and going into internal rotation.

851
00:43:28.800 --> 00:43:32.820
So it's gonna be more in a pattern through there.

852
00:43:32.820 --> 00:43:34.980
That now gives me a good platform

853
00:43:34.980 --> 00:43:37.780
to be able to unload the glute from.

854
00:43:37.780 --> 00:43:41.940
The abs, I'm trying to load,

855
00:43:41.940 --> 00:43:46.060
or I'm trying to unload my abs in more of this,

856
00:43:46.060 --> 00:43:47.580
what we call positive torsion,

857
00:43:47.580 --> 00:43:51.580
which is a combination of rotation and flexion.

858
00:43:51.580 --> 00:43:52.700
So I wanna do the opposite.

859
00:43:52.700 --> 00:43:55.660
I'm going to rotate and extend.

860
00:43:55.660 --> 00:43:59.740
And so that stretches the external oblique

861
00:43:59.740 --> 00:44:02.580
and that stretches the transverso spinalis

862
00:44:02.580 --> 00:44:03.720
on the opposite side.

863
00:44:04.940 --> 00:44:06.500
Loading the shoulders.

864
00:44:06.500 --> 00:44:10.580
So I usually teach just kind of a basic arm movement

865
00:44:10.580 --> 00:44:15.820
for the backswing, which is if I take my normal setup

866
00:44:15.820 --> 00:44:16.940
and then I just say,

867
00:44:16.940 --> 00:44:19.500
okay, here's what the arms are gonna do in the backswing.

868
00:44:19.500 --> 00:44:22.020
They're gonna move the right arm is going to bend,

869
00:44:22.020 --> 00:44:23.660
which helps bring the arms across.

870
00:44:23.660 --> 00:44:26.860
So it moves in about a 30 degree angle, kind of like this.

871
00:44:26.860 --> 00:44:31.860
And then the wrist is going to extend like this.

872
00:44:31.860 --> 00:44:34.180
It's not gonna have a whole lot,

873
00:44:34.180 --> 00:44:35.140
especially the trail wrist

874
00:44:35.140 --> 00:44:37.740
isn't gonna have very much radial deviation,

875
00:44:37.740 --> 00:44:41.780
but it's going to go into 50, 60 degrees of extension.

876
00:44:41.780 --> 00:44:44.740
So fair amount there.

877
00:44:44.740 --> 00:44:48.900
Fixed point, if we're looking at the foot,

878
00:44:48.900 --> 00:44:52.420
again, we're kind of erring towards having the fixed point

879
00:44:52.420 --> 00:44:55.940
right around there, just behind that first knuckle

880
00:44:55.940 --> 00:44:58.260
of the big toe.

881
00:44:58.260 --> 00:45:00.060
So actually it would be more there

882
00:45:00.060 --> 00:45:03.020
because the hand looks different than the foot.

883
00:45:03.020 --> 00:45:05.500
But that would give me kind of this anchor

884
00:45:05.500 --> 00:45:10.500
to then be able to roll or bank the foot in transition.

885
00:45:10.500 --> 00:45:14.220
Now bring up a picture here on the next slide

886
00:45:14.220 --> 00:45:17.020
and we'll look at this COM versus COP that I've been talking about,

887
00:45:17.020 --> 00:45:20.700
but basically that's looking at economizing the movement

888
00:45:20.700 --> 00:45:22.580
so that I get more out of it.

889
00:45:22.580 --> 00:45:27.540
And then I'm gonna, you're gonna get sick of this one too,

890
00:45:27.540 --> 00:45:31.540
but keep in mind that ideally the maximum arm stretch

891
00:45:31.540 --> 00:45:34.460
happens in the downswing, not at the top of the swing.

892
00:45:34.460 --> 00:45:36.980
Sometimes that's a huge paradigm shift for amateurs

893
00:45:36.980 --> 00:45:39.980
who are really trying to stretch their arms out

894
00:45:39.980 --> 00:45:42.460
as much as possible at the top of the swing.

895
00:45:42.460 --> 00:45:46.900
All right, so here is a picture that Dr. Kwan

896
00:45:46.900 --> 00:45:48.300
sent me to use in my book,

897
00:45:48.300 --> 00:45:51.980
looking at the center of mass for center of pressure.

898
00:45:51.980 --> 00:45:55.300
So basically the lines there are looking

899
00:45:55.300 --> 00:45:58.940
at the individual pressure and then,

900
00:45:58.940 --> 00:46:02.140
so you've got the individual pressure

901
00:46:02.140 --> 00:46:05.860
onto the right foot, individual or force under the left foot

902
00:46:05.860 --> 00:46:10.700
and then the combined center of pressure in the middle.

903
00:46:10.700 --> 00:46:13.220
This yellow ball is the center of mass.

904
00:46:13.220 --> 00:46:16.140
So this golfer over here,

905
00:46:16.140 --> 00:46:19.460
you can see that this combined center of pressure

906
00:46:19.460 --> 00:46:22.540
is very close to the center of mass.

907
00:46:22.540 --> 00:46:24.460
And then this one here in the center,

908
00:46:24.460 --> 00:46:26.660
you can see that there's a big distance

909
00:46:26.660 --> 00:46:29.500
between the center of mass and the center of pressure.

910
00:46:29.500 --> 00:46:32.420
That's gonna help create some of this side tilt

911
00:46:32.420 --> 00:46:35.940
or frontal plane rotation during the downswing

912
00:46:35.940 --> 00:46:38.180
in a much easier way.

913
00:46:38.180 --> 00:46:39.700
When they're dead in line,

914
00:46:39.700 --> 00:46:42.700
you're gonna have to use a lot of muscle force

915
00:46:42.700 --> 00:46:44.860
to move the whole system.

916
00:46:44.860 --> 00:46:47.780
When they're further apart, you have a lever arm.

917
00:46:47.780 --> 00:46:50.540
So it's basically like having a longer wrench

918
00:46:50.540 --> 00:46:52.260
to be able to move.

919
00:46:52.260 --> 00:46:57.260
So essentially, if I shift too much on top here,

920
00:46:57.260 --> 00:46:59.940
then that pressure is gonna be more vertical,

921
00:46:59.940 --> 00:47:02.100
which is gonna be closer to my center of mass.

922
00:47:02.100 --> 00:47:04.100
I can push up and down that way,

923
00:47:04.100 --> 00:47:08.900
but I can't really create some rotation or tilt

924
00:47:08.900 --> 00:47:12.460
where if I get my body more in this position,

925
00:47:12.460 --> 00:47:15.340
now the angle my pressure is going is more like this,

926
00:47:15.340 --> 00:47:17.980
compared to where my center of mass is.

927
00:47:17.980 --> 00:47:21.580
That allows me to have an easier time

928
00:47:21.580 --> 00:47:24.300
going into this downswing side bend move

929
00:47:24.300 --> 00:47:26.820
and that that frontal plane rotation

930
00:47:26.820 --> 00:47:32.180
has a huge contribution for increasing club head speed.

931
00:47:32.180 --> 00:47:35.020
So that's one of the big reasons

932
00:47:35.020 --> 00:47:37.580
why we want to stay a little bit more centered

933
00:47:37.580 --> 00:47:39.220
and not get to the outside.

934
00:47:39.220 --> 00:47:41.860
It helps with some of the path delivery

935
00:47:41.860 --> 00:47:44.900
and kind of some of the flat spot or low point issues

936
00:47:44.900 --> 00:47:46.580
that we might discuss,

937
00:47:46.580 --> 00:47:51.060
but it also helps with creating speed in the hands

938
00:47:51.060 --> 00:47:52.260
in an easier way.

939
00:47:52.260 --> 00:47:55.420
Okay, so if we're not gonna rotate,

940
00:47:55.420 --> 00:47:56.740
which a lot of amateurs don't,

941
00:47:56.740 --> 00:47:59.060
then we're gonna look at the sway in the lift.

942
00:47:59.060 --> 00:48:03.260
So the sway loads a potential arm pull or hip slide.

943
00:48:03.260 --> 00:48:06.380
You can't just say the sway loads one or the other.

944
00:48:06.380 --> 00:48:10.060
Like, oh, they sway it so they're going to slide.

945
00:48:10.060 --> 00:48:13.500
No, the sway can actually make the arm pull pattern

946
00:48:13.500 --> 00:48:16.100
really effective as well.

947
00:48:16.100 --> 00:48:18.820
I'll show that here in a second.

948
00:48:19.740 --> 00:48:21.580
So here's what I mean by that.

949
00:48:21.580 --> 00:48:25.020
If let's imagine that I had a chain above me

950
00:48:25.020 --> 00:48:27.540
and I was gonna pull it down, right?

951
00:48:27.540 --> 00:48:29.500
Well, if I was loaded like this,

952
00:48:29.500 --> 00:48:32.100
that's not a really strong position to pull.

953
00:48:32.100 --> 00:48:34.780
But if I said, hey, I gotta keep my feet in this position,

954
00:48:34.780 --> 00:48:37.820
then I would get my pelvis underneath.

955
00:48:37.820 --> 00:48:41.540
So now the fibers would be going more vertically.

956
00:48:41.540 --> 00:48:43.540
The fibers of my lat would be going more vertically

957
00:48:43.540 --> 00:48:45.180
in the direction that I'm about to pull.

958
00:48:45.180 --> 00:48:47.860
So I'd be here and I'd be able to pull down

959
00:48:47.860 --> 00:48:51.100
a lot stronger than if I was in that position.

960
00:48:51.100 --> 00:48:55.820
So one of the reasons that amateurs sway

961
00:48:55.820 --> 00:48:59.580
that helps create this displacement or hand height

962
00:48:59.580 --> 00:49:03.340
and it gets me in position where I can then pull down

963
00:49:03.340 --> 00:49:05.140
a little bit more effectively.

964
00:49:05.140 --> 00:49:08.340
But it also, when I sway this way,

965
00:49:08.340 --> 00:49:13.340
it can load my hip swaying or sliding the opposite direction.

966
00:49:13.340 --> 00:49:16.580
So like I said, you can't just look at a sway

967
00:49:16.580 --> 00:49:21.380
as a one to one, like I sway, therefore I loaded X.

968
00:49:21.380 --> 00:49:23.300
It could load one or the other,

969
00:49:23.300 --> 00:49:25.660
which is why you gotta then look at transition.

970
00:49:25.660 --> 00:49:29.860
Typically the sway puts more of the pressure

971
00:49:29.860 --> 00:49:31.460
in that fixed point into the knee

972
00:49:31.460 --> 00:49:33.940
instead of all the way down into the foot.

973
00:49:33.940 --> 00:49:36.780
And the foot is really critical

974
00:49:36.780 --> 00:49:38.740
for getting more of the hip rotation.

975
00:49:38.740 --> 00:49:44.380
So that can also give you a good indication

976
00:49:44.380 --> 00:49:46.660
that if, typically when they sway,

977
00:49:46.660 --> 00:49:49.780
they're not going to, especially if it's a late sway,

978
00:49:49.780 --> 00:49:51.780
like the last thing that they're doing,

979
00:49:51.780 --> 00:49:53.700
it's a good indication that they're not really using

980
00:49:53.700 --> 00:49:56.380
that foot and that hip really effectively.

981
00:49:56.380 --> 00:50:00.340
So you can look at the upper body clues to see,

982
00:50:00.340 --> 00:50:04.340
you know, why are they swaying or how are they swaying?

983
00:50:04.340 --> 00:50:06.180
And you can kind of get a rough sense

984
00:50:06.180 --> 00:50:10.140
of what that center of pressure center of mass might look like.

985
00:50:10.140 --> 00:50:14.020
The big sway makes it so that I can't create

986
00:50:14.020 --> 00:50:19.020
as much rotational force easily,

987
00:50:19.020 --> 00:50:22.940
but I can create more of this vertical force.

988
00:50:22.940 --> 00:50:27.140
So likely you'll see them build a fixed point

989
00:50:27.140 --> 00:50:30.220
on the cuboid or the lateral edge

990
00:50:30.220 --> 00:50:32.260
towards the back half of the foot.

991
00:50:32.260 --> 00:50:34.540
That's where a bunch of these fascia chains

992
00:50:34.540 --> 00:50:37.940
that help with arm pull tend to connect.

993
00:50:37.940 --> 00:50:41.020
So if you look for that, that's a clear indication.

994
00:50:41.020 --> 00:50:43.340
Again, maybe I need to work a little bit more

995
00:50:43.340 --> 00:50:46.540
on my core sequencing and my hip loading in the backswing.

996
00:50:46.540 --> 00:50:50.900
Okay, so lift, lift can come from either more

997
00:50:50.900 --> 00:50:53.500
of the upper back in spine, right?

998
00:50:53.500 --> 00:50:56.580
So I'm really raising this up

999
00:50:56.580 --> 00:51:00.260
or it could come from more arm bend, right?

1000
00:51:00.260 --> 00:51:03.860
So I'm either gonna get this chop pattern

1001
00:51:03.860 --> 00:51:07.340
or I'm gonna get this chop pattern or both.

1002
00:51:07.340 --> 00:51:09.460
But I'm looking for what is happening there

1003
00:51:09.460 --> 00:51:10.940
at the top of this wing.

1004
00:51:10.940 --> 00:51:14.260
Typically when you do that, the feet will tend

1005
00:51:14.260 --> 00:51:15.740
to be a little bit more quiet

1006
00:51:15.740 --> 00:51:19.420
and you'll see the fixed point more at the pelvis

1007
00:51:19.420 --> 00:51:21.980
as opposed to all the way down at the foot.

1008
00:51:21.980 --> 00:51:24.900
So to create the fixed point at the pelvis,

1009
00:51:24.900 --> 00:51:28.180
you'll either see more in the knees.

1010
00:51:28.180 --> 00:51:32.580
You'll see the knees being a little bit more out

1011
00:51:32.580 --> 00:51:37.620
or both feet on the outside edges, more towards the toes.

1012
00:51:37.620 --> 00:51:41.340
Those are some common foot function or foot indicators

1013
00:51:41.340 --> 00:51:44.420
that they're using more of the pelvis as the fixed point.

1014
00:51:44.420 --> 00:51:47.100
So always look at what like we did

1015
00:51:47.100 --> 00:51:48.700
when we looked at those amateur examples,

1016
00:51:48.700 --> 00:51:51.140
look at what's the last thing to get loaded

1017
00:51:51.140 --> 00:51:52.380
that's gonna give you an indication

1018
00:51:52.380 --> 00:51:54.180
of how they're gonna create power

1019
00:51:54.180 --> 00:51:56.060
and creating power is one of the two big

1020
00:51:56.060 --> 00:51:59.100
or one of the three big downswing parameters

1021
00:51:59.100 --> 00:52:01.180
that we're gonna see.

1022
00:52:01.180 --> 00:52:02.940
You'll start to see how your golfers

1023
00:52:02.940 --> 00:52:05.100
are building their swings around

1024
00:52:05.100 --> 00:52:07.540
and one of the common themes

1025
00:52:07.540 --> 00:52:09.420
that they'll build their swing around

1026
00:52:09.420 --> 00:52:11.380
is how I like to create speed.

1027
00:52:11.380 --> 00:52:13.740
So when you're looking at this top of the backswing,

1028
00:52:13.740 --> 00:52:16.420
you can look at the club face position,

1029
00:52:16.420 --> 00:52:19.700
the how much I've shifted, some of these control elements,

1030
00:52:19.700 --> 00:52:22.220
but I also want you looking at the dynamics,

1031
00:52:22.220 --> 00:52:23.900
like we just talked about there,

1032
00:52:23.900 --> 00:52:27.460
the sway versus lift versus turn,

1033
00:52:27.460 --> 00:52:29.820
what's the last thing that's moving

1034
00:52:29.820 --> 00:52:32.380
that's helping us see what they're loading

1035
00:52:32.380 --> 00:52:35.580
and that's what typically is gonna get unloaded first.

1036
00:52:35.580 --> 00:52:36.700
You can look at the pressure

1037
00:52:36.700 --> 00:52:38.180
and what's going on in the trail foot

1038
00:52:38.180 --> 00:52:39.860
'cause that's gonna be kind of the anchor

1039
00:52:39.860 --> 00:52:42.500
of whatever fashion line they're gonna tend to use.

1040
00:52:42.500 --> 00:52:47.180
But in addition to looking at some of these control elements

1041
00:52:47.180 --> 00:52:49.740
just start kind of thinking through,

1042
00:52:49.740 --> 00:52:54.740
if I'm gonna change one element that's related to power,

1043
00:52:54.740 --> 00:52:56.940
what am I gonna have to change that's related to control?

1044
00:52:56.940 --> 00:52:58.540
And we'll start weaving that a little bit more

1045
00:52:58.540 --> 00:53:01.780
when we look at the downswing in the next class.

1046
00:53:01.780 --> 00:53:05.260
So the key body relationships you're always looking at,

1047
00:53:05.260 --> 00:53:06.660
you got what are your legs doing,

1048
00:53:06.660 --> 00:53:09.060
what's your spine doing, what are your arms doing?

1049
00:53:09.060 --> 00:53:12.700
With the arms looking at the scapular connection

1050
00:53:12.700 --> 00:53:14.580
as well as the arm rotation,

1051
00:53:14.580 --> 00:53:17.260
those are both scapular connection relates

1052
00:53:17.260 --> 00:53:19.140
to both power and control.

1053
00:53:19.140 --> 00:53:21.500
The shoulder rotations is a little bit more

1054
00:53:21.500 --> 00:53:23.860
of a control parameter.

1055
00:53:23.860 --> 00:53:26.740
And then arm bend, that just tells you,

1056
00:53:26.740 --> 00:53:30.820
again, you don't see a whole lot of big arm loads

1057
00:53:30.820 --> 00:53:34.940
unless you're going to then fire them early in transition.

1058
00:53:34.940 --> 00:53:36.700
When we're looking at the spine,

1059
00:53:36.700 --> 00:53:39.580
we're looking at the core versus the back

1060
00:53:39.580 --> 00:53:42.940
versus the quads versus the glutes.

1061
00:53:42.940 --> 00:53:45.780
Again, we'll dive into these unloading

1062
00:53:45.780 --> 00:53:48.740
and how each one creates power more in transition,

1063
00:53:48.740 --> 00:53:50.260
which will be the next class.

1064
00:53:50.260 --> 00:53:54.460
But in general, good core function is good core function.

1065
00:53:54.460 --> 00:53:56.740
So getting the abs and the obliques

1066
00:53:56.740 --> 00:53:59.500
to kind of stabilize the spine as it rotates,

1067
00:53:59.500 --> 00:54:03.020
that helps create better tension through the glute,

1068
00:54:03.020 --> 00:54:07.100
where if you lose the deep core,

1069
00:54:07.100 --> 00:54:09.700
you'll tend to use more of your soas and your quads,

1070
00:54:09.700 --> 00:54:11.580
and that doesn't rotate as well.

1071
00:54:11.580 --> 00:54:13.540
So then you start looking for another strategy

1072
00:54:13.540 --> 00:54:14.940
to create power and you start getting

1073
00:54:14.940 --> 00:54:16.260
more into these arm pulls.

1074
00:54:16.260 --> 00:54:18.580
With the foot function,

1075
00:54:18.580 --> 00:54:23.420
if it's kind of spiraling around the inside part

1076
00:54:23.420 --> 00:54:27.820
of the foot, that's more of a glute or trail side issue

1077
00:54:28.700 --> 00:54:30.700
as in like a good thing.

1078
00:54:30.700 --> 00:54:35.140
And if you're more on the lateral edge of the cuboid,

1079
00:54:35.140 --> 00:54:38.980
that's a key facial component for the arm pull pattern.

1080
00:54:38.980 --> 00:54:41.980
All right, let's take a quick look at some of the swings

1081
00:54:41.980 --> 00:54:45.100
that you sent in, had a little audio trouble.

1082
00:54:45.100 --> 00:54:47.460
That's why you see a little change of scenery here.

1083
00:54:47.460 --> 00:54:53.100
Okay, so as we look at the setting phase in this one,

1084
00:54:53.100 --> 00:54:56.580
we can see a little bit of that spiral

1085
00:54:56.580 --> 00:54:59.780
towards the outside of the foot pattern.

1086
00:54:59.780 --> 00:55:04.780
That can be just kind of loading more down in the ankle

1087
00:55:04.780 --> 00:55:07.860
or knee and a little less in the hip.

1088
00:55:07.860 --> 00:55:10.540
Like the resistance isn't so much in the hip

1089
00:55:10.540 --> 00:55:13.220
as it is down at the lower limb.

1090
00:55:13.220 --> 00:55:19.540
Looks like some pretty good width there.

1091
00:55:19.540 --> 00:55:22.900
Potentially a little bit light

1092
00:55:22.900 --> 00:55:26.300
on the extension of the spine.

1093
00:55:26.300 --> 00:55:31.260
So we get a little more kind of reach

1094
00:55:31.260 --> 00:55:34.180
from the shoulder blade and a little more of a look

1095
00:55:34.180 --> 00:55:39.100
of kind of staying or a little bit of travel off the ball.

1096
00:55:39.100 --> 00:55:42.940
We'll see what that tends to do in transition.

1097
00:55:42.940 --> 00:55:45.420
But wrist angles look like they're all pretty good,

1098
00:55:45.420 --> 00:55:46.980
pretty centered.

1099
00:55:46.980 --> 00:55:50.060
All right, let's look from the down the line.

1100
00:55:53.420 --> 00:55:57.580
So again, right around here

1101
00:55:57.580 --> 00:56:00.380
is where we stopped seeing the extension of the spine.

1102
00:56:00.380 --> 00:56:03.180
And so that's where we start to see the drift

1103
00:56:03.180 --> 00:56:05.860
of the arms getting a little bit deep.

1104
00:56:05.860 --> 00:56:09.220
Because in order to keep the club and the system moving,

1105
00:56:09.220 --> 00:56:12.140
that shoulder and basically the shoulder blades

1106
00:56:12.140 --> 00:56:16.300
are making up for the rib or spine movement.

1107
00:56:16.300 --> 00:56:21.140
Other than that, looks like we're in pretty good positions.

1108
00:56:21.140 --> 00:56:22.580
Should be able to make a good downswing.

1109
00:56:22.580 --> 00:56:25.900
We'll talk about that in the next presentation.

1110
00:56:25.900 --> 00:56:28.620
All right, so looking at my new favorite golf swing,

1111
00:56:28.620 --> 00:56:33.140
here's that super closed face takeaway.

1112
00:56:33.140 --> 00:56:37.820
As we go up towards the setting section,

1113
00:56:37.820 --> 00:56:43.380
this is a perfect example of loading a chop pattern.

1114
00:56:43.380 --> 00:56:46.100
He's getting that shoulder up.

1115
00:56:46.100 --> 00:56:48.220
He's let go of the right hand.

1116
00:56:48.220 --> 00:56:49.940
He's getting himself in a position

1117
00:56:49.940 --> 00:56:52.500
where he's going to be able to pull down pretty hard.

1118
00:56:52.500 --> 00:56:57.420
We'll talk about that more in the transition class next.

1119
00:56:57.420 --> 00:57:01.340
But that's a very classic.

1120
00:57:01.340 --> 00:57:05.220
I'm going to be lifting so that I can chop.

1121
00:57:05.220 --> 00:57:13.580
So then if we look over here, fairly centered.

1122
00:57:13.580 --> 00:57:18.940
So the chop movement, you can see--

1123
00:57:18.940 --> 00:57:21.540
he doesn't have a dramatic lifting of the legs

1124
00:57:21.540 --> 00:57:22.300
or anything like that.

1125
00:57:22.300 --> 00:57:27.020
But you can see the space between his hips and his trunk.

1126
00:57:27.020 --> 00:57:31.580
You can see that space really open up

1127
00:57:31.580 --> 00:57:35.940
so that he can then basically do a crunch or a chop movement,

1128
00:57:35.940 --> 00:57:41.540
a vertical pull down there in transition.

1129
00:57:41.540 --> 00:57:45.300
What he does control-wise is pretty unique.

1130
00:57:45.300 --> 00:57:50.540
And we'll discuss that more when we look at the downswing,

1131
00:57:50.540 --> 00:57:53.620
the release, and the transition.

1132
00:57:53.620 --> 00:57:56.180
Again, I think this golfer gets much more interesting

1133
00:57:56.180 --> 00:58:02.860
when we get into the downswing, up at the top of the swing,

1134
00:58:02.860 --> 00:58:07.220
from the face-on view, potentially just a little more

1135
00:58:07.220 --> 00:58:10.740
upper body-driven, not too dynamic with the legs,

1136
00:58:10.740 --> 00:58:13.700
but kind of checks most of the boxes

1137
00:58:13.700 --> 00:58:17.100
might be over setting the wrist just a little bit at the top.

1138
00:58:17.100 --> 00:58:21.060
We'll see if that shows up in transition.

1139
00:58:21.060 --> 00:58:22.180
From the down the line.

1140
00:58:22.180 --> 00:58:34.380
Again, backswing isn't too interesting.

1141
00:58:34.380 --> 00:58:38.180
It's a little bit of shift into the toes, potentially.

1142
00:58:38.180 --> 00:58:42.180
You can see the pelvis moving forward.

1143
00:58:42.180 --> 00:58:48.100
Arms are in pretty good alignment and position

1144
00:58:48.100 --> 00:58:54.740
compared to what we saw with the two swings ago.

1145
00:58:54.740 --> 00:58:58.260
Here we can see not a lot of shoulder blade.

1146
00:58:58.260 --> 00:59:01.220
More of the movement there is coming from the spine and the ribs.

1147
00:59:01.220 --> 00:59:05.700
So top of backswing looks very good from my perspective,

1148
00:59:05.700 --> 00:59:06.540
looking at this golfer.

1149
00:59:06.540 --> 00:59:09.180
That would not be the area I'd be working on.

1150
00:59:09.180 --> 00:59:11.660
And that's part of how you want to look at this.

1151
00:59:11.660 --> 00:59:15.140
I think of it like an artist doing a drawing.

1152
00:59:15.140 --> 00:59:18.660
I've done a little bit of art classes.

1153
00:59:18.660 --> 00:59:22.780
And usually you kind of put the general framework in place,

1154
00:59:22.780 --> 00:59:24.700
and then you start working on the details.

1155
00:59:24.700 --> 00:59:26.700
If you try to do the details first,

1156
00:59:26.700 --> 00:59:30.300
then you lose a lot of your proportions or the big picture.

1157
00:59:30.300 --> 00:59:34.380
And so the drawing or the painting looks out of whack.

1158
00:59:34.380 --> 00:59:36.860
So if I'm looking at the big pieces,

1159
00:59:36.860 --> 00:59:39.260
backswing's probably not where I'm spending a lot of time

1160
00:59:39.260 --> 00:59:43.420
with this other than potentially oversetting the wrist.

1161
00:59:43.420 --> 00:59:47.940
But we'll see if that shows up as a problem in transition.

1162
00:59:47.940 --> 00:59:51.980
All right, and then looking at Jack.

1163
00:59:51.980 --> 00:59:57.780
So we looked at the takeaway being pretty classic.

1164
00:59:57.780 --> 01:00:01.300
So here you can see a really good blend of most

1165
01:00:01.300 --> 01:00:04.780
of that movement there is happening

1166
01:00:04.780 --> 01:00:09.660
into the right hip, into the ribs, into the spine.

1167
01:00:09.660 --> 01:00:11.940
It looks like it's kind of a blended movement

1168
01:00:11.940 --> 01:00:15.820
with a really good anchor at that right foot, right knee,

1169
01:00:15.820 --> 01:00:18.180
right ankle.

1170
01:00:18.180 --> 01:00:21.060
So that fixed point is really getting loaded,

1171
01:00:21.060 --> 01:00:26.060
creating a really big, special link all the way from there,

1172
01:00:26.060 --> 01:00:30.100
loading them up for a really dynamic transition

1173
01:00:30.100 --> 01:00:34.420
that we'll look at in the next class.

1174
01:00:34.420 --> 01:00:38.300
So if you have any questions about this class,

1175
01:00:38.300 --> 01:00:41.500
please ask them, I'll start the next presentation with that.

1176
01:00:41.500 --> 01:00:44.260
And if you have any swings that you would like,

1177
01:00:44.260 --> 01:00:46.660
sometimes the downswing gets a little bit more exciting.

1178
01:00:46.660 --> 01:00:49.540
So for either the transition or the release,

1179
01:00:49.540 --> 01:00:52.380
send your questions about the previous presentation

1180
01:00:52.380 --> 01:00:54.700
or send your swings that you'd like to see analyzed.

1181
01:00:54.700 --> 01:00:57.380
Otherwise, thanks for joining, I'll see you next time.