Squaring The Club Face Explained
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Many golfers like to feel "no hands" in their release. But not every golf swing is designed for this feel. If you naturally have a lot of arm tension, and if you naturally hold the face open, then a dead hands feel may not work well for you. I think it's better to train check points and relationships. Use contact as your feedback guide as to if you are making progress, rather than having a feel as a goal. Chasing numbers and chasing feels can both cause you to lose your game.
Tags: Poor Contact, Chicken Wing, Cast, Iron, Impact, Follow Through, Release, Member Question, Concept, Intermediate
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This video is discussing the Dead Hands release.
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Now, I had a good question asked about,
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don't a lot of tour pros describe like this feeling of dead hands through impact.
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And they will say, well, when it feels like I'm working on supination and unhinging,
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like that feels like very active hands down through the bottom.
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And I'll say, yes, the goal is to feel a little bit more dead hands through impact.
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But the problem is you're coming from two different perspectives and two different baseline.
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What I see on the internet is when when people describe a dead hands release,
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they actively rotate their arms.
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And it's pretty easy to see if you know what to look for in the forums.
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Because what they'll usually say is, okay, I've got the club here,
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and then I'm just going to rotate my body and it's going to be pointing at the target there.
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And then I just extend my arms and it's going to be pointing at the target.
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And there's zero shaft rotation.
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With measuring 3D, I've never seen a swing that had zero shaft rotation.
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And it wouldn't work very well if I were to see it.
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And the reason is going to be because of shaft lean.
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If you're going to have shaft lean, that means you're hitting the ball before the club gets straight out in front of you.
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So you can see if I were to take this and rotate it without, I'll do literally dead hands.
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I'll lock my hands in place and I just rotate in my body.
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And you can see that the club face is pointing well up towards the sky.
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So that means I would either have to grip it in an absurdly strong grip like this to have that dead hands approach.
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Or I'd have to have some shaft rotation.
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And the problem with gripping it absurdly strong like this is it I can't extend my arms because they're going to rotate when I start to extend them.
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And if so if I was to extend my arms, you would see that the bottom of the swing would actually work more low to high.
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The rotation of the forearms helps get that feeling of covering the ball with the right hand.
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At this point, I wouldn't be in position to fully cover the ball.
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So what usually ends up happening is when I see other instructors on the internet describing the dead hands release, they will go like this.
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And then they'll just turn through with their body and they'll hit it straight.
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Now to hit that straight, I rotated my forearms because otherwise you would see a finished position where right here, I'll drop the club right here, compared to my body.
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Or compared to my sternum, left arm's pointing to the sky and the right arm is pointing more at the camera.
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So compared to my sternum, my sternum is now here.
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I would put them in the same position. This would be truly dead hands.
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But it doesn't get there, it gets pointing out at the target.
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If I was to bring that back to the target, you could see that my hands have rotated like this during that phase.
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What happens is good golfers, especially golfers who were good as juniors, usually come from a school where they've been
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They've learned to create a lot of hand speed and they've been overly active with the rotation of the arms.
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And so what they end up getting to do is they have a pattern where they're basically jumping in really kind of lagging and rotating those arms.
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And then they're tired of hitting hooks and instructor teaches them to stay down and rotate their body.
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Well if you're overdoing the arms and you start rotating your body, it feels like you've done less with your arms.
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What I prefer is less trying to chase a feeling, like chasing a feeling of doing dead hands, and rather trace a relationship.
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So if you get the certain movements so that the club is going through the right time and space, it may feel like a very active release.
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It may feel very different, but if it produces the same results as someone who feels dead hands, then you have your pattern to train and you're going to have the same level of success.
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So now I'll demonstrate a couple. So first one I'll do is truly dead hands. I'm going to get it into this position. I'm going to lock my arms and hands in place compared to my sternum because I've kind of got the ability to do that.
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And then I'm going to make a good body rotation and you can see that that ball without having any rotation of my arms, that ball launched 30 degrees right and continued to fade over that way.
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Now we'll do the junior pattern, which would be a little bit more of rotation and flip. So I get it to that position.
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And I'll do a little bit more of really active flipping and rotating and you can see that that overdrew is a pull draw.
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Now what I'm going to do is I'm going to balance that out by adding a little bit of body movement to a rotation arm extension.
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One of the other ways that I think some people feel dead hands is if you're used to feeling more of a flip like this, having your arms extend without the club passing your body will feel like your hands are doing almost nothing because really more of the release is happening from the shoulders and the elbows and the triceps.
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So we'll try to balance one of those back in.
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So we've got dead hands over leaf lip and then more normal where you can see if I brought those arms back to where they were.
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That's a lot more rotated and closed.
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That's kind of the release right in through there.
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So if you're struggling with chasing a feeling of dead hands, I'd rather you train the movements that create the light right looks.
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And if it feels active fine, if it feels like dead hands great, but a lot of golfers fall into slumps chasing a specific feeling.