In one of Yoda's videos, he indicates that he is hitting the ball with "quiet knees and feet". This was a revelation for me. I have been hitting the ball very well since starting on the TGM path, but around late August my game just went south and I started getting back to my old OTT swing. I couldn't figure out what I was doing differently, but when I heard and saw Yoda keeping his knees and feet quiet, it got me to thinking. I realized that I was getting very active with my knees and hips in the backswing, and as a result, I was getting on a very flat plane and then I would cross the line at the top. When I focused on quiet knees and feet, I got back on the turned shoulder plane and started to hit dead straight shots or slight draws.
My question is, on another TGM forum, it has been recommended that you start the backswing with a sharp turn of the right hip behind you. I think this is what I was trying to do when my swing fell apart. So, am I on the right track with quiet knees and therefor less hip movement, or do I need to look further? My driving range game is very good right now but I don't know if it is a temporary fix or a more longer term one.
In Homer Kelley's notes posted in this forum he states, "Leading the Backstroke with Hip Action is Pivot Controlled Hands." The Hip Action in your Stroke Pattern is based upon the chosen Component for YOUR Total Motion. Not, what someone says on a forum, i.e., "you start the backswing with a sharp turn of the right hip behind you." I'm not saying, though, that you were following this advice, just that there is not one specific way for everybody.
Per 7-15, Hip Action, "The work the Hip Action does, is to lead and pull the Shoulders back and down in varying combinations." and "Hip Action must not be haphazard. It is a Pivot Component that must be carefully timed and sequenced to sustain the continuity and spacing of the Pivot Train (of Components)."
Per 7-14, Hip Turn, "The Hip Turn as a Stroke Component is, per 10-14, the product of Knee Bend and the Waist Bend." and "Except for its being, in itself, the Weight Shift, the Hip Turn is a motion permitting --rather than causing-- the other effects, actions, and motions of the Pivot."
So, Hip Turn defines motion and Hip Action defines work.
Now, all this related to the Knees by 7-16, Knee Action, "Knee Action is classified on the basis of (1) combination of bent and straight conditions and (2) the Reference Points selected at which these combinations occur. The combination selected will determine the slanting of the Hips during the Pivot.", "The slant of the Hips affects the degree of Hip Turn."
The point of this long-windedness of my part has been to show the relations between Knees, Hips, and Shoulders that you have found in your swing. And to say that you should choose the compatible Components for your Stroke Pattern that work for your Total Motion.
So, I would say your on the right track. If the "quiet knees and feet" are providing the results you are looking for. Pick the Components that provide this result and properly incorporate them into your Stroke. By defining your Stroke Pattern you can also have a reference to look to if your having problems. This can help you to zero in on the point in your stroke which is causing your stroke to 'go south'.
Hopefully, these thoughts will help you find YOUR way to the Stroke that is best for you. And always remember as Homer says in his introduction, "This textbook can support individual "MY Way" procedures but no "THE Way" theory".
Shouldn´t that advice also include the hips?
One has always been taught to let the hips lead the downswing.
However, I have recently found that letting the hips be left at the top and whipping the right arm through from that position gives a unprecedent booster to the armswing. Am I all wrong?
Get that sucka out the way...thrust coming through!
That preturned hip is key! You gotta get the hip (artificial, arthritic, or otherwise) out of the way. What floors me about that very simple adjustment is that it is a very common sense approach to the pivot. A lot of people have difficulty with maintaining a stationary post. If it ever occured to me to preset my hips on a full stroke I would not have had the strength of courage to do so, afterall who else does that? What a lemming! Homer Kelley gave me the courage to develop my very own stroke pattern. I wonder who gave Hogan or,Trevino that courage? Who would have thunk that you could hit a fade with a closed clubface (at address?) My favorite way to hit a "little cut in there" is to angle hinge one starting with the closed clubface. I used miss a lot these shots way right because I started with an open clubface. I did not even know that there were three hinge actions. Blithering on....I will stop...now...
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