Toe-to-Heel Weight Distribution

Proper Weight Distribution

Weight distribution in the address stance involves not only inter-foot distribution (i.e., weight distributed between the right and left foot) but also intra-foot distribution (i.e., vertical weight distribution within each foot); this post will discuss how the weight should settle within each foot vertically, from heel to toe, to create a balanced, stable stance during the setup capable of eliminating many potential downstream errors. Jack Nicklaus is correct: Most golf swing errors (90% or more) occur during the setup (i.e., GASP - grip; alignment/aim; stance/setup; posture/position); golfers should spend more time on GASP and takeaway than they spend on anything else because all that follows is a consequence of a good setup.

A quick Google search illustrates the most common bit of advice from various golf authorities regarding this subject: Most seem to advise the student to position more of their weight in the balls of the feet. For the anatomically challenged, the ball is the fleshy, firm part on the bottom of each foot located below the toes and just above the arch. The bottom of a normal foot contacts the ground primarily in three general areas: the heel; the toes, and the ball; the inside arch, in a normal, standing anatomy, is raised above the ground between the heel and ball of the foot, with the toe pads lightly touching the ground. (Actually the outsole of the foot also contacts the ground, but you should NOT feel that--especially in your golf setup.)

The theory behind the advocacy for positioning weight in the balls of the feet is always explained in terms of other sports; baseball, tennis, and basketball require ready positions that call for more weight situated in the balls of the feet to facilitate reactionary, springlike movement forwards, backwards, or to the sides. The obvious problem, of course, is that golf doesn't require any such sudden "reactions" from its "ready" position, so the reasoning is weak.

Then, of course, are the problems that can arise when skewing weight into the balls of the feet (and thus engaging the toes). As your weight shifts more towards your toes and away from your heels, the toes will begin absorbing body weight and you will notice that your upper body and arms tip excessively toward the ball, creating an unbalanced stance, and so the hosel of your club head will inch ever closer to the ball, introducing an increased risk of shanking. The address shaft angle will steepen, and you are more prone to be steep coming back down. If you go too far, you may unconsciously attempt to regain balance by shifting towards the heels during the downswing, which can move the club head across the line, cause early extension (loss of posture), and an increased chance of hitting pulls and slices. You can also tip further forward if you lose your balance; again, you'll see shanks and fat shots. None other than golf great Tom Watson advocates for this "athletic setup" with weight in the balls of the feet, but I wonder if he doesn't just mean "weight away from the heels." Hank Haney also states emphatically that more weight shoiuld be in the balls of the feet, not the heels. Jim Flick, the coach who helped Nicklaus in his later years, advocated for weight in the balls of feet, while his famous student, Jack, did not (see below). I had a recent local golf lesson from a PGA teaching professional who actually told me to shift more weight into my toes without any explanation!

There are a few who seem to advocate shifting more weight into the heels and with seemingly little in the balls of the feet, but this can cause the opposite problems as described with the "balls of the feet" crowd: Hooks, pushes, toe strikes, thin shots, and an unconscious downswing move that shifts weight towards the toes in an attempt to regain balance, or if unsuccesful, falling backwards. One particular "brand" of instruction in this cohort advocates "balancing on the ankles," though it's possible they actually mean being balanced between the heels and balls of the feet; it's hard to know because they never describe what "ankle balance" is. Too much weight in the heels produces an extremely flat shaft angle and a "sit down" look in the golfer at address, with a very erect posture.

The next largest (and most prestigious) group of golf gurus and professionals unambiguously advises amateur golfers to balance their weight evenly between the heel and ball of each foot. Shawn Clement uniquely describes such weight distribution by asking the student to imagine that the arch of each foot is a "suction cup" gripping the ground. And since we've already established that a healthy arch doesn't really touch the ground, Shawn is actually describing an equal distribution of weight between the heel and ball of each foot. None other than the great Jack Nicklaus advises golfers to distribute their weight this way--evenly between the ball and heel--in his great book, Golf My Way. When utilizing such a stance, you will easily be able to raise your toes very slightly off of the floor of your shoes and leave them that way throughout your swing, because the toes should have no weight on them. Other notable proponents of this advice include Ben Hogan, Jim McClean, Sean Foley, and Nick Bradley.

Japanese Geta Sandles

I believe this last group--Nicklaus's group--has it right: The best way to address the ball is to vertically distribute your weight in each foot evenly between the ball and heel. To find this position if you have address balance problems, you will need to shift away from your tendency; if you tend to concentrate weight in the balls of your feet (probably most golfers because of what traditional golf instruction has preached for years), you will need to rock back away from your toes at address until you feel your heels engage and your toes disengage. You should imagine you're wearing traditional Japanese Geta wooden sandles. Some of these sandles have raised wooden extensions that are roughly located at the ball and heel of each foot; they approximate how you should feel--both the heel and ball of the foot carrying an equal amount of weight. If you've been a toe-leaner, you're going to feel way back on your heels; and if you've been a heel-leaner (less likely and less problematic), you'll feel the ball of your foot engage more.

Other things you may notice when redistributing your address weight in this manner include a taller feeling posture with arms that hang freer (you've created more space for your arms), lower hands that feel more inside your eye line, and a flatter club shaft while at address. You will need to definitely unlock and protrude your glutes with a straight back to remain balanced. Your toes will feel ever so slightly raised off the floor of your shoes. Your quads will disengage and your glutes will engage more. It's easier to produce greater downswing speed by twisting the lower body (knees and hips) forward (swinging more "from the ground-up") when starting down from this balanced heel-to-ball weight distribution.

A drill for ensuring you achieve this position (or at least verifying that you're setup correctly) is to get into your address posture and then hang an iron from under one of your armpits using two fingers, with the club head hanging down. The shaft should hang straight down and pass through your knees and point at the ball of your foot (your armpits are over the balls of your feet). At the same time, you can utilize this drill to ensure your feet are shoulder-width apart (as they should be at a minimum for all fall swings, regardless of club length); in this case, the club shaft will hang down inside the heel. If you're doing video analysis, you can use vertical lines to check these positions as well.

The only times you should favor the heels or toes at address is when you face uneven lies. In the case where the ball is below your feet, shift back into your heels by bending your knees more and try to stay that way through impact. When the ball is above your feet, shift into your toes by straightening your knees more and maintain that feel through impact. You'll hit better shots from those trouble lies when remembering to make these adjustments.

Finally, this method of weight distribution isn't only helpful in the full swing. You can use it to good effect in the short game (chips and pitches) and putting, as well. Try putting with weight concentrated towards your toes in your stance; you will notice that it's very easy to move the lower body unintentionally, while it's easy to keep the lower body stable with the weight balanced between the heels and balls of the feet.

Most traditional golf instruction tells us that your weight should be over the balls of your feet. You’ll read this in books and magazines, and hear it from teachers and TV golf pundits all the time. Not only is this instruction dead wrong, you’ll lose power and consistency this way, but it’s also potentially harmful to your body.

Golf Swing 102c. Setup: The Perfect Golf Weight Distribution and Balance

Your weight should be 50-50 on your left and right legs and between the balls of your feet (those cushioned pads just below your toes) and your heels. I'm surprised how many people think their weight should be supported by their toes. Starting with your weight too far forward is one of the worst mistakes you can make. It throws off all of the critical angles—spine, legs, hips, shoulders and head. That creates a domino effect, resulting in a weak swing and fat shots.

Jim McLean: Find Your Balance

Your weight should be distributed between the balls and heels of your feet and equally distributed between the two. You should be able to tap your heels and wiggle your toes. At this point you have counter balanced your weight. You should be able to draw a vertical line from the back of your shoulders through your knees to the balls of your feet. Now you are in balance.

Set Up for Success

Good footwork, too often overlooked, promotes balance, power, and consistency. Good footwork starts with balance at address. From the beginning of the swing, the weight moves from the middle of the feet back to the heels. When you finish the swing, your weight will finish on your front foot heel. The weight should NEVER be on your toes.

Learn to Squash the Ball at Impact

When hitting shots, you want to make sure that your weight is centered on your arch. Not the balls or heel of your feet. If your weight is on the balls of your feet (Because you're too far from the ball) as you address the ball, your hips will be prohibited. The result is that you'll straighten yourself up in your downswing.

How good is your balance??

The ball tends to be lined up off the heel [when the weight is on your toes] and can lead to pulls and hosel rockets. To set up properly you want to ensure you have the weight in the middle of your feet. I often like to bounce slightly up and down to ensure I have achieved this position. As I go through my swing I am cognizant of trying to keep my weight over my feet and not let it sneak out over my toes or lean back on my heels at impact.

Set up for Success

While developing a sound foundation in your golf swing, focus on where your weight distribution is located. Ideally, you would like the weight evenly distributed between the balls of the feet and heels at address. If you reach too far to get to the ball, your weight will go too much on the toes. If you remain upright and bend your knees with too much flex, your weight has a tendency to go back on the heels.

Golfers need to feel it in the feet

A golfer should settle into the arches of the feet and allow them to compress. This will activate the feelings in the ball and heel of the feet. They will really come alive! This notion that a golfer sets up or balances on the balls of the feet is nonsense! Sure, there is weight on the balls of the feet, but it is a result of compressing the arches. Tiger has this mastered this in recent months. Prior to that he was back on his heels. This one, simple adjustment has paid huge dividends for Woods.

Tiger Woods Golf Swing with Sean Foley

So I just gave it a try, basically going for the feeling that my armpits were over the balls of my feet, and it instantly felt better - more balanced, more relaxed. Then a number of things started falling into place: I actually felt torque between my upper and lower body; I stopped swaying; my tendency to "lift up" at impact disappeared (which I realize now was what my body had to do to keep from falling over forward because of how far I was bent over); and I stopped yanking the club way inside on the backswing and lifting it to the top, which I've always done.

Eureka!!! The setup change that has me BOMBING it - Golf Rewound

Optimally, a golfer's weight should be evenly distributed between the heels of the feet and the balls of the feet, and he should be able to lift up the back of his heels slightly (or lift up his toes) without becoming unbalanced if his body weight is evenly distributed over the feet.

Address setup

What happens when weight distribution is off? The first thing you may experience is a swing that feels out of sync or off balanced. More specifically, if your weight is too focused over your toes, you will lose the whip power of rotation in your swing. You are instead using the "shot put" method with your body. This creates a dramatic loss of power.

Fix Your Golf Swing: Solution 1: Correct Weight Distribution

In ‘five lessons’ he says “Your weight should be a bit more on the heels than on the balls of the your feet, so that, if you wanted to, you would be able to lift your toes inside your shoes.” When you look at him setup from down the line it appears as though that’s where he has his weight distributed. It certainly doesn’t look like it’s on the balls of his feet.

Ben Hogan Feet Placement And Positioning

The "Nicklaus" Head Swivel

I recently watched another great video by Shawn Clement on head position and lag and tried something he mentioned, and this alone has made a huge impact on my game from the first try. It directly relates to that universal golf fundamental: Stay behind the ball or keep your head behind the ball.

When you address the ball in your standard manner, turn your head 20-deg to the right and then tilt the right side of your head 20-deg down. Just your head…not your torso, so perform it as a "1-2" move after address. Your left cheek should be behind the ball, and your right ear pointed down to the ground, as if you were trying to drain water out of it. The head is both behind the ball and tilted to the right; if you've been on top of the ball, this will completely change your perspective of the golf swing…and for the better.

Bradley's Head Movement

Why does this make a difference for me? First, the turn to the right (move 1) presets the head in a good position to allow a full, relaxed torso turn without any upper-body sway (i.e., the head is not blocking the left shoulder). This alone helps prevent a reverse pivot, because the head is not blocking the left shoulder. Second, the downward tilt (move 2) presets good secondary axis tilt away from the target, necessary to hit inside-out and to retain lots of lag for effortless power; you can't maintain tilt away from the target if your head is level or leaning left.

In addition, I monitor the following points: The 20-20 head swivel applies to the neck and head ONLY; be careful that you're not turning and tilting your torso more than the standard setup position, which can cause fat shots and shanks (remember, it's a "1-2" head movement only after standard address). The club head is lightly touching the ground behind the ball--almost hovering. I also let the club head lag my hands on the takeaway, keeping the club head outside my hands and ensuring my wrists are relaxed, so that I can sense a loaded club at the top and better retain lag coming down. Keep the club face pointing at the ball during the takeaway. Grip: Use a somewhat strong left hand grip and a neutral to weak right hand grip for most shots (alterations can be used to shape shots). I now understand Clement's analogy of "hammering into a door frame" and why one's head must be behind the ball (Would you hammer into a door frame with your head in front of it? Of course not; you wouldn't be able to see it or get any leverage). Though the 20-20 head swivel hinders the tendency of the upper-body to sway to the right on the backswing, the hips can still sway to the right, so be aware of this--all that's necessary is a rotation of the torso; no additional rightward shifting is necessary. I believe there are only a few universal requirements for a good golf swing, such as a FLW and forward shaft lean, and I also believe that staying behind the ball through impact is one of them.

If you dig deeper, you'll discover that Jack Nicklaus--arguably the greatest golfer of all time until Tiger gets his crap together--did this very thing as his swing trigger. And then you'll find out that he got it from Sam Snead. And then you'll see that Bobby Jones did it too. So there's something to it. It may look weird in the modern golfing era, but it has really helped my swing.

You'll also see that all modern pro golfers get behind the ball through impact; most simply don't preset it the way Nicklaus and Snead did at address or as a swing trigger--they achieve the correct head position while in motion, which contributes to the illusion that they stay on top of the ball because of their address positions. Examine the image of Keegan Bradley above. The vertical green line represents the back of the golf ball at address. The colored boxes mark his head positions throughout the swing: red is at address, yellow is at the top, and the green box is at impact. His head position at address is level and right on top of the ball, but by impact his head is well behind the ball's position and tilted right. The modern way to achieve Nicklaus' head position is to move into it during the swing; amateurs like me are better off presetting it address and leaving it there, as the former requires greater timing.

Another reason that this probably makes a difference for me is that I'm right-handed but left eye-dominant, which is not typical. Thus, I'm getting my left eye right on back of the ball.

You have to swing the club. To do that, your body must be in position, beginning with your head, which needs to start behind the ball and stay there all the way through impact.

Jack Nicklaus: My Lifetime Principles For Great Golf

First, it is a positive move, like the forward press of the hands, from which to start the backswing. Second, turning the head to the right makes it possible to take a longer, freer turn with the whole body than would be possible if the head were held straight to the front. Third, and most important, it is a method by which we help brace ourselves against swaying to the left on the downswing and moving our body out ahead of the ball at impact—a sure way to ruin a golf swing.

Give Every Shot A Cockeyed Look - 02.17.64 - Jack Nicklaus 

[Sam] Snead suggests that if we tilt our head slightly in the direction of our backswing, it will relieve a lot of the tension in the back and left side that keep us from making a full turn. 

Snead Says, "Tilt Your Head To Help Relieve Tension During Your Backswing" 

Jack Nicklaus was famous for turning his chin to the right before he took the club back. He moved his chin (head) to the right so that he [could] turn freely during the backswing.
Also, tilt your head slightly to the right at address. Because your spine should be tilted to the right at address, your head should be tilted as well. 

The Head Movement during the Golf Swing 

Most people's dominant eye is on the same side as their dominant arm, leg, etc. However, despite being right handed, I am left eye dominant. So is Jack Nicklaus. 

3Jack Golf Blog: The Dominant Eye and Golf 

Joe Dante, one of America’s best known teaching professionals, from his book Four Magic Moves To Winning Golf. “Keep the head still.” This impossible advice has been given in one form or another for about as long as there has been any literature on golf: “Keep your head down.” Keep your head still.” Keep your head fixed.” “Keep your eye on the ball.” “Don’t lift your head.” “Don’t look up.” You’ve heard these directions a thousand times. If they would only say, “Keep your head back,” they would be much closer to being right. 

Expert Advice - Head Movement 

The best way to stay behind the ball is to start with your head positioned behind the ball in your set-up. As you swing, keep your head from moving in front of the ball. You’ll turn through the ball correctly, resisting any tendency to lunge forward in the downswing, which can cause poor contact and any number bad shots. 

It’s vital, however, that we make sure our weight moves to our front foot to begin the downswing. In an effort to stay behind the ball, many inexperienced golfers hang back on their back foot during the downswing, the dreaded reverse pivot. The result is usually a weak push or slice.

Golf Tips; Stay Behind the Ball 

Staying behind the ball doesn’t mean limiting your rotation or your weight shift toward your forward side. Rather, staying behind the ball means keeping your spine tilted away from the ball at impact and bracing against a strong left side. 

Slice Killers! | GolfTipsMag.com

The most difficult thing for the average golfer to do, in my opinion, is to stay behind the ball. He has a tendency to move ahead of the ball with the body, and in doing so he develops an outside-in swing which causes such familiar troubles as slicing, shanking, and topping. This is particularly true on the drive, which so many players try to hit with too much power. 

Staying Behind The Ball 

The point is…you need to have tilt behind the ball at address and tilt behind the ball at impact with your weight moving toward your front side…and you need to find a feel that gets you there. 

Tilt behind the ball at impact 

If you start with your head directly over the top of your belt buckle then you must move your head over to your right shoe on the backswing. If you start with your head more toward your right shoe than your belt buckle, you won't need to move as much. 

Golf Instruction: Keep Your Head Still 

In Harvey Penick's, The Little Red Book, published in 1992, page 75 is entitled "Stay Behind the Ball" "All great golfers move their head slightly backward before and during impact, but never forward. A golfer must stay behind the ball. I mean set up with your head behind the ball and keep your head behind the ball. If you move your head forward during your downswing or through impact, you will hit a wee, ugly shot, probably a pulled slice." 

Keep Your Head Back and Behind the Ball Through Impact! Six Top Golf Pros Agree 

During the transition, his head naturally moves forward with the weight shift to the left side and his head gets further out in front of the ball by the time he arrives at impact. This forces him to release the club early just to make contact. 

How to Keep Your Head Behind the Ball in the Golf Swing 

Here's an easy way to help keep your head back and have an aggressive release. Simply focus your eyes on the back inside quadrant of the ball at address and remain focused on that spot on the ball until after impact. Doing that will guarantee that you keep your head behind the ball. 

Big Play: Ted Potter Jr homemade swing 

If you want to increase your clubhead speed while reducing tension, learn to lag―swinging the clubhead away from the ball last. Begin the backswing by rotating the upper body, while keeping the hands and arms passive. If the arms are truly relaxed, they’ll only move as a result of the torso turn. The clubhead holds its address position until everything else is in motion; once it moves, it “lags” behind the body. 

Lag Behind to Get Ahead

Shaping Shots Consistently

I must have a ga-ja-billion posts on shaping shots (i.e., coaxing fades and draws), and that's because I'm always in search of the best way to do it. The best way is the way that is consistent and reliable for you to perform on the course (i.e., 90% of the time the ball bends as you intended). Click on the tags or keywords at the end of this post and you'll discover the numerous ways it's possible to influence the ball's starting line and follow-on ball flight.

I think this method--along with Jack's method--may be the easiest.

To fade the ball, tee up the ball LOW (even with the top of the driver) and on the right side of the tee box. Aim the club face towards the left side of the fairway (pick a tree or other target on the left); this represents the starting line. Place the club down aligned with this starting line. Make the address stance slightly open to the starting line; this means the hips, knees, feet, and shoulders should be aligned to the left. The upper body should still be tilted away from the target, and one must still shift the weight correctly and stay behind the ball for this power fade (sort of a push-fade, as you're still hitting inside-out ala Lee Trevino). Position the ball off the inside of the left instep (or roughly with the left shoulder). The further forward the ball position, the further left the ball should start on line before curving. Experiment with tee heights and ball position to get the right mix for the shot shape you want. Hit through the ball as if hitting four balls in a row on the starting line. Finally, use your normal grip, as most amateurs and high-handicappers hit with a slightly open club face even when trying to close it. Done correctly you should impart a nice, narrow fade on the ball.

To draw the ball, tee up the ball HIGH (one quarter to half the ball above the driver) and on the left side of the tee box. Pick a target on the left side of the fairway and place the club on that starting line. Make the address stance slightly closed to the starting line (pull the right foot back and align the shoulders and knees to the feet). Position the ball back in the stance (a few inches to the right of where it would be for the fade); the ball should be inside the left heel or roughly even with your shirt logo. Finally, rotate the club face slightly closed compared to the stance and then take your normal grip (most amateur golfers have trouble closing the club face enough for a push-draw, so manipulating the club at setup is easiest). Instead of hitting through all four balls, pretend you're hitting only the first ball of the four. Experiment to find the right mix; you will draw the ball (if you hook it then either move the ball slightly forward, tee it lower, lessen your closed stance, or try combinations of all).

A few notes. The lower the loft of the club (6-iron and up to driver), the easier it is to slice and the harder it is draw (another reason for manipulating the club face slightly closed for a draw). The higher the loft of the club (i.e., 7-iron and higher), the easier it is to hook and more difficult to fade. Draws tend to fly lower, further, and run more on landing. Fades tend to fly higher, shorter, and land with less roll. Take this into account when selecting a club. Don't be afraid to exaggerate adjustments to get the ball spinning like you want (i.e., if you lose your draw, get the ball hooking by standing with your back to the target and hitting balls).Full extension adds power and helps close the face (obviously useful for a draw but maybe for the fade too if the fade is too close to a slice). Hit both shots with the same swing shape--inside-out. And inside-out fade is called a power fade, and this was used by the greats like Hogan, Trevino, and Nicklaus.

Trevino’s swing is unorthodox, and so is his method for hitting the fade. The conventional way is to align the body left of target, aim the clubface at the target, and swing along the line of the body. Trevino follows the first two steps, but swings down the target line rather than with his body. The deviation actually produces a swing path that’s inside-to-out relative to the body, and directly down the target line. Trevino produces the left-to-right spin necessary for a fade by delaying the release (rolling over) of his hands through impact. According to Trevino, his routine produces more power than the traditional technique. He acknowledges that the ball will finish right of the target, but suggests simply lining up the body and clubface farther left to compensate.

Try Trevino's Unorthodox Power Fade Swing

Most players think of the swing as a circle. Trevino saw it as something different. Instead of folding his arms up after impact to remain on the circle, he chased his right shoulder toward the target to 
 the point where the club pointed straight down the line. He made this move with such force that it 
 looked like his right arm was going to rip straight out of its shoulder socket. It’s actually a move that most great ballstrikers have used over the decades.

Eventually, your left elbow must fold and get the club moving up the circle again, but try chasing down the line first, like Trevino did. I bet you’ll find yourself hitting the ball a little straighter and, if you can hold off your release just that much longer, creating a power fade. While the word “fade” has negative connotations for a chronic slicer, a controlled cut in the hands of a good player like Trevino leads to a Hall-of-Fame career, five Vardon Trophies and half a dozen major victories.

Johnny Miller - Lee Trevino signature chase move can help you hit it straighter | GOLF.com

"Inside out?" you might ask. "Doesn't that cause a draw?" Yes, it does, but only when your swing is inside out in relation to your target line. This swing is inside out in relation to the body alignment, but straight back to straight through in relation to the target line (see illustration). You won't draw the ball with this swing. If anything, you will contact the ball after the club has swung down and back to, the inside on the forward swing, thus putting a slight left to right spin on the ball .

So you have two big pluses here: First, you have an inside to outside attack in relation to your body. This is much more powerful than the outside-to inside swings that many amateurs use to fade the ball. Second, you have the club moving down the target line, producing either a straight ball or slight fade. You can't beat that combination.

Here's a trick that might help you understand this a little better. After you set up, imagine that there are three golf balls in front of the one you're about to hit. For the fade, you want to hit through all four balls. This will force your right shoulder down rather than around on the downswing, with your arms extending toward the target on the follow through. Keep in mind that the right shoulder doesn't dip. That would cause fat shots. Instead, the shoulder simply swivels underneath the chin. As a result, you will hold your release, keep the club moving down the target line, and push the ball to the hole, with very little sidespin.

I have, however, encountered one "problem" among people who have tried this method. They say to me, "Lee, when I swing your way, I hit the ball way to the right. I just tell them, "Aim farther left.” Don't open your stance more; just shift your entire orientation to the left. In other words, rather than aim the clubface down the fairway or at the pin, aim it at an intermediate target more to the left and shift your body alignment farther to the left as well. There's no rule that says you have to aim down the middle. Line up for the trees on the left and push it down the fairway. It's easy, when you know for sure that you can hit the push/fade.

The beauty of the balls in a line image is that you can use it to draw the ball, too. For the right to left shot, line up your body parallel to the target line and aim your clubface at an intermediate target to the right, to allow for the draw. Then, simply think of picking off the first ball in line, the real ball, without touching the three imaginary ones. This brings the right shoulder and club up quickly in the follow through, and whenever the club and shoulder move up, they go counterclockwise as well, which closes the clubface. Result: a draw.

You Can Learn to Hit My Fade - Lee Trevino - Golf Magazine - Dec 1979

Failsafe Fades and Draws by Jack

There's a reason Jack Nicklaus is still the greatest player of all time (at least in terms of majors won). I've blogged so many times about ways to hit fades and draws. All of the methods work on the same D-plane principle (i.e., all roads lead to Rome), but some methods are easier to understand and pull off than others. Feel free to review my early post on factors that are associated with various shot shapes or ball flights.

To hit a draw, you could strengthen your grip, close your stance, move the ball back, swing out to the right, and do any number of other things that we've been told will help hit a draw. Same thing for a fade (except the reverse). But I've found that these methods sometimes have too many variables and don't always end up giving us the shot shape intended; sometimes the ball hooks wildly instead of mildly drawing, slicing instead of mildly fading, or ironically going straight! Being able to shape the ball is important in order to advance in skill. Shaping the shot allows one to bend the ball around obstacles, fight the wind's influence, reach a tucked pin, control trajectory, control roll upon landing, and generally avoid trouble.

I think Jack's method (being taught in the video below to beginning children of the First Tee program) might be the one to use because of its simplicity. Jack Nicklaus advocates using the same swing for all shots. What he changes is the club face and maybe the ball position. In other words, he loosens his normal, neutral grip, opens or hoods the club face slightly (depending on the desired shot shape), and then regrips with the same neutral grip. However, keep in mind the caveats below.

Many instructors correctly advocate creating a divergence between club face and swing path to shape shots, but they often are nebulous in their explanations (i.e., "aim your club face at the target and swing either left or right of the target"). However, one must either change the grip on the club (i.e., stronger or weaker), change the club face position at setup (as Jack describes), or use the hands/arms to control the club face during the swing. Simply "aiming the club face" with no other modifications will do nothing except cause one to lose another ball. Actively rolling the forearms (closing the face for a draw) or blocking the forearms (slowing the face for a fade) is a method best left to the timing of professionals.

Here are my embellishments to Jack's simple method. Stand behind the ball and pick a desired target. Set up on that target line as if you were going to attempt to hit a perfectly straight ball. To hit a draw, hood or close the club face a few degrees as described above (ungrip and regrip the club to do this). Now adjust the body and stance such that the newly hooded club face is aimed at the desired starting line (i.e., for a draw, aim the face and body further right of the target line). Now take a normal swing as if you were trying to hit the ball well to the right of the target. The ball flight should start right (where the club face was aiming at address) and draw or turn back towards the intended target.

For a fade, reverse every step above; you should ungrip, open the club face a few degrees, and then regrip. Aim the body, stance, and club face left of the target line and take the swing as if you were trying to hit the ball well left of the target. The ball flight should start left and fade back to the right. Use the exact same swing for both. We're following Jack's advice by reducing variables and making the swing simpler.

Now a few caveats. When attempting a fade, go with at least one club of lesser loft (e.g., 5-iron instead of 6-iron) for the required distance; this is because the fade shot will tend to go higher, shorter, and land softer, with little or no roll. The opposite is true for a draw: it will tend to go lower, longer, and run after landing, so choose a club with more loft for the required distance (e.g., 8-iron instead of a 7-iron). When you open a club you're adding loft and taking away loft when you close a club (closing down a 3-iron will turn it into a 2-iron or less).

Also, clubs with lower lofts (like a driver) don't need to be opened or closed quite as much to impart the same amount of side spin as higher lofts (like a pitching wedge). So you should hood or open clubs with lower lofts (e.g., driver or 4-iron) much less than you would with higher lofted clubs (e.g., 8-iron or wedges). As always, experiment!

Next, close your face a bit at address. But be careful not to close too much. Drivers don't have much loft so if you close the face too much, you can't get the ball airborne and lose the distance.

How to Hit a Draw & Fade with a Driver | Golf Tips & Lessons

Then all you do to play a fade is aim your body slightly left (as Jim is making sure I'm doing above), open the clubface, and make the exact same swing.

Jim Flick And Jack Nicklaus: Hit A Fade With Power: Golf Digest

You are starting the ball to the left because you aimed your whole body to the left. In other words, you are purposely trying to hit the ball left of your target. In trying to teach this shot to people this is where they go wrong. They aim there stance and body to the left yet they swing down the target line. REMEMBER: if you aim left, you have to swing left. The ball will spin right because of the clubface position.

How to Fade the Golf Ball

In order to hit fades and draws or to hit the ball low or high, Nicklaus uses the same swing. It is the angle of the club head at impact that enables you to hit these variations in your shots. To get the club head on these angles, Nicklaus simply adjusts the position of the club head at address.

How To Draw Golf Ball, How to Fade Golf Ball, Improve Golf Swing

 

Reverse the Loop

I recently took a few online video lessons with Hank Haney's cadre of instructors and learned some really good information. First (probably left over from my S&T days), I tended to be a little upright in my swing plane and I took the club inside, which caused a slight over-the-top move with an opening club face through impact and a nasty push-slice. Yes, I managed to get some in-to-out motion occasionally with that steeper inside swing and occasionally drew the ball as I intended, but I also hit more than my share of straight-slices, pushes, push-slices, and even pull hooks. Why the hooks? Because in addition to trying to force in-to-out motion using a steep approach, I was having to make manipulations with my hands and forearms to try to square the club face (or use a stronger grip which doesn't feel natural to me). When I didn't hit the ball fat, my divots on the target side of the ball were always DEEP…too deep, starting shallow but ending an inch or two down into the turf.

I knew about all of the positions I was told I should be in, and I would always get confused by the instructors who would contradict each other--some saying those positions happened naturally and some saying they had to be conscious thoughts. You've heard about these positions and characteristics of a good swing before (i.e., flat left wrist at impact, rolling forearms, retained lag, foreword leaning shaft, retracing the backswing plane with the downswing plane, etc.).

So, during a recent 9-hole practice round, I decided to copy some advice I heard Hank Haney give several of his famous pupils on The Haney Project who suffered from some of my identical mistakes: Learn to reverse the OTT loop--take the club back slightly OUTSIDE the line and then come UNDER the plane with the club head on the downswing. This move gets the golfer approaching more naturally from the inside on a shallower downswing plane. The feeling that I had was that my hands and right elbow were dropping towards my right hip with the hips leading (the club dropping slightly behind me and flattening); the club made a shallow arc when in the vicinity of the ball. I could feel slight tension in my grip and left forearm, as it rotated and squared the club into impact; the feeling I could best associate with this is like closing a gate with the back of my left arm. The club stayed in the middle of my body, even into the followthrough. My divots shallowed out and my contact was better. I was drawing my 3-hybrid and 4-iron and the ball was launched on line!!! And the real test? I left with the same two balls with which I started! I usually push-sliced the devil out of that 4-iron, sometimes ending up 30 yards right of my target or out of bounds. Let's not even discuss the driver, which I would usually push, push-slice, or hook into trouble. Occasionally, I would get a low draw that would put me in the fairway, but with no real distance.

In reality, what's causing the hands and elbow to drop towards the right hip is FEELING THE WEIGHT OF THE CLUB HEAD FALLING BEHIND ME, making a loop (see Jim McClean's video below on the slot swing). And all of this means that the RIGHT SHOULDER IS ACTUALLY DIPPING DOWN while the back is still turned to the ball. All of this creates a Figure-8 oval shape with the club head. Keeping a loose grip at this stage of the swing really helps to feel the weight of the club head, and this also means that the transition from backswing to downswing feels more continuous (i.e., no real pause in the motion).

I also should add another important point I got from my online lesson; the instructor noticed that I set my wrists late and suggested that I set them earlier to increase my lag. So I work to set my wrists once the club passes above my waist, and this seems to work really great along with dropping the club head and reversing the loop. Also important: 90-deg shoulder turn. Getting a full 90-deg really helps with getting an inside swing path (in a sense, it helps automate the loop).

I have focused on this halfway-back position via what's become known as an 'early wrist set'. It's quite simple: I look for my wrists to be fully hinged and the club 'set' up on a good plane by the time my left arm is at horizontal.

[From How to plug in a repeating swing - Nick Faldo]

Bobby Jones in his book Bobby Jones on Golf had similar advice on bringing the right elbow in close and keeping the wrists set:

If you look around on the internet long enough, you'll see this theme repeat over and over:

Start the downswing by stepping down on your left heel and letting your left hip move slightly toward the target. As your lower body starts to move, pull your hands down, keeping your right elbow close to your right hip as long as possible.

[From Take our advice: Put your golf slice in the past]

Jim McClean calls this the Slot Swing:

Here's a drill from Jeff Ritter that uses the waggle to prep the body to hit a looping swing ("…your slice will be gone forever.")

So, after that wonderful practice round, I decided to do some research on the subject and found Bradley Hughes--a retired golf professional from Australia who now teaches in South Carolina. Hank Haney's teaching differs from Hughes in so many areas, but in this one area--the reversed loop 2-plane swing--they seem to agree. And the common thread seems to be a universally admired golfing hero--Ben Hogan. Both Haney and Hughes admire Hogan and incorporate his teachings to various degrees (Hughes more so). Whereas Haney seems to gravitate towards this approach as a last ditch effort, Hughes seems to embrace it as the only way to swing.

Hogan (and many of the professional golfers preceding him and following him up until the 1990s or so) swung the golf club this old way. Even Tiger swung this way in the beginning, using the older wooden clubs with flatter lie angles. Hogan was so flat coming down that many 'experts' criticized him as being laid off. Jim Furyk receive the same criticism. But Hogan's results are undeniable, and many of the professionals who swung like him coming down were also consistent greats, including Jack Nicklaus--the greatest of all time based on results. I'm not talking about their backswings, which are irrelevant according to Hughes. Nicklaus was fairly upright on the backswing. Consider Jim Furyk's backswing--it's nearly vertical, but he loops, drops his hands and right elbow to his waist coming down, and hits a nice, shallow, powerful ball, and then ends with a high finish (no pushing the upper left into the chest on the followthrough--the so called "connected" finish). He and Sergio Garcia are two examples of the few modern professionals who still swing the old way but get criticized for it, unfortunately. If Garcia could putt better (and he's working on that), he would be one of the best EVER! In some cases (like with Garcia) it's hard to notice by looking only at the hands and right elbow (pay attention to the club head).

And low and behold, several other positive benefits happen, according to Hughes. The flat left wrist, bent right wrist, lag, forward shaft lean, head behind ball, bent knees, and so on all happen naturally when using this downswing. No artificial rolling of the arms or flipping the wrists is necessary to square the face. Hughes says to forget the backswing and grip--so many differences in those fundamentals among players that they should not be considered fundamentals. The impact area is the only true fundamental.

The cherished ball strikers of days gone by (see below) all had the common theme of retaining their knee flex....and swinging on a shallower plane into impact....which allowed the right arm to stay quieter UNTIL well after impact.

This bred the consistency of their ball striking and allowed them to play much more flawless, easier hassle free golf without having to conjure up miracle shots and have to hole 25 foot putts on every green to salvage a score.

[From BradleyHughesGolf.com | Page 8]

Still not convinced? Look at these videos and articles (there are MANY others):
Brad Redding: Reverse Your Loop
Fire Your Lower Body
Haney to Romano: Reverse the Loop!
If You Slice, Read This
How to Fix an Outside Swing in Golf
Over the Top Golf Swing
How to Fix Your Golf Slice
Learn From Sean O'Hair's Downswing Loop
10-Yard Guarantee: Right Elbow, Right Hip
Drop the Hands to Hit Inside-Out (my previous blog post on the subject)