Lay a hardbound book on a table with the binding on your right. Visualize the binding as the base of the Inclined Plane. Pick up the "Inclined Plane" (the cover) and raise it up and down. Although it may be changing angles, your inflexible Inclined Plane stays flat. Take a pencil and twist it back and forth on the "Inclined Plane" as you raise it up and down. The pencil stays pointing at the Plane Line, per 7-6: "During any Shift of Planes the Clubshaft is held On Plane with the Plane Line as though the Plane itself were moving to the new location."
rwh,
i see what you're saying and i see what yoda was talking about plane shifts from 10-7...i think where i was "stuck" is the 2-F part of (my bold) "...a flat, inflexible, Inclined Plane which extends well beyond the circumfrence of the stroke-in every direction. The full length of the Club shaft remains unwaveringly on the face of this Inclined Plane--Waggle to Follow-through."...just couldn't get by the idea of a SINGLE inclined plane...thanks!
On the BS, when the shaft moves continuously through space from the elbow plane to the turned shoulder plane it traces a curved surface - a section of a truncated cone.
thanks mj...i had come come to the same conclusion, glad to see i'm not alone...
Thanks for clearing that up for me. I have been almost pulling my hair out trying to understand this afternoon, and I really don't have that much hair to spare.
One final question to completely clear the fog. Should there be a deliberate effort to get the hands and sweetspot back down to the elbow plane? I think understanding this moment of transition may be a real help for me. If there is no concerted effort to do this, can you elaborate on a feel or key?
Thanks again.
JN
You could consciously return to the Elbow Plane, and if you do, you will have executed the Double Shift Variation (10-7-C). That is, from Elbow Plane to Turned Shoulder Plane and back again to Elbow Plane. This would mandate an Angled Line Delivery Path of the Hands (10-23-B or D).
However, the easiest thing to do would be to stay with the Single Shift (10-7-B) and simply execute a Straight Line Delivery Path (either 10-23-A or C) down the Turned Shoulder Plane. To do this:
1. Mentally construct a Straight Line (of Thrust) from the Right Forefinger #3 Pressure Point to the Ball (or alternative Aiming Point).
2. Load the Lag with your Start Down Pivot Motion without disturbing your Hands and their On Plane Location. In other words, Start Down with your Hip Action (Standard or Delayed per 10-15-A or C) but leave your Hands (and the Club) at The Top. Failure to make this move is where the great majority of potentially good golfers go bad.
3. Finally, take your Hands and their Loaded Lag Pressure directly down this Straight Line Delivery Path toward the Ball or Aiming Point (per 6-E-2) in preparation for the selected Release Trigger. In so doing, you automatically will be Tracing the Straight Line Baseline of the Turned Shoulder Plane.
Incidentally, there is an error in the Delivery Path Component Variation (10-23) of the Swinger's Drag Loading Basic Pattern (12-2-0). If you haven't already done so, correct 10-23-C to read Top Arc and Straight Line (and not simply Straight Line).
Yoda~
The model in the stroke sequence included here demonstrates a shoulder turn almost perpendicular to the spine which would fit the 10-13-C Rotated shoulder turn classification. If this assessment is accurate an option other than the 10-13-D On Plane downstroke from a TSP is suggested. Does that option offer a benefit?
BTW, I was viewing 4 and 5 to be on the downstroke and the impact frame missing so the calibration was helpful.
...but remember the Plane Angle Shifts(rotates up and down from its baseline)....Annikan
Huh?...How does the above fit with 2-F's:
"All the action of the Golf Club takes place on a flat, inflexible, Inclined Plane which extends well beyond the circumfrence of the stroke-in every direction. The full length of the Club shaft remains unwaveringly on the face of this Inclined Plane--Waggle to Follow-through."
...now that "SAM 2000" thing seems to go with the above perfectly as well as the geometry of the circle...
-hcw
Per 10-7, although the Base of the Inclined Plane stays in place, the angle of the Inclined Plane can change ("Shift") during the swing, just like when you open and close the cover of a book that is laying flat on a table. In fact, the Plane Angle can Shift a number of times during the swing. Whether the Plane Angle shifts or not, the Inclined Plane remains flat and inflexible.
rwh~
7-6 and 7-7 support your post, even acknowledging that it is not always advisable to adhere to a single inclined plane classification throughout the stroke. However, does not the "shift" bring with it the hazards Mr. Kelley cautions about and their consequences? And, is one of those consequences not satisfying the desirable shoulder/hand relationship in the downstroke of 7-13 as illustrated in the stroke clip? Or, is it satisfied?
DRW
Doc,
Agree. I didn't intend to advocate in favor of a Plane Shift; rather, I was acknowledging that it may shift. Mr. Kelley clearly favored a Downstroke Plane on which the Shoulder could move and that is what I try to do.
rwh~
Although I wasn't reading your post as advocating in favor of a shift, the tour swings and the need to acknowledge Mr. Kelley's acceptance of shifts even if not preferred can cometimes result in the zero shift advantages being overlooked. My view is that the overall plane subject may be the most difficult for the new student to grasp even with extensive book study and help from the more experienced as yourself. I want to be confident in this area but am not and tend to struggle in asking the "right" questions. Thanks for your help.
"-- the original Elbow Plane means nothing. In other words...
There is an Elbow Plane for the Hands and Sweet Spot, but there is no "Elbow Plane" for the Right Elbow.
I understand that it doesn't need to be the case, but I am still unclear on why it is not useful to see the 'tip' of the right elbow as moving back and through on 'its' plane - effectively the angle of the right forearm/shaft at address, but actually very slightly steeper. This is one way the 'fanning' action can be felt - feeling the right forearm 'pivot point' as the tip of the right elbow, something that the figure 8 strap can show you. IMO it is a key way to feel the 'entire right forearm' feel through impact.
Thanks - EZ
__________________
"Support the On Plane Swinging Force in Balance"
"we have no friends, we have no enemies, we have only teachers"
Simplicity buffs, see 5-0, 1-L, 2-0 A and B 10-2-B, 4-D, 6B-1D, 6-B-3-0-1, 6-C-1, 6-E-2
As i se it is this correct, pic 1 the hands start shaft plane, pic2 the hands have now moved onto elbow plane with the shaft parallel to the original shaft plane, pic3 at the top , the hands have moved to turned shoulder plane, pic 4 the hands move down on the inclineplane, on the turned shoulder plane with the elbow and right forearm tracing the elbow plane or parallel to this plane ? ,pic 5 release point the hands have now returned to elbow plane? and studying tour players , the shaft at impact is between elbow plane and shaft plane or is it between turned shoulder plane elbow plane or shafts plane? at impact. also the shifts single double etc occur in the backstroke, top, start down,down stroke release, impact?
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