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Lee Trevino: 10 Rules For Hitting All The Shots

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By Lee Trevino
With Guy Yocom
Photos by Walter Iooss Jr.
April 2009
Written for Golf Digest

01 The easiest shot is the best shot.
Chi Chi Rodriguez had as good a pair of hands as anybody I ever saw, and more shots than you can imagine. But Chi Chi had a habit of turning simple shots into difficult ones. If he had 140 yards from the middle of the fairway, he would deliberately hit a low hook or a high fade, just for his own amusement or to please the fans. He needed the stimulation, I guess, but it worked against him. Remember, the goal is to get the ball from Point A to Point B in as straightforward a manner as you can. Don’t try circus shots unless you absolutely have to.

02 Simplify draws and fades.
Jack Nicklaus liked to curve the ball by opening or closing the clubface at address. I never felt I was good enough to do it his way. I didn’t like changing my swing path, either, which some guys do. There’s only one really reliable way to curve the ball: Change your hand position at address. If you want to hit a draw, move your hands forward, toward the target, so they hide your left shoe when you look down. Make sure the clubface is square to the target, and then make your normal swing. When you get to impact, your hands will naturally be farther back than that exaggerated position they started in. When the hands move backward, the clubface closes. You don’t have to do anything. To hit a fade, do the opposite: Set up with your hands back, behind the ball. At impact they’ll be more forward, and the face slightly open.

03 Let the club do your shotmaking.
Before the 1987 Skins Game at PGA West, I visited the TaylorMade plant and saw an odd-looking little metal wood in a barrel. It had the number 7 stamped on it, which got my attention because 7-woods were unheard of. “It’s a prototype,” their man said. “Not for sale.” He offered to let me take it home, though. That little club turned out to be the best stick I ever had. I could hit it high or low, draw or fade it, hit it 165 yards or 210, all with barely changing my swing. After I hit a 190-yard fairway-bunker shot over water to five feet on the ninth hole at that Skins Game—a shot I couldn’t possibly have played with an iron—my phone wouldn’t stop ringing. Everybody wanted to know where to get a club like mine. The equipment choices today are even better, with all kinds of hybrid and fairway-wood designs. My point is, there’s no sense trying to squeeze something out of your swing if you can let your clubs do the shotmaking for you.

04 To hit it low, crowd the ball.
I always loved hitting a low fade to a back-right pin with the wind howling from the right. Not many guys could get it close in that situation, because they kept it low by just putting the ball back in their stance. You see, playing the ball back turns you into a one-trick pony—you can only hit hooks. The best way to hit it low—and I’ve never talked about this before—is to stand closer to the ball. Flex your knees and crowd the ball so your hands are only a couple inches from your body. You’ll get the feeling that you’re going to hit a shank, so you’ll instinctively straighten your legs and raise your upper body through impact. When you stand up like that, your hands tend to get ahead of the clubhead, delofting the face and setting up a low cut. If this sounds complicated, read it again—it’s worth it. As for hitting it high, the thing that worked best for me was to play the ball forward and make sure I kept my head as far behind the ball as possible through impact. But keep in mind, this is coming from a low-ball hitter.

05 Don’t choke down.
I love watching Anthony Kim play, but I’m not a fan of the way he grips down a good two inches on his full-swing shots. Choking down lightens the club’s swingweight and effectively makes the shaft stiffer. It also makes it difficult to hit the ball high enough for all situations. But the worst thing is, it gets you into the habit of hitting every shot with 100-percent effort: Instead of hitting a smooth 7-iron with a normal grip, the player who chokes down tends to shorten the 7-iron and hammer the hell out of it. I like the idea of gripping down on chips and pitches, because it can give you more control, but avoid doing it with anything longer than a 9-iron.

06 Learn to beat the fluffy lie.
Besides the long bunker shot, the hardest shot in golf is the 80-yard wedge from light rough. The ball has a tendency to “dip,” or fall out of the sky, because it has so little backspin coming out of that lie. How much it dips depends on the exact lie, your swing speed, the wedge you’re using and the swing you make. If you don’t judge those things right, the ball will fly anywhere from five to 20 yards short of normal and with no spin—that means a lot of balls bouncing over or falling short. Learn the nuances of the fluffy lie, and tailor your swing to fit it. This is really the essence of shotmaking: having a good idea how the ball will behave coming out of all the various situations. Take another good one: mud on the ball. From my experience, taking two clubs more and hitting it hard often works. You’ll probably knock the mud off, but then again, it depends on how much mud you’re talking about. You learn those things only by trying them yourself.

07 Don’t invent shots from trouble.
Seve Ballesteros was the best trouble-shot player who ever lived. It didn’t matter how far in the woods you put that guy, he’d find a way to get out. But Seve inadvertently put a lot of big numbers on the scorecards of average players, because he inspired them to take dumb chances. When your ball is in trouble, the desire to save par can really warp your judgment. That opening in the trees is smaller than what you see, the lie worse, the odds of pulling off the shot perfectly much smaller than you probably imagine. Trouble shots usually require you to do something crazy with shot trajectory, and that’s a guessing game even for the best pros. Keep in mind, the trouble shot you’re about to try is a make-or-break deal. You have only one shot at it, and the consequences are more disastrous than on a shot from the fairway. Seve might have played poker when he was in trouble, but the average guy should stick to checkers. Take the shortest route back to short grass, and move on.

08 Weaken a strong grip.
Changing from a strong grip to a neutral or slightly weak one takes time and is not easy, but it’s a great way to become a versatile player. I played in a tournament with Ben Hogan toward the end of his career, around 1970, and even then there wasn’t a shot he couldn’t hit with ease. Mostly he hit the ball dead straight, but he could play all kinds of little squeeze fades and low hooks. What made Ben great was his slightly weak grip, both hands rotated counterclockwise so the “Vs” formed by his thumbs and forefingers pointed at his right ear at address. Shotmaking-wise, it gave him tremendous control. To draw the ball, he just released the club a little more. To hit it straight, he released a little less, and to fade it, he didn’t do anything. You can play good golf with a strong grip; Paul Azinger, David Duval and I are proof of that. But none of us is known for drawing the ball. When we tried, we hit too many duck hooks.

09 Get creative with the putter, too.
You want to make the same stroke on most putts, but sometimes it pays to customize it. If you’ve got a quick downhill putt, hover the putterhead off the ground at address. This will smooth out a short stroke and take away any urge to stab at the ball. On long uphill putts, address the ball out on the toe, because with a longer stroke you’ll tend to hit the ball closer to the heel than where you set it at address. Right-to-left putts: Put the ball back in your stance to catch it earlier in the stroke, when the putter is still moving outward and the face is open. Left-to-right putts: Lean your hands down the target line in an exaggerated forward press. As with full swings, this will help you close the face through impact.

10 Don’t overload your pet club.
Remember the 7-wood I told you about? The ending isn’t happy. At the 1991 Senior Players Championship, I had a chance to catch the leader, Jim Albus, with two holes to play. On the par-5 17th my drive left me 215 yards to a green fronted by water. It was on the outside limit of my little 7-wood, and my caddie, Herman Mitchell, wanted me to lay up. “Mr. Albus has never won a tournament, Lee,” Herman said, hinting that maybe Jim might choke if I played safe. But I loved that club so much I knew I could pull the shot off. I hit the 7-wood and just nailed it. I was still posing my finish when my ball bounced off the bulkhead in front of the green and into the water. I had so much confidence in that 7-wood, it made me greedy. Be careful with your pet club. If you expect too much of it, it’ll turn on you.

Read More http://www.golfdigest.com/magazine/2009-04/trevinorules#ixzz1fd9DJ4rX

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Instruction

What you can learn from the rearview camera angle

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We often analyze the golf swing from the face-on view or down-the-line camera angle. However, we can also learn how the body moves in the swing from the rearview or backside view.

When seeing the swing from the rearview, we can easily see how the glutes work. The trail glute actually moves back and around in the backswing. This means the glute moves towards the target or towards the lead heel. Note the trail glute start point and endpoint at the top of the backswing.

To some, this may seem like it would cause a reverse weight shift. However, this glute movement can enable the upper body to get loaded behind the ball. This is where understanding the difference between pressure, and weight is critical (see: “Pressure and Weight”).

This also enhances the shape of the body in the backswing. From the rear angle, I prefer to have players with a tuck to their body in their trail side, a sign of no left-side bend.

This puts the body and trail arm into a “throwing position”, a dynamic backswing position. Note how the trailing arm has folded with the elbow pointing down. This is a sign the trailing arm moved in an efficient sequence to the top of the backswing.

Next time you throw your swing on video, take a look at the rearview camera angle. From this new angle, you may find a swing fault or matchup needed in your golf swing to produce your desired ball flight.

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Instruction

How to stop 3-putting and start making putts

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When we are 3-putting we are ‘stuck in the box’. This means that when we are standing over the putt the second before we make our stroke everything happens to ‘go downhill.’ When this happens, depending on your playing level, things can become a bit erratic on the putting surface.

When a 3 putt happens, it is typically because you failed to do something before you made your stroke. The large majority of my 3 putts happen when I am not completely SOLD on the line of my putt, aka not committed. Questioning anything over the ball will lead to 3 putts.

Here is a breakdown/checklist on how to approach the green and get your ball in the cup without hesitation.

1. It starts with the approach shot into the green and the decision of direction you make to enter the hole. Scan the entire green with your eyes on the walk-up. Left to right and right to left. Look for a few seconds before you step onto the putting surface. This helps determine the high side and the low side, or if the green is relatively flat. Don’t be picky, just look and make a decision.

2. Once you get to the ball, mark it. Take 3 steps behind your ball mark. Now you must pick a line… Left, Center, or Right of the cup. (Skip step 3 if you know the line) It should take seconds but for those that are not sure it will take longer. Understand that every putt has a statistical level of difficulty. So to increase the odds, players must avoid putting in the unsure mind, and take the time to figure out a line. I also find that people who are 3 putting are overly confident and just not committed aka too quick to putt.

3. To commit, you must find the angle of entry into the cup. Walk up to the hole and look at the cup. How is it cut? Determine if it is cut flat or on a slope angle. This will help you see the break if you are having a hard time. Then determine how much break to play. Cut the hole into 4 quarters with your eyes standing right next to it. Ask yourself, which quarter of the cup does the ball need to enter to make the putt go in the hole?

I encourage using the phrases ‘in the hole’ or ‘to the hole’ as great reinforcement and end thoughts before stroking the ball. I personally visualize a dial on the cup. When my eyes scan the edges, I see tick marks of a clock or a masterlock – I see the dial pop open right when I pick the entry quadrant/tick mark because I cracked the code.

Remember, the most important parts of the putt are: 1.) Where it starts and 2. ) Where it ends.

4. To secure the line, pick something out as the apex of the putt on the walk back to the mark. Stand square behind the ball mark and the line you have chosen.

5. To further secure the line, place your ball down and step behind it to view the line from behind the ball. Don’t pick up the ball mark until you have looked from behind. When you look, you need to scan the line from the ball to the cup with your eyes. While you are scanning, you can make adjustments to the line – left, right or center. Now, on the walk into the box, pickup the mark. This seals the deal on the line. Square your putter head to the ball, with feet together, on the intended line.

6. To make the putt, look at the apex and then the cup while taking your stance and making practice strokes to calibrate and gauge how far back and through the stroke needs to be.

7. To prove the level of commitment, step up to the ball and look down the intended line to the apex back to the cup and then back to the apex down to your ball. As soon as you look down at the ball, never look up again. Complete one entire stroke. A good visual for a putting stroke is a battery percentage and comparing your ‘complete stroke’ to the percentage of battery in the bar.

8. Look over your shoulder once your putter has completed the stroke, i.e. listen for the ball to go in and then look up!

If you find a way that works, remember it, and use it!

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Instruction

Golf 101: Why do I chunk it?

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Whether you are a beginner, 10 handicaps, or Rory McIlroy, no one player is immune to the dreaded chunk. How many times have you hit a great drive, breathing down the flag from your favorite yardage and laid the holy sod over one? It’s awful and can be a total rally killer.

So what causes it? It could be several things, for some players, it could be a steep angle of attack, others, early extension and an early bottoming out and sometimes you’ve just had too many Coors Lights and the ground was closer than your eyes told you…been there.

This is Golf 101—let’s make it real simple and find one or two ways that a new golfer can self diagnose and treat themselves on the fly.

THE MAIN CAUSE

With beginners I have noticed there are two main things that cause the dreaded chunk:

  1. Players stand too close to the ball and have no way to get outta the way on the way down. This also really helps to hit Chunk’s skinny cousin: Skull.
  2. No rotation in any form causing a steep angle of attack. You’ve seen this, arms go back, the body stays static, the club comes back down and sticks a foot in the ground.

SO HOW DO I FIX MYSELF?

Without doing all-out brain surgery, here are two simple things you can do on the course (or the range) to get that strike behind the ball and not behind your trail foot.

This is what I was taught when I was a kid and it worked for years.

  1. Make baseball swings: Put the club up and in front of your body and make horizontal swings paying close attention to accelerating on the way through. After a few start to bend at the hips down and down until you are in the address position. This not only gives your body the sensation of turning but reorientates you to exactly where the bottom of your arc is.
  2. Drive a nail into the back of the ball: This was a cure-all for me. Whether I had the shanks, chunks, skulls, etc, focusing on putting the clubhead into the back of that nail seemed to give me a mental picture that just worked. When you are hammering a nail into a wall. you focus on the back of that nail and for the most part, hit it flush 9 outta 10 times. Not sure if its a Jedi mind trick or a real thing, but it has gotten me outta more pickles than I care to admit.

As you get better, the reason for the chunk may change, but regardless of my skill level, these two drills got me out of it faster than anything all while helping encourage better fundamentals. Nothing wrong with that.

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