One thing I could never quite get my head around was the concept of having a level left wrist at fix. If it is our goal to have impact as a pure hinge action - the further back of low point we go at fix surely the more wristcock there will be as the left arm and shoulder is above plane during the start impact interval until the left shoulder gets also to the inclined plane at followthrough when the power package is fully inline...
Also on a sidenote here with the rotated shoulder turn vs the onplane shoulder turn - The onplane shoulder turn is impossible accept initially in the downstroke as the axis tilts via hip slide - which spins the secondary lever assembly and right arm onplane like a flywheel.
Think about it - if the power package is fully inline at followthrough the left arm is onplane (or marginally parallel) by going to and in a straight line with the shaft (or more specifically longitudinal center of gravity) - if the left arm is onplane - the right shoulder/arm is onplane and lets say for simplicity sake the base of the neck is the center.... how can there be a position at the top to create this without moving the stationary point....
Let me do a demonstration to point this out - put a pen on a table (a plane) and press it in the middle to create a pivot point - now both ends of the pen represent a shoulder - now turn the pen notice that it does not leave the table - now think of a reverse motion from follow through back to the top of the backstroke - think about how the left shoulder could never actually leave the plane if the right never leaves the plane. This obviously doesn't happen in golfers strokes....
Unlike the letter "T" (or your pen example) the shoulders, horizontal bar, do not move in unison around the spine, vertical bar.
The shoulders work independant of each other and are not mutually synchronous.
Im not talking about the spine here just the geometry of the shoulder turn.... the left arm at followthrough is uncocked and inline, is it not - its then is in a straight line onplane including the left shoulder. The right shoulder cannot also be onplane also at this point ..... both shoulders cannot be onplane at followthrough because you cannot have a top of the backstroke to create this.
The left shoulder may be stretched out with extensor action but it does very little to change my example and correctness.
If two points (shoulders) are drawn on a plane like my example joining a line between these two points and drawing an equidistant point (base of neck). Now since the base of the neck stays stationary and the right shoulder never leaves the plane - tell me how the left shoulder can leave that plane - give you a hint - it can't....
Nice Thread Here..."Tongzilla..The Great"....has some wonderful points.....very difficult to distinguish...10-18-A...10-18-C #1...But one is Turning ...the other is Turned..the degree as Leo so wonderfully stated..to hold to the selected Plane Angle!!
Use the Turned (Right) Shoulder Plane and eliminate any Start Up Swivel in the Backstroke.
From there, delay the Release by keeping the Left Hand Palm Down (to the Plane) -- and the Right Hand Palm up -- through the Release Point and then Swivel into Impact.
They must be talking about the Turned Shoulder Basic Plane Angle. Make a Flat Backstroke Shoulder Turn, then draw your line from the ball up to the right shoulder. You can also usually get this one by drawing a line from the ball up under the right arm pit at Address.
According to the book... a Rotated Backstroke Shoulder Turn( which is a Steeper Shoulder Turn)... can also locate a Turned Shoulder Plane Angle.
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