Rhythm in TGM is defined in terms of RPM -- revolutions per minute. Pace, on the other hand, is defined in terms of MPH -- miles per hour. In other words, Rhythm is the Left Arm and Club (the Primary Lever Assembly) going around their Center (the Left Shoulder Hinge Pin) together. Pace is how fast or how slow those two parts 'go around together.'
So, Rhythm requires that the Left Arm and Clubshaft remain In-Line throughout the Stroke -- or at the very least, during Release ('through the Ball'). This is possible only if the Left Wrist remains Flat. The Flat Left Wrist can be the actual visual version (produced with the Single Action Grips (10-2-A and -B) or its Geometric Equivalent (produced when the Grip is such that the Left Wrist is not visually Flat at Impact, but nevertheless, the Left Arm and Clubshaft remain In-Line).
Now to your question:
Hitters and Swingers both must have Rhythm, but their Rhythms typically are different. That is because the Drive-Out Action of the Hitter produces Angled Hinge Action, and the Throw-Out Action of the Swinger produces Horizontal Hinge Action. And the only difference between those two Hinge Actions -- and Vertical Hinge Action as well -- is the distance the Clubhead travels during the Hinge Action itself, i.e., to the end of the Follow-Through (Both Arms Straight position).
The key to these respective Rhythms -- Hitter's Rhythm and Swinger's Rhythm -- is the Feel experienced by the player during their Execution. Hitters feel their Angled Hinge Action as 'No Roll.' Swingers feel their Horizontal Hinge Action as 'Roll.'
Those two Feels are miles apart in Execution, and they must be carefully rehearsed in the player's Practice Stroke and Waggle, especially if he would alternate between the two during actual play.
Bossmang . . . One would NOT want to execute Angled Hinging with Sequenced Wrist Action either no?
I do like the Angle of Approach procedure. There are times that I'll use 10-5-A and times that I'll use 10-5-E. I like using E when I'm working on down and out thrust, and I find it very safe in competition. Since I only swing in demonstrating, I have little use for the 10-5-A, anymore.
It's personally entertaining to take a wedge, send it out about thirty degrees right of the target, and watch the ball go dead straight.
TeddyLawng. . . . What say you about the Divergence of the Delivery Line and the Clubface?
I think many would assume that the above quote I bolded would result in a big fat hook . . . Tell 'em why it just ain't so! That is the beauty of the Angle of Approach Procedure . . . it ain't for girlie mens is it?!?!
It's fun to be able to do both. If for no other reason than it helps you to better understand your own natural inclinations and how to make your preferred Pattern as pure as possible.
I can honestly say that I have no 'preferred' Pattern. I love to Swing, and I love to Hit. And I love to 'tinker'...to see if I can Hit a little Pitch Shot from Special Address (10-9-D / Hands in classic Address Positon and Body Open and in Impact Position). Or even from the Standard Address (10-9-A / Left Wrist Bent and Right Wrist Flat). Or if I can Swing from Impact Address (10-9-B / Hands and Body in Standard Impact Fix). Or if I can can execute Flop Shots Hitting. Or hit low-flying, burning Wedge Shots Swinging. I love to feel that dull ache in my Right Hand forefinger at the end of a good Hitting session. And I love to feel the 'Free-Wheeling' of the Clubhead through Impact in a 'Crank the Gyroscope and let'er fly' Swing.
Learning to Hit has made me a much better Swinger. I never truly experienced Lag Pressure Point Pressure until I learned to create it in the Hitting Stroke. Once I got 'access' to that Pressure, I was able to recreate it in the Swinging Stroke, despite its Passive Participation. Just this last Sunday afternoon, I found myself sensing strongly the #3 Pressure Point at the Finish of my Swinging Stroke. I had just Traced the Straight Plane Line through Impact, and the Ball had exploded off the face of my Club.
"The Right Forearm and #3 Pressure Point..." said Homer Kelley to me in 1982, "...you're gonna want to insure'm for a million bucks."
Hitting or Swinging, that statement is as true today as it was then, although the application is different for each. And it is a true joy to experience that differentiation in a given Stroke.
Bottom line:
Both Patterns are so much a part of me now that it would be very difficult for me to envision a G.O.L.F. World in which I could not do both.
Linear Mode
