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In this analysis video, we're going to take a look at the low spinning wedge shot.

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So here we've got two examples, Jordan's beef on the right and Steve Strikker on the left.

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And it's going to be very similar to what we talked about in the distance wedge shot,

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where we'll see as the approach impact, we will tend to see more of an arm and upper body hit,

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less of a lower body hit, and we'll see that based on

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the lower body being facing the golf ball, facing the chest, there's not a lot of drive from the lower body.

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What we'll see is as they come through, you'll tend to see

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from just before impact. So the arms are kind of powering that early part of transition,

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and then just before impact, the upper body is going to continue rotating past the lower body,

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which takes the hands up and left.

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We'll see from the face on view that even though they will have a fair amount of shaft lean,

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they're not going to take a steep divot because of that upper body rotating.

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So we'll see a similar pattern with Jordan where the hands work more or less up that shaft plane,

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working up and left from that upper body rotating, not so much from the arm movement.

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So now looking at Jordan over here on the right, we can see the arms kind of power that's

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weighing, there is some lower body movement, but it's not really driving the rotational movement.

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And here we can see as you approach his impact, he has a fair amount of shaft lean,

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but you'll see only a tiny little divot go flying right there.

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You'll tend to see that the club is just going to skim the ground, brush the ground,

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but even though there's a fair amount of shaft lean, and that's because the upper body

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is going to continue rotating and support this early arm movement.

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We'll see it even easier from Steve Strikker over here on the left.

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We won't be able to see how much shaft lean he has, but we can see given where his hands

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are in relationship to his body and the fact that the ball was more in the middle of his

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stance, we know that there is a fair amount of shaft lean,

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but you'll see just a gentle brushing of the ground.

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And as he comes through on this lower check running pitch, you will tend to see that the

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relationship of the hands to the body stays relatively the same, and it's that body rotating

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that has controlled the path of the club from impact through the follow-through.

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So here we have two more examples, and I'll scrub these through so we can actually see

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the way that the shots land.

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And then we'll discuss a little bit of what they do to make that happen.

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So as they replay the shot, you'll see there's kind of that one bounce and then it'll

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really grind to a halt.

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Now over on the left we have Phil Nicholson from a few years back, and you'll see it take

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kind of one hop and then it's very fast-greens, so it doesn't grind to a halt, but you'll

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see that it kind of checks up right in there.

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So now as we look at the technique, you'll tend to see that even for this shorter shot,

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it's very hard to hit this shot if you have enough spin if you don't get your hands

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at least to about waist height.

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The ones that really just take one hop and stop are typically going to be closer to

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the lead arm parallel, which we saw with Matario shot over here.

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So you'll tend to see a backswing length right about there where the left arm is parallel

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for the ones that one hop stop, and that'll typically be somewhere in the 50-60, if you

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can really control your tempo, you can really down to about 40 yards.

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Phil is doing it from about waist height, which is pretty much as low as you can get, and

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that's why it doesn't fully grind to a halt.

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But again, we'll see this pattern of those hands rotating left, and I like this camera

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angle for being able to see how little wrist action he has through this shot.

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It's a lot more of a trail elbow straightening, because you can see when he gets into that

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follow-through position.

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He hasn't fully released that his left wrist or that trail wrist.

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It's a little harder to see on this view, because of the frame rate in the blur, but I

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wanted you to be able to see the length of backswing.

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Now here are two good examples that we can look at to see this continued upper body rotation

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through the shot, which is one of the really big keys to being able to pull off, shafling

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with having a shallow angle of attack.

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So over on the left we have Jason Duffner, and as you approach his impact, you can kind of

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see the speed of his upper body rotating, and then as he goes through between impact and

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towards that follow-through, you can see that rate of rotation continue or even look like

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it possibly increases.

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So basically what you'll see is it takes some training and some practice to be able to extend

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that right elbow without flipping that right wrist.

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When you flip that right wrist, you're going to tend to hit a higher on the face, which

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isn't going to input in part much spin, and it's going to increase your line.

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Much angle typically, so these guys have figured out how to hit this as more of a body shot,

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which they tend to like because it holds up a little bit better when you get nervous

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and more of the blood flow is in your body than in your hands.

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So here you can see the flag, so it's kind of in that 40-D yard range, and you can see

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that he's doing a good job of getting the club all the way up to about radar and parallel,

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and then you'll really be able to see that right wrist through the ball or that trail

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wrist through the ball, not really flip over.

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It's more of that body rotation.

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So here we can see certain amount of his back, and then you'll see through that shot,

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basically the amount of his body rotation is going to match the angular distance or about

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how much that club has worked around the circle.

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So that hit through the shot is going to be a lot more from that trail elbow, not so much

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the wrist, and you have to make sure that your body continues rotating through the shot

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in order to hit that low spinning wedge.

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So we'll look at one more set of examples over on the right, we have one of the best

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at this shot, Leach Ravino, and he was really big on promoting that lead wrist thing,

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inflection, trail wrist kind of extension through the hit.

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I remember him using a drill where he would put a pen or pencil up against that left arm

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to learn how to get that impact without having those wrist flip, and you can see that trail

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wrist through the shot maintains some of its extension all the way as he goes through.

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Now this is obviously very late in his career, and his body pivot action isn't as good

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as it once was, but knowing the technique, he's still able to pull off this shot because

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he has really good rate of that trail arm extending without letting the wrist bend and then

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continued body rotation through the shot.

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Over here on the left we have another great view of Jordan's teeth in the super slow

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mode, we can see we knew that from the face on view he's got a bit of shaft lane and we

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can see a little bit of a divot but not very much considering how much shaft lane he has

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for hitting the shot and then you'll see that as his body or as he goes into that follow

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through, you'll tend to see a lot more of the body rotation and shoulder movement or elbow movement

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however you want to reference it but not a ton of wrist flip. If you tend to have a lot of wrist

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flip and wrist roll, the low spinning wind shot is going to be very very difficult to hit,

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so you got to learn how to hit this shot using more of your body, hopefully we can help you

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with the drills we have within the other videos in this site.