Vijay Singh, a successful golfer, had a unique way of maintaining his tempo and smooth swing by counting to himself during his backswing and downswing. However, as he found himself counting too quickly, he switched to using the word “seventeen” paired with the word “hips” to keep his rhythm consistent. This practice helped him maintain a 3-to-1 ratio of backswing to downswing, which is considered the best practice in golf.
The concept of tempo in golf swing is still a relatively new area of study, but the 3-to-1 ratio has emerged as a standard in the golfing community. Jeremy Callahan, the creator of Golf BPM, developed an app that sets different tempos to music to help golfers practice at the optimal ratio. This technology allows players to find their own best tempo, which may vary based on their individual smoothness of movement.
Even top professional golfers like Annika Sorenstam and Jon Rahm have their own unique tempos and ratios when swinging their best. Ultimately, each player must find what works best for them, whether it’s a specific phrase, music, or other cues. For Vijay Singh, it was the combination of “seventeen, hips” that kept his swing smooth and powerful.
Some golfers use phrases or words to help them focus during their swings, with popular choices including high-consonant words and shorter cues for faster swings. It’s essential to pronounce the chosen phrase clearly to ensure it effectively guides the swing. Nick Faldo famously used a phrase from The Powerpuff Girls TV show to help him perform under pressure on the golf course.
In conclusion, finding the right tempo and rhythm in a golf swing is crucial for success on the course. Using phrases, music, or other tools to maintain a consistent ratio of backswing to downswing can help golfers improve their performance and achieve better results. As demonstrated by Vijay Singh and other professional golfers, finding a personalized approach to maintaining tempo can lead to a smoother, more powerful swing and ultimately, better scores on the golf course.
