Stan Utley - The Art of Scoring: The Ultimate On-Course Guide to Short Game Strategy and Technique
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The Art of Scoring: The Ultimate On-Course Guide to Short Game Strategy and Technique: summary, description and annotation
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?The hottest instructor in golf?(Sports Illustrated) presents a revolutionary guide for lowering your score with a powerful new approach to strategizing, decision-making, and management for every part of your short game.
Stan Utley?s breakthrough short game and putting techniques have made him one of the most sought-after golf instructors in America. Now he offers a breakthrough approach for golfers of all skill levels, with a course- management approach designed to help golfers at the crucial stages of a round of golf.
The Art of Scoring shows readers how to understand the way their short game handicap and overall skill level should dictate strategy. Breaking down pitching, chipping, bunker play, and putting into three proficiency categories, Utley presents customized techniques for saving shots simply by making better decisions. He leads us through a round with three amateurs?two 10-handicappers and a 20-handicapper?to show how improved strategy and execution can transform a player?s game. With behind- thescenes pro teaching sessions, crash courses on the three hardest greenside shots, and one hundred black-and-white and color photographs, The Art of Scoring is like getting a brand-new set of state-of-the-art clubs, customized by one of the game?s premier teachers.
Stan Utley?s breakthrough short game and putting techniques have made him one of the most sought-after golf instructors in America. Now he offers a breakthrough approach for golfers of all skill levels, with a course- management approach designed to help golfers at the crucial stages of a round of golf.
The Art of Scoring shows readers how to understand the way their short game handicap and overall skill level should dictate strategy. Breaking down pitching, chipping, bunker play, and putting into three proficiency categories, Utley presents customized techniques for saving shots simply by making better decisions. He leads us through a round with three amateurs?two 10-handicappers and a 20-handicapper?to show how improved strategy and execution can transform a player?s game. With behind- thescenes pro teaching sessions, crash courses on the three hardest greenside shots, and one hundred black-and-white and color photographs, The Art of Scoring is like getting a brand-new set of state-of-the-art clubs, customized by one of the game?s premier teachers.
Stan Utley: author's other books
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Matt Stables
Steve Keipert
William Murdick
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Bob Rotella
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Table of Contents
FOREWORD
by Jim Hardy
Ive known Stan Utley for six yearssince before he became a full-time teacher. When we first met, Stan had started to help Jay Haas and Peter Jacobsen with their putting, and Peter kept telling Stan about me, and the work I had been doing on the full swing with various tour players over the years.
Stan finally made a trip out to Houston to look for some help with his long game, and I offered to trade him full-swing lessons if he would help me with my putting.
It was a match made in heaven.
What Stan tries to get people to do with their putting and short game is consistent with what I want them to do with the full swing. We got along famously, right awayon a golf level, a personal level, and a faith level.
Leaving Stans wonderful abilities as a teacher aside for a second, as a man, Stans heart is in the right place. You will never meet anyone who makes you feel more comfortable, or who better understands the position youre inin the game and in life. Its never about him. Stan is focused on helping YOU. When a teacher has that selfless quality, hes a real hero. When you couple that with Stans expertise in the short game, and his talents as a teacher, its a fantastic package.
Stan went from being a player with an elite skill to a person who wanted to teach that skill to others, and he developed a story-tellers talent for sharing. He asked his students to try something, or to watch him as he demonstrated and described the way he did it. When he and I got together, and I started to explain what was happening in the swing, relative to swing plane and shaft angle and things like that, he immediately connected the dots.
Stan has an endearing, self-deprecating way about him, but hes also extraordinarily smart and catches on to concepts immediately. His short game expertise comes from his considerable experience as a player, and he combines this technical knowledge with his storytelling abilities to back up his feel.
Harvey Penick was the classic anecdotal full-swing teachera man who taught by telling stories. But Harvey could also get as technical as you wanted to get. He just understood that there was a more effective way for most players to learn. Stan and I are in lockstep with Harvey there. I believe in giving a student the least amount of information necessary to get him to hit the ball well, and Stan has grown to be the same kind of instructor.
Stan has bridged the gap from being a player who understands the short game to an instructor who understands how to get these concepts across to a lot of different players. Ive seen it firsthand, both in players Ive watched him teach and with my own short game.
I was always very stubborn when it came to the short game. I believed that there were so many different successful styles of putting that I didnt need to be overly concerned about my setup as long as my putter moved more or less on an arc and the face of the putter stayed relatively square to that arc.
I believed that since the stroke wasnt very big and you werent moving the ball very far, it wasnt particularly important whether you held the club cross-handed or stood open or closed to it. I fought getting my forearms square and parallel to the target line. It felt terrible. I couldnt aim. I didnt have any feel.
I was handicapping how good I could be with the putter.
After working with Stan, I can now really roll the ballmuch better than I ever expected Id be able to. He got me to feel the energy in the clubhead, and to understand that my hands didnt need to be involved in the hit. I could let the putting stroke happenand thats infinitely easier to do when you stand to the ball correctly.
Stan showed meand hell show you herethat once you quit fighting your feel and get out of your own way, you can do incredible things around and on the green. Stan will show you a connection between your stroke and the putting line that youve never had before. A lot of people can get the putteror a driver, or a 5-ironin decent position at impact with a lot of compensation and recovery. Weve all hit good putts before. But Stan shows you how to get in position to hit short game shots consistently well. Stan got me to believe what I already believed about the full swing, but with putting.
And after watching him with everyday-handicap players and with tour players, Im so impressed with the wonderful, easy way he goes about his business. In my teaching, Im a little harder-edged: Ill tell a player that if he listens to me, hes going to get betterand if he doesnt want to hear me out, he can go somewhere else. Stan will take your hand, and hell be a cheerleader for you. Hell show you what to do, and hell make you feel good about your progress. Sometimes, hell help you succeed almost in spite of yourself. In his flair for relationships, Stans a lot like Butch Harmon.
Stan is one of the highest-quality individuals Ive ever metI cant recommend him more highly to you, as a teacher or a friend. Im certain the information hes going to share with you here will help you shoot better scores.
JIM HARDY
2007 PGA National Teacher of the Year
Author of the bestselling The Plane Truth for Golfers
Houston
November 2008
INTRODUCTION
My goal is to help people have fun when they play golf.
It doesnt matter if youre Sergio Garcia trying to win a major championship or a 20-handicapper trying to get out of the bunker consistently. When Im teaching you, I want you to get to a place where you enjoy the game, where you cant wait to play the next time.
The details might be different. Sergio wants to make five birdies a round and get up and down more than 65 percent of the time when he misses a green. You might want to play once a week, practice once a month, and break 90 consistently.
But theres a common thread: scoring.
Scoring comes from hitting the shot you meant to hit around and on the green. The number of times Sergio accomplishes it in a round might be different than the number of times you do, but the satisfaction is the same. If youre hitting more shots on purposeand pulling them offthan you were before, your score is going to get better.
And youre going to have more fun.
Sure, youre saying to yourself. Thats easy for him to say. Doing it is another thing.
Yes, but by the end of this book, you will be doing ithitting virtually all the shots I teach to the two dozen tour players I work with week in and week out across the United States and Europe.
What is the art of scoring? I believe its a kind of visiona way of seeing the varieties of shots you can hit in a given situation. And I know from firsthand experience that its vision you can learn. Im going to show you how to see all the shots tour players see around and on the green, and how to pick the one that matches your skill level, confidence level, and risk tolerance.
If youre protecting a two-shot lead on the last hole of your club championship, you might want a nice, boring pitch shot that will leave you fifteen feet from the hole. Playing with some buddies in a skins game, you might want a high-risk/high-reward lofted shot, since theres no money for second place. Well cover both optionsand every shot in between.
For Chapter 1, I went out and played a round of golf with three amateursa 10-handicapper, a 15-handicapper, and a 20-handicapperand guided them on what short game shots they should pick in certain situations. I think youll be amazed at the improvementwith no changes whatsoever to their full swings.
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