Brian Harman - Basics Of Bunker Play (Part 1)

Secret Golf's Brian Harman demonstrates the basics of bunker play. He draws a figure in the sand to explain exactly what he's trying to accomplish when practicing. He also discusses the importance of the correct sound of impact.


Tell us about your basic bunker shot to get it out.

So I think the most important part to bunkers-- and I do this exercise with my Pro-Am partners all the time-- is, it's important to understand what powers the golf ball in a bunker. And it's the sand. It's not me. It's the sand.

So what I do for these guys is, I will draw the part of the sand that's going to move the golf ball. So I'll draw a little circle, half-square, whatever, just like that. So now I'm looking at that. That is the divot that I'm going to use from the sand.

You're excavating that.

Yes. I'm moving that. I'm not worried about the golf ball. So when I practice, a lot of times I'll make me a little spot like this. Same thing. It's on that ball. And I am--


--trying to make that noise.

It's like the shape of an iron. You're taking the whole thing, like one of these irons.

Yeah. Just like that.

And you hit the back edge of it and take out the whole thing.



And not only that, I noticed that you took it out straight, too. You didn't cut across it.

Right. I'm looking for the noise. I'm looking for any [INAUDIBLE]. So this is just a touch of a downhill one, right? So now--


--that's the noise that all great bunker players have. So you've got to have that first.

It's the noise and the correct entry, the right way you're aiming that.

It's almost like-- I don't want to call it a draw, because I don't want people to try to lift it this way. But I don't want my ball spinning left.

We've talked about this before, where--

That's what's most important to me.

--it almost is a draw swing, but it's not.

Yes. So I'm looking at this flag here, but I'm using-- the same deal. I don't take as many practice swings out of the bunker, just because it's kind of awkward in a touching way.


But I'll feel back here what I'm-- just try to imagine the contact, imagine the-- but I've already done all the work.

But you're adding a little audio. I'm sensing you've got some audio.


You want to hear a noise.

This is a foregone conclusion, because I've practiced these things. And this doesn't take much time. But it gives me the correct entry, and the--


--sound, and the thump. And that's what you have to have out of bunkers.


You're not looking at the ball, really. You're looking at your entry point.

No. And when I practice, I'll draw these all day.

You're taking out the whole show.

Whole thing.


Boy, that was a nice one there.