Pat Perez - Controlled Fade (Part 1)

Pat Perez demonstrates how to hit a controlled fade with the ball up in the stance.


You'd really like to have two shots. You'd like to have a controlled draw, control fade.


And ideally, really ideally we'd like to have it feel the same.

Yeah. It's an odd notion.

So I'm going to show you how you can hit a fade shot with a slightly shifted plane. Square stance. Square your stance even a little to the right. Because you like to aim to the right.

I've just, for some reason my whole entire life, I've always been right.

About me. You can ask what you say they tell you a million times I've always aimed right. It's just the way my eye--

So let's use it. Let's use it as a strength instead of worrying about it. Let's use it.

Because if I try to aim left, it it's a total--

Me and you have never stood on the same footprints on the golf course in a whole lot.

No. Because you've mentioned you know where you moved to tee boxes-- you know you'll go left if you wanted to.


I've never been left in my life-- right, I'm sorry. You always go right.

I always go over there.

I always get as close to the tee marker--

As you can.

--on the left as possible, because I like looking this way.




It doesn't matter what tee box, what anything.

So if we go here and we set up to that red flag there, and we put our ball-- go ahead let's set up to one. And you go ahead and square off a little, because you like to be over there, and put the ball forward-- which that tells us everything being equal, it's going to start a little left.


You're going to go take the club inside on the way back and you can shift it out onto that plane. Exactly and the corresponding arc on the way through would be over it, and then we peel it back. Peel back with our arm.

I feel that's what we were talking about.


I didn't get that. I didn't have the--

Didn't have enough.

No. This doesn't put a curve on it, but what it does it gives you the balance of the swing.


The curve is the amount of arc against the face. I think it's a big-- you've got to go with a bigger loop right now than that.

Yeah that would seem just pretty much up and down.

Let me give you one.

That wouldn't be--

Let me give you one.

That seems a little--

I'm going to give you a kind of a loop here. I'm at the-- maybe even a little right of the flag. So I don't have to move it back. I'm going to go in.

See I don't have enough in.

Got to be in. If you don't go in, there's no incentive to come out.

No, that's the thing. I mean it would was just kind of up and down.

You've got to go in. Now, left arm is connected to left shoulder, so that the trajectory of your left hand-- where the trajectory of that hand goes, pulls the shoulder. If I take this hand and go straight up, left shoulder hadn't moved.


So left hand go in, makes a big turn.