[MUSIC PLAYING] That was nice. So I see-- set me one up there. I want to ask you a question.
Go ahead, and set you one up. I see your right thumb, you have-- and I've noticed this before. This is prominent. I mean you've got it over there, and it's on there. Isn't it?
Yeah. It kind of floats though. I mean, there's times when I hit that it's coming off the club. Yeah.
Does that worry you? No, it doesn't worry you. But it's meaningful. It's almost like your left thumb. It's a little longer than normal.
Yeah, I mean, I don't feel a lot of pressure in that right thumb.
Oh, you don't? OK.
No, not at all.
Where do you--
I feel it more in this left hand.
Yep. I think the left hand in putting and full shots kind of drives the whole thing.
You know, where that left hand is kind of-- you know, the right, for the most part, is along for the ride, especially if you want to hit a fade. That's got to be there.
So we all know that people that fade the ball, that the path of the club would be slightly left of the face, which is a little different than most most LPGA players. They're trying to get their path to the right of the face--
And turn it over.
--and turn it over.
Correct. But again, I don't like lines. I hate worrying about where the path is, or any of that. If somebody tells me to hit a fade, I'm going to hit a fade, and I'm just going to do it. It's not--
Do you hold on a little bit?
It depends. I mean, if you want a fade, where it's going to-- I like to hit this little fade that goes with my driver, and it rides the wind. Or is it a fade where you're holding it back into something and you need to hit it shorter? Then a shorter fade is a hold-off fade, where the hard fade is kind of just driving the body and letting the body just get there a little bit quick. And it lets it fly.
Let's see. Let's see that, because yours is certainly a little different than most of the-- there it is right there. And we've got a little wind this way right now, down off the right. It probably went straight.
It's holding up against the wind basically. So I just get on a course, and I see a shot. And I do the same thing on a range. I do--
I guess we're moving up to your six.
We're moving up to the six.
So I mean, I'm just hitting shots on the range, whether it's before a round or in practice.
So when you get on the tee out on the practice, you're already-- I like what you're saying, because you're already thinking about what you're doing for on the course.
Yeah, and I just don't like thinking about a golf swing. It's like, let's just go hit a shot.
Now, of course, you've done all your work with your weights. And you know exactly what you're doing. You're strong. To me, it looks like you have no issues at all with your backswing. Is that true?
No, no. None at all.
Are you a downswing worrier? Or if anything goes wrong, is it a--
It's in the transition is where the problems are for me. You get turned, and my body just wants to drive.
Wants to drive.
Everybody wants to hit it far. Everybody want to get-- you want to get there quick.
You've got to stay there and let this come out a little bit.
Because that's something we worked on the last few years is trying to get some width here, because as soon as that body goes, those hands come in tight.
Right arm gets-- it doesn't work right.
It's just a flip here at the bottom.
So that's something we've always been working on is getting some width there. And then we can drive.
So I'm going to attempt that. Go ahead and go back there. So you're saying, you'll come here and get some width there.
Get some width in there. And then we can drive through.
You're strong for like a smallish lady.
I think so.
That had a nice sound.