theory11 — Magic Tricks & the World's Finest Playing Cards

Classic Pass and Small Hands

thanks a lot, i found it in a bookstore nearby my house.

anyway, i am practicing the glide and the double lift, as also the false shuffle where you put the marking card an inch further, i still don't know, due to language issues, what exactly
Double under cut control,
Any colour change and
Any force
are

can you enlighten me?


EDIT

gosh, what a mistake.... of course you meant that ANY colour change or ANY force would do the trick.... sorry for the inconvenience...
i still have doubts on the Double under cut control though :)
 
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something to think about if you have small hands

Dai Vernon said in The Dai Vernon Book of Magic* telling his friend Faucett Ross that a great magician is one who breaks down tricks to the most simple and natural form possible. He cited a magician named McDonald. Dai said that his "He learns the basic requirements, he mulls and mediates over that trick for several days, exhausts every possibility as to presentation, handeling, and actual method..." the amazing thing about McDonald is that he lost his right arm so he had to adapt his methods to one hand, and Dai mentioned he had a great preformance. After reading this and being discouraged about my small hands too I knew that I had to stop saying I cant and learn it. so Ive practiced flourishes, color changes, passes, cuts, everything I could with cards and its amazing how great it feels when you get a simple cut, or flourish down. I know it can be harder but just remember what the professor says, get your tricks and everything you do down to the most natural form, and if you can do an ACR and thats the only thing you do as far as tricks but you preform it better than anyone else in the world then you ARE the best magician that preforms an ACR. I guess its just something to think about. Another thing to think about is Jay Sankey said in one of his dvd's that he has small hands too and he's a very successful magician. ok thanks for taking the time to read this. Good luck!

-Joe, CPL USMC 6541 IYAOYAS! aka "magic man"

*The Dai Vernon Book of Magic by Lewis Ganson. Pg 29, para 4.
 
I think that the pass is one of the most misunderstood sleights in magic.

Hand size does not really matter, it should be done under misdirection.

Everyone thinks that the pass has to take years to master and it has to be done super fast and super smooth, but thats only if your going to impress magicians with it. In the real world use missdirection. Or another control
 
Wallmott said:
I think that the pass is one of the most misunderstood sleights in magic.

Hand size does not really matter, it should be done under misdirection.

u

Right you are my friend, the key point to the pass is audience management and misdirection. A simple fact, the audience looks where the magician looks. If you look at your hands as your executing the pass and your pass is not up to par; you're dead in the water. If you look at the person that picked the card right in their eyes and ask them to remember their card as your executing the pass, you're good.

I think it's great that you want to learn the pass, for within that one move are several key fundementals of magic in general. Accuracy in execution, misdirection, audience management, and learning how to live with guilt.

Good luck bro!
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And everyone that says that you should not use the doubble undercut and that its not any good.. Please tell me why?

I have seen magicians like David Stone and Juan Tamariz performe card magic on tv and they have usesd doubble undercuts. Why? Because its a good control, its almost impossible to mess upp and flash and it gets the job done and as with most moves in magic, if your pressentation is good almost everything will fly by people who are watching you.
 
Wallmott said:
And everyone that says that you should not use the doubble undercut and that its not any good.. Please tell me why?

I have seen magicians like David Stone and Juan Tamariz performe card magic on tv and they have usesd doubble undercuts. Why? Because its a good control, its almost impossible to mess upp and flash and it gets the job done and as with most moves in magic, if your pressentation is good almost everything will fly by people who are watching you.
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because people have strange ideas in their mind, and because the breaks they hold are large enough to drive trucks through.
seriously, the only way you get caught out on you double undercut is if your break is as big as your pinky.
 
TheatreHead said:
seriously, the only way you get caught out on you double undercut is if your break is as big as your pinky.
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Ironically, breaks are amongst the worst performed sleights, if you can call it that, in magic. It's just shocking. The amount of people that unnecessarily stick a whole finger in there instead of just holding a flesh break...

On a completely and utterly unrelated note... Flesh is a really ugly word isn't it? Makes it sound so.. dead..
 
praetoritevong said:
Ironically, breaks are amongst the worst performed sleights, if you can call it that, in magic. It's just shocking. The amount of people that unnecessarily stick a whole finger in there instead of just holding a flesh break...

On a completely and utterly unrelated note... Flesh is a really ugly word isn't it? Makes it sound so.. dead..
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Yeah, Breakes And Doubble lifts.

Allot of people seems to skip over the basics because they think its so easy that it does not really need any work.
 
How on Earth spectator can see your break (dun put the whole stupid finger in the) if you are talking to them ? :D
Misdirection beats all.
The double undercut is great, NEVER anyone notice my hand during the cut since I look at their eyes. D-under cut is so easy to do smoothly without much of your own attention. People KNOW you are doing a multi-cut > that's all!
 
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