RichmanMatthew: ( I copy-pasted your username,I hope there aren't no mistakes
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Nope, how do you transpose the packets with great speed then? Now you will tell me that the left hand is the one doing the work, which is a slower way to do the pass, unfortunately, its one of the common errors in many magician's passes today, because some sources teach it this way. Go watch Kaufman's pass again from performer's view.
I don't want to go in detail in this, but lets say one thing to provoke thinking, which is actually a very big misconception in the pass. The main action is the right hand action, the left hand is just going for the ride, there is some slight action, but the main action is still the right hand's.
The sound increases as you go for more speed, which the riffle serves as a cover. Of course, one must practice to keep this sound to minimum. ( I'll do that no worries
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In Half a jiggle, which is supposed to be silent, you have to decrease the speed to archive this, but in return, you get a lot of cover by the large action ( larger action covering a slower one ), and thanks that the slower action even though its slower than the riffle pass, but its still fast, which makes it very good too.
Its all about covering the top packet's movement, which is out there with no cover. You may use alot speed, though this might produce sound, which then is covered by the riffle pass. You may cover the movement with motion, like the jiggle and half a jiggle. You may take the packet off their vision for a second, which is the rocking motion is all about. Alot of covers, all to cover that dreadful "triangle of death", a term by Ken Krenzel.
Keep in mind that the sound difference and the speed difference are not that of a big difference as I make it sound. A half a jiggle has to be fast too, just less fast than a riffle.
a
classic pass has to be smooth AND fast, simply holding the deck with both hands and do up and down movement to cover the packets for more than a second is simply very unnatural, I wish someone can show us a video of him doing it to prove that it can be done naturally. You may justify it with patter like "I met this guy who loves doing this" and do that movement, at same time telling a story.
In the pass clip I posted, I think the sound is small enough to be performed, pretty much like a top change. When there is alot of heat on the deck ( like in a color change or a vanish ), I go with the riffle pass because it covers everything. Tips though are appreciated.
Achieving great speed with silence can be done, I was told that Bill Klush's pass is silent and only appears as a squaring up of the deck. I'm working on that.
Long Man:
To work on misdirection, you have to make it into a trick. I do 3 tricks that cannot use anything but the pass, 2 of them the pass is used openly as a vanish/transposition, the other is done under misdirection. You cannot just "work on misdirection", you have to put it in a trick so it flows with it, hence good misdirection can be achieved. Hope this make it clear?
Hope this post makes sense. For more info especially on the pass, the best source hands down is Gary Ouellet's book The Pass. I didn't go into triangle of death and its covers, and the action of the right and left hand, because its all mentioned in the book. The obsevations on half a jiggle are from my analysis, though I'm sure alot of other magicians analyzed it as well and may even put it in their books/dvds.
Oh, check Card College vol.2 as well, the description has many important points that I didn't mention here.
Lol, I think I'll post this on my blog.
~ Feras
