Hi. I am seriously into the idea of "purifying" my magic. By this I mean getting rid of all the weird motions and movements and things that just look "fishy" and unnatural. There is one move that really bother's me and is used in every C/S/B routine I see. I am talking about the move where you take the coin/coins out of your closed fist right before you do the transposition. If you were going to take two coins in one hand and one in the other, you wouldn't close your fist around the coins and fumble around inside the fist to get the two coins you wanted out and into the other hand. Are there any C/S/B routines that use a different switch in place of this common one?
Copper Silver Brass
- Thread starter junkbox
- Start date
In David Regal's Approaching Magic there is a couple of routines using the c/s/b that are very good.
Natural CSB switches
Check John Bannon's "take two" switch in Smoke and Mirrors.
Also this. I overlap the coins in my left hand with the regular one on top (heads up). The coins are on my palm, all three coins are in contact with each other, and the lowest one is just above (or just on) the base of the fingers. Finger tips towards the audience. The coins are in an overlapped row, parallel to my fingers. The highest coin, the regular one, is towards me (on my palm). I tilt the hand down (the coins nest) and flip the coins over onto my fingertips. The nested set slides over the regular coin and down toward my fingertips. In a continuing motion, I thumb off the nest onto the r.h. This is a natural-looking move as the hand never fully closes and it almost seems that the coin never leaves sight - apparently, all I do is move the left hand into position to conveniently shove the coin into my r.h. The audience expects this move to flip the coins over and that is why I begin with heads on top. There is a slight discrepancy (the coin is now on top, instead of on the bottom) but the turn-over masks that very well. It seems that the coins slid apart, which is basically what happens. The explanation may have been long, but the move takes less than a second and looks innocent.
Also, instead of placing the coin into my right palm and palming it, I set it onto the base of my fingers and just close the hand, which turns the nest over, then use the thumb to lift off the shell and drag it back towards me, separating the coins, as I open the hand. I have taken away all of the "moves" and substituted natural, motivated handling instead.
In my routine, after doing a couple of "rebounds" from pocket to hand, I use the above move, then use Take Two for the second switch.
I never ask the spectators to guess where the coins are (only to prove them wrong). Instead, I talk about doing the three coin trick (as the coins jump from pocket back to the hand) and about how only the American coin has any value, so I need to keep track of it, and just let the magic happen. I finish with Triple Steal from Magic of Derek Dingle and reproduce the coins from my r.h. (stand-up) or (apparently) from the coin purse by picking it up from the table and "shaking" the coins out with my right hand. At the end, all the coins are dumped onto the table or into a spectator's hand and can be examined, the last effect not using any gimmicks.
Check John Bannon's "take two" switch in Smoke and Mirrors.
Also this. I overlap the coins in my left hand with the regular one on top (heads up). The coins are on my palm, all three coins are in contact with each other, and the lowest one is just above (or just on) the base of the fingers. Finger tips towards the audience. The coins are in an overlapped row, parallel to my fingers. The highest coin, the regular one, is towards me (on my palm). I tilt the hand down (the coins nest) and flip the coins over onto my fingertips. The nested set slides over the regular coin and down toward my fingertips. In a continuing motion, I thumb off the nest onto the r.h. This is a natural-looking move as the hand never fully closes and it almost seems that the coin never leaves sight - apparently, all I do is move the left hand into position to conveniently shove the coin into my r.h. The audience expects this move to flip the coins over and that is why I begin with heads on top. There is a slight discrepancy (the coin is now on top, instead of on the bottom) but the turn-over masks that very well. It seems that the coins slid apart, which is basically what happens. The explanation may have been long, but the move takes less than a second and looks innocent.
Also, instead of placing the coin into my right palm and palming it, I set it onto the base of my fingers and just close the hand, which turns the nest over, then use the thumb to lift off the shell and drag it back towards me, separating the coins, as I open the hand. I have taken away all of the "moves" and substituted natural, motivated handling instead.
In my routine, after doing a couple of "rebounds" from pocket to hand, I use the above move, then use Take Two for the second switch.
I never ask the spectators to guess where the coins are (only to prove them wrong). Instead, I talk about doing the three coin trick (as the coins jump from pocket back to the hand) and about how only the American coin has any value, so I need to keep track of it, and just let the magic happen. I finish with Triple Steal from Magic of Derek Dingle and reproduce the coins from my r.h. (stand-up) or (apparently) from the coin purse by picking it up from the table and "shaking" the coins out with my right hand. At the end, all the coins are dumped onto the table or into a spectator's hand and can be examined, the last effect not using any gimmicks.
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