With all the resources on card magic out there (DVDs and books) and so much to learn. I keep jumping from move to move not mastering one thing. I know there are so many practice questions posted. My chops are good but I rarely practice just one thing. Is this wrong? What I'm asking is, whats the most efficient way to use my time?

Thanks

You might enjoy working your way through The Art of Magic, Hofzinser's Card Conjuring or perhaps Greater Magic.

There is something wonderful about working through a book. I was recommended to Alton Shape's Expert Card Mysteries and had a great time of it. I can also recommend Andrew Galloway's book The Ramsay Legend or his Diverting Card Magic as well worth the effort to obtain and read.

To be honest, I would recommend to CONCENTRATE. The problem that you have is, in my eyes, very commen to magicians: there are so many things out there, everything is cool and wonderful, and we want to know and do everything. I would recommend that you try to stick to one move until you can do this move flawlessly. Then try sonething else, but always work again on the things that you have already practised. And then go out and perform. While performing, you can see whether your practise was enough.

Magixx

Calexa is absolutely right. I was going no where in mastering any techniques when I tried to learn all the new things or exciting effects out there. I ended up being mediocre at best. New older and wiser (hopefully), I learn to focus on 10 card effects that I like and nothing else. Then I'd go and find out most of the info I need for them. I found out that it's a good idea to write down the techniques/effects you want to master, follow your list and write your thoughts/research. Hopefully this will prevent you from jumping around.

It sounds like you already have several sleights under your control; your time might be better spent learning a new effect. If the effect you want to learn has several sleights involved in it, this may keep your sleight fetish in check and allow you to add a new trick to your repetoire.

Like Calexa said, don't forget to stay proficient on the effects you already know.

Jered S.

Excellent advice. Thank you all!

Just focus on learning a small number of effects that you really like. Learn them inside out. Practice the sleights required and the sequence until you can literally do it with your eyes shut with 100% ease. Think about what you want the audience to focus on for every second you are performing the effect and think about how you can control that with your patter, movement and presentation. Then practice the whole lot until you can do it in your sleep. THen try it out on some people and start again when you discover the weak points. Write things out if it helps.

Once you've done that for just one effect and are getting a great reaction all the time....then move on to another trick.

It's that sort of focus and obsession with each effect that sets apart a good performer (pro or hobbiest) from the annoying bloke who does average tricks.

Here's advice mentors and all gave to me:

Learn these moves and you're set! :

1)Pass (classic and half- or if your fancy; add a riffle pass in there)
2)Top Change
3)Double Lift (any version- Dai Vernons is recommended)
4)Elmsley Count/Jordan Count/Hamman Count (learn one or two or all three- simple)
5)Side Steal
6)Classic Card Palm
7)Learn to injog a card.
8)Learn any multiple card controls (Multiple Shift, etc)

Lean just five of these moves. Recommended: # 1,2,3,5,7 and your set.
Any more questions- please feel free to contact me...

Matt Tomasko

I have had the same problem and add two children and a wife in the mix and it is really hard so I came up with a "workout schedule" for myself. It is kind of the same thing that a weight lifter uses when he goes to the gym. I have a Monday thought Saturday schedule and then take Sunday off for nonmagical things. It is something that you will need to work out for yourself but I have a hour set aside in the morning and 2 to 3 hours at night. I outline what sleight/move and then an effect or two that I'm currently working on a week in advance so I know what I'm doing each day. Try it out..this way you aren't randomly picking something to practice each day. Good luck and keep it fun.

There is an amazing amount of magic that you can do with two moves:
1) a really good, smooth Elmsley Count.
and
2) a good double turnover.

Add an in-the-hands false cut or false shuffle (Dan Garrett's "underhanded overhand shuffle' from the "Cabaret Connivery" video will do).

You are set to do some great card magic with sleight-of-hand.

Best regards,
Glenn Godsey

Sorry to butt in, but, in Erdnase's expert at card table, what are some of the sleights/tricks you find yourself doing more than the rest? I've recently acquired the diagonal palm shift...

My advice is along the lines of the above, anyway. Focus on 4-5 classic card tricks that has utility sleighs and shuffles in them. Practice, Pratice and perform, perform these tricks. Then you can go from there, and explore and rehearse a new trick and slowly build your repetoire.

I personally recommend Michael Ammars "Easy to master card miracles" due to it's tutorial sections. It's very important to get the sleigh right, and Michael Ammar does a good job teaching this. Here is some suggestions for 5 classic tricks to start with - and you can find them all on the Ammard DVD's.

Triumph, Dai Vernon, or "Play it straight triumph" (teaches the upside down shuffle)
Ambitious card, (teaches the DL)
Twisting the aces, Vernon (teaches the Elmsley count)
Twins, Bro. John Hamman teaches the Hamman count
Card Warp, Walton (just to show that you can do something different than the standard card trick)

I think these tricks are covered on 2-3 DVD's by Ammar, and that will be a perfect start - plus there are plenty of other good tricks on the DVD's. But remember, decide on 4-5 tricks and don't go any further before you master them and have had success in performing them.

Good luck

There is excellent advice in Edmundson's "The Ostrich Factor" on practise and rehearsal.

But in general, I love Michael Close's advice in "Closely Guarded Secrets". He says it better, but he suggests that you don't learn sleights first and then find routines to use them for. Instead, find routines you really want to perform, and then learn and practise the sleights to do them. This way you don't get sidetracked down the route of learning fifteen double-lifts just for the sake of knowing fifteen double-lifts. And you end up with performance material, which is what most of us are after.

Ian

Right on - I couldn't agree more.

Practice just one sleight for one month and turn the cumputer of.

You guy's are awsome! Thanks for all the wonderful advice.

In flame if you are having a problem with some ofd the recommend moves mentionted contact me and I will make a demo and send it to you with my handling
the godfather

Thanks, Ian for the mention of The Ostrich Factor. I agree that Mike Close gives good advice on this subject. In most cases, it is logical and practical to practice only the sleights needed in order to perform.

However, there is another viewpoint worth considering. Some might say that a pianist practices scales, arpeggios and finger exercises to acquire and improve facility and technique. This enables the pianist to execute passages with clarity and precision. At the risk of comparing apples and oranges, the same may be true with regard to the physiological demands of sleight of hand.

An example might be, as an exercise, to practice the classic pass with two packs of cards. That is, passing the bulk of one pack rather than half of one pack. After learning this, the actual task of passing half the pack is much easier. A similar principle is used by baseball players by swinging a weighted bat or maybe two or three bats in the hands to make the one bat feel lighter and easier to swing.

There may be great gifted pianists who have never practiced scales, arpeggios and finger exercises, but they are few and far between. It is safe to say that most great pianists at some time in their training gained facility and technique by practicing scales, arpeggios and finger exercises.

Can a performer who is capable of a skillful performance of, i.e., ten different double lifts execute the one he actually uses in performance in a more skillful manner as a result of having the capability of performing nine others? Does it give him a confidence and a “command” over the articles which he is manipulating? Cardini was capable of performing many more sleights than those used in his classic act. Did this capability contribute to the high level of skill which he demonstrated in his act? Would the sleights in his act been as skillful if he could perform only those sleights necessary for his act? Those are good questions.

It is entirely possible that the answer may be different for different performers. What works for one, may be a complete waste of time for another. Anyway, there is much food for thought and much to experiment with regarding these interesting concepts.

Regards,

Gerald

Gerald,
If your thinking above is even remotely relayed in your book then you have sold me. I will be buying it very soon. Your thoughts make total sense to me and I like the logic behind it.
Thanks for sharing
Wade

Wade,
Thank you for your comments! This is thought provoking subject matter!

You may want to read The Ostrich Factor reviews (including Mike Close’s full review in MAGIC magazine) and get ordering information at my web site.

Thanks again, Wade. I appreciate your interest!

Regards,

Gerald


Posted: Jun 22, 2005 2:39pm
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BTW: Re: “. . .the answer may be different for different performers. What works for one, may be a complete waste of time for another.”

It would certainly make sense and almost goes without saying, that a novice should learn a limited number of classic tricks which employ basic classic sleights. Those tricks and sleights should be honed and improved (best, with the help of a qualified mentor.) With performance experience, study, practice and rehearsal, confidence grows and new tricks and sleights can be added to one’s repertoire.

Gerald