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The Magic Cafe Forum Index » » The side walk shuffle » » C&B Final Rhythm (0 Likes) Printer Friendly Version

BerkleyJL
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In order to achieve maximum impact of my C&B routine, I would like to optimize my closing rhythm. Often, the first final load revelation is received with applause. I wait a few beats and reveal the next two...but then when to reveal the fourth and FINAL...final load?

I don't want anyone thinking I slipped it in while they were all applauding the routine, as that may lessen the effect of its appearance. Forget about the fact that the explanation could be close to accurate.
I need a stage name.

Joe Berkley
Dave V
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Las Vegas, NV
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Gazzo (his name shows up a lot here, I wonder why?) has several good timing methods. One is to try and stop the applause after the next to last reveal. "No, no, not yet...NOW!" as he reveals the final, final load.

If you can, try and distance yourself from the last load, physically if possible, otherwise just with timing. (Do the load and) Take a step back, deliver the "No, no..." line, THEN go for the reveal.
No trees were killed in the making of this message, but a large number of electrons were terribly inconvenienced.
TheAmbitiousCard
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I take a bow before the final final. Then... "wait.... one more"

I tried to change the timing last weekend. After the first orange,
I acted surprised, looked inside the cup. That got a better reaction than usual.

But I could not re-gain the timing for the rest of the loads, so I have to think about this.

I'm feeling that the final loads should be a surprise to me too. Unavoidable fruit, coming out of the cups at will.

But I have to work more on timing the revelations with my reactions, with the audience reactions and then the hat load.

Someone around here told me to use a coconut. I tried that, and I think I like it, but I cannot remember who told me to try it. Anyway, thanks. Bigger than a grapefruit but not super heavy. A good load.
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cstreet_1986
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If you are worried about the audience thinking you're making the final load as they are applauding, keep your arms in the air (as if to receive the applause). Just an idea.

Chris
Michael Baker
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Boom...boom, boom...boom.
~michael baker
The Magic Company
BerkleyJL
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Quote:
On 2005-02-05 01:17, Michael Baker wrote:
Boom......boom, boom......boom.


Michael, I like your style. Now, could you please insert a line, so I can see where you talk during this rhythm? That matches pretty much what I did in a parlor situation to music. When I'm talking, though, I think I screw up the rhythm.
I need a stage name.

Joe Berkley
Werner G. Seitz
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Quote:
On 2005-02-05 09:02, BerkleyJL wrote:
Quote:
On 2005-02-05 01:17, Michael Baker wrote:
Boom......boom, boom......boom.


Michael...I like your style. Now, could you please insert a line so I can see where you talk during this rhythm?


What about:

Don't blink, now it's the time, watch...
Here......here, here...and here?

There is not too much time for any clever patter during revealing the loads.. They are a surprise, one shouldn't distract their mind by telling a story: *There once was an old man from China..blah, blah, bla, blah* Smile

Even when doing the Chop Cup, after the first load of the large ball is revealed---and the second secretly loaded---the first ball is placed on top of the bottom of the cup, walk back a couple of steps from the table.

Look at them, there might even be somebody grabbing the cup and gets a surprise. If not, step forward again and reveal the second load after a short break.

Works well, even with the Chop Cup.
Learn a few things well.....this life is not long enough to do everything.....

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Michael Baker
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Somewhat what Werner said.

Seems to me I vaguely recall an old axiom in the theater about walking on someone else's lines, or stepping on another actor's entrance. I can't recall the exact phrasing, but the general idea is that you can diminish the impact of one thing by doing the other at the same time. Bad form, theatrically.

In other words, when the final loads are making their grand entrance, don't talk. If you must... lead in as Werner suggested, and only accent the action with a punctuation word (in his example: "Here").

To give you a line would be to write part of your script. To give you my line would be inviting problems.
~michael baker
The Magic Company
Gideon Sylvan
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After I reveal the three, I pause a little bit, and say, "What I don't get is how this one (point to the middle one resting on top of the cup) was able to fit in the cup, with this one in it too." (I lift the cup.)
You know you are a magician when you have boxes full of lecture notes you have never read, but still are excited about going out and buying more.

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BerkleyJL
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Quote:
On 2005-02-05 11:55, Michael Baker wrote:
Somewhat what Werner said.

Seems to me I vaguely recall an old axiom in the theater about walking on someone else's lines, or stepping on another actor's entrance. I can't recall the exact phrasing, but the general idea is that you can diminish the impact of one thing by doing the other at the same time. Bad form, theatrically.

In other words, when the final loads are making their grand entrance, don't talk. If you must... lead in as Werner suggested, and only accent the action with a punctuation word (in his example: "Here").

To give you a line would be to write part of your script. To give you my line would be inviting problems.




I wasn't asking for your line or to have my script written. Smile
I guess I was just touching on the fact that I realized talking too much could lessen the effect, while just lifting the cups might be too little. I think I have an idea that will work, but I'll have to play it a few times to guage audience reaction.
I need a stage name.

Joe Berkley
TGENTLE
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Birmingham, AL
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Quote:
On 2005-02-05 01:17, Michael Baker wrote:
Boom......boom, boom......boom.


If nothing else, it makes for a great blues song! Long live John Lee Hooker.

Tom
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