|
|
Go to page 1~2 [Next] | ||||||||||
daffydoug Eternal Order Look mom! I've got 14077 Posts |
I have been working on my coin flurry routine for a good while now, but as I learn new coin moves, it's terribly hard to resist the temptation to let the routine evolve naturally by incorporating those moves.
As I've thought about this for the last couple years, the light finally turned on, and I saw that their are two basic ways to view the coin flurry. It's analogous to ambitious card in that you can play it like "jazz", just kind of using the best notes that appeal to you for each performance, thus making each performance unique. Or, you can approach it like a classical musician, and have an exact, specified, never vary from it routine. It occurs to me that I am leaning toward the jazz approach, as it seems to give me more joy to do it that way. I'm not saying either approach is wrong or right, but I was wondering about others who perform a coin flurry? Which approach do you lean toward, jazz or classical? And after you have your flurry, how do you conclude it? Perhaps with a jumbo coin production?
The difficult must become easy, the easy beautiful and the beautiful magical.
|
|||||||||
Bill Citino Special user Doylestown, PA 837 Posts |
Daffydoug,
For me it really depends on the mood I'm in and also where I'm performing. I have a pretty much set coin flurry that I do, otherwise I'll just improv one for whoever I'm doing it for. If I'm prepared and have a jumbo coin on me I'll produce it at the end of the flurry. I usually ask the spectator if they can see the date on the coin saying that I can't really see it well but I'll mention the date that is on the jumbo coin. Then I produce the jumbo coin and say, "Now I can see it a little better." Stupid yea but it always get a laugh. -Bill |
|||||||||
Larry Davidson Inner circle Boynton Beach, FL 5270 Posts |
Always classical, never jazz, with everything I do.
|
|||||||||
daffydoug Eternal Order Look mom! I've got 14077 Posts |
Bill, as long as it elicits that laugh, go for it!!
The difficult must become easy, the easy beautiful and the beautiful magical.
|
|||||||||
Chris "linkster" Watson Special user England 564 Posts |
Funnily enough mine is more like jazz but I am leaning towards classical. I find that I will have practiced some great moves to incorporate in the routine and in the heat of the moment forget to perform all of them. So now I am more tempted to follow the set pattern-type approach.
As for a finish sometimes I use a Chinese coin and do a ring and string effect, wrapping the ribbon around my hand with the coin still attached, opening the hand to see the coin has vanished. (Effect from Charming Chinese Challenge, not sure whose the origional handling is?) |
|||||||||
Curtis Kam V.I.P. same as you, plus 3 and enough to make 3498 Posts |
Chris, you're using "Clifton's Ring Move" from Earl Nelson's "Variations".
Is THAT a PALMS OF STEEL 5 Banner I see? YARRRRGH! Please visit The Magic Bakery
|
|||||||||
Jonathan Townsend Eternal Order Ossining, NY 27297 Posts |
It might help to learn the original Slydini One Coin Routine from Slydini Encores before attempting too much improvisation.
...to all the coins I've dropped here
|
|||||||||
daffydoug Eternal Order Look mom! I've got 14077 Posts |
Done that. Learned the routine many years ago, along with the sponge ball and purse frame routine. As always, Slydini's stuff is superb, but for this post wer'e not talking sitting and lapping. Just stand up.
I must say, though, I have adopted a couple of the Slydini techniques to stand up.
The difficult must become easy, the easy beautiful and the beautiful magical.
|
|||||||||
Chris "linkster" Watson Special user England 564 Posts |
Thanks Curtis...a wealth of information as usual ;-D
|
|||||||||
Jason Wethington Special user Orlando, Fl 615 Posts |
The key is to make classical "seem" like jazz. Take Robin Williams. He may sound like he improvs alot, he doesn't everything has been scripted out.
It is all an illusion. Jason |
|||||||||
cardguy Inner circle Queens, New York 1171 Posts |
I agree with Jason. This is true about all your magic. If you make the spectators believe that something special has happened that never happened before they will appreciate it more. All kinds of entertainers use this technique.
Frank G. a.k.a. Cardguy
|
|||||||||
tedski Special user New Jersey 792 Posts |
Ok, I can't resist since you brought up the music analogy. A famous jazz musician said words to the effect of "learn all your scales and then forget that **** and play". We all have a magic vocabulary, just as musicians know the "correct" notes in a scale. It is very easy to think we are at the point we can improvise - take a chance and see the result. The difference I perceive is that when I botch a solo on a jazz standard, it stands alone as a mistake and reveals nothing of the art. Botch a magical effect and you weaken it, maybe even reveal it....
Lots to think about on this topic and I do not claim to be an expert - I try to plan out where I am going in coin magic even with a flurry. Agreed, make the classical look like jazz, unless you are that exceptional artist. I've got years to go |
|||||||||
Dan LeFay Inner circle Holland 1371 Posts |
In some places I may "win" an audience playing jazz. In other places it is classical music they crave for.
I work hard to feel comfortable in both circumstances.
"Things need not have happened to be true.
Tales and dreams are the shadow-truths, that will endure when mere facts are dust and ashes, and forgot." Neil Gaiman |
|||||||||
Mike Wild Inner circle NY, PA, TX, MA, FL, NC 1290 Posts |
I really don't rehearse the vocabulary or dialog (yes, dialog, not monolog... if people want to hear a monolog, there's alway Letterman). I know what my basic night will consist of, but I let my spectators and my surroundings dictate the way I play it out. I intentionally do not practice patter, beyond the basic premise, specifically because it will not, no matter what, sound rehearsed or repetitive when it comes out during my routines, if it's the first time that I've heard it myself. As far as flurries go, I do it very rarely, but when I do it, it's unrehearsed and off the cuff. Whatever I feel like at the time.
I guess I play punk rock? Best, Mike |
|||||||||
Larry Davidson Inner circle Boynton Beach, FL 5270 Posts |
Quote:
On 2004-04-21 11:18, Jason Wethington wrote: I agree, particularly with the patter. |
|||||||||
daffydoug Eternal Order Look mom! I've got 14077 Posts |
Wild stone and Larry,
It makes me feel good to know that I am not alone. What you said Wild, is basicly my theory about patter in a nut shell. I always have a framework in my mind, but the patter is free to vary and go with the flow, especially in intimate close up situations. It allows me more interaction with the spectators, and gives it a spontaneous feel, as opposed to sounding canned. Now when I am on a large stage, performing larger illusions, I am much more strict about sticking to a script, but even then, I still come off with some off the cuff improvosations. It's just my nature, I guess. I guess it just drives home the point that close up and stage magic are two entirely different animals, and as such they require two different approaches to tame. Right? Quote:
On 2004-04-21 11:18, Jason Wethington wrote: That was a fascinating thing to learn! I had no idea. I DO know, though, that while in acting school, they told Robbin Williams to quit. he'd never make an actor. HA, ha, ha!! Who had the last laugh there? (I LOVE stories about folks who were told they would never make it, then they turn around and rub it back in their face!!) Toby Keith was told the same thing when he presented a tape of his songs to a producer. Now that producer's job is to just mow the grass. I LOVE IT!!!
The difficult must become easy, the easy beautiful and the beautiful magical.
|
|||||||||
mattpuglisi Veteran user New York 321 Posts |
Quote:
That's quite funny! I avoid easy moves altogether, favoring nothing less than draconian knuckle-busting, regardless of its impact on the effect. So I guess I play 80's Metal. (BTW, I'm kidding.)
Lack of invention is the mother of necessity - Robert Nozick
Instagram: @matthewthomas00 |
|||||||||
daffydoug Eternal Order Look mom! I've got 14077 Posts |
Quote:
On 2004-04-21 16:04, WildStone wrote: Punk Rock?? Man you crack me up MIke!!! That was the last thing I expected anybody to come up with!!
The difficult must become easy, the easy beautiful and the beautiful magical.
|
|||||||||
Mike Wild Inner circle NY, PA, TX, MA, FL, NC 1290 Posts |
I'm barely a guitarist, but I was in a band in the 80's... so I got it
So there's different types of music to which magic is analagous. I had a few thoughts on this since earlier today... If I stand up and sit down a lot, look stoic, yell a bit, talk incomprehensibly and completely off beat with my actions, and generally confuse and annoy everyone in the room... I'm doing Yoko Onagic. If I gain serious weight and wear unusual cutoms, make wide sweeping over-dramatic gestures, and put the room to sleep within the first 20 minutes... I'm doing Oper-agic Or, if a choose to perform large stage illusion with an ensemble cast who really aren't very good at magic to benefit a group of people I've never shown the slightest interest in before that day... I'm doing Magic-Aid, or more commonly referred to as "plight of hand". Joking aside, I think you're right Doug, handling a intimate group is very different than a large group. I prefer the small groups myself. The only real change I make for larger venues is exactly what you said, I script it out more, stick to the script more, come off not quite as real as usual, and generally walk away with a feeling of not wanting to do large groups anymore. But the feeling subsides within a few days, and I say yes the next time I'm asked. All the Best, Mike |
|||||||||
Bill Citino Special user Doylestown, PA 837 Posts |
Quote:
On 2004-04-21 14:22, tedski wrote: Ted, I couldn't agree more with what you said. Although I must correct myself on my previous post on the topic. I did say that I improv sometimes, what I meant was, I almost all the time do a set flurry of my own, but if it seems to me that it won't fool my audience than I'll change it on the spot if necessary. I didn't mean to confuse anyone. I almost always end with that little jumbo coin bit though. -Bill |
|||||||||
The Magic Cafe Forum Index » » Nothing up my sleeve... » » Coin flurry, like playing jazz or classical music? (0 Likes) | ||||||||||
Go to page 1~2 [Next] |
[ Top of Page ] |
All content & postings Copyright © 2001-2024 Steve Brooks. All Rights Reserved. This page was created in 0.03 seconds requiring 5 database queries. |
The views and comments expressed on The Magic Café are not necessarily those of The Magic Café, Steve Brooks, or Steve Brooks Magic. > Privacy Statement < |