Notes on the Diagonal Palm Shift

These notes are compiled from Jeff Wessmiller and Awhan Patnaik and are designed to give the Erdnase student a better understanding of the Diagonal Palm Shift from Expert at the Card Table. These notes are designed to be a supplement to the text, not an alternative. In an attempt to make it easier for the reader, the points have been numbered and placed in position relative to when they should be considered during the move.

1) Focus on smoothness, not on speed (Wessmiller)

When the move is overly rushed, it is unnatural. When you honestly take a selected card from a spectator and push it flush into the deck you perform it very openly and slowly. Remember what Erdnase says about Uniformity of Action. Do the blind as you would the real thing.

2) Always allow the spectator to insert the card (Patnaik)

This allows for one fluid motion of palming the card. if you still insist on inserting the card yourself, the move should be broken down into multiple steps. This is primarily because there is no reason for you to position your right thumb at the rear of the deck to push the card flush, as you could accomplish this same task with just one finger. Take the card from the spectator and push the card in leaving it slightly protruding. Start the second step by tilting the deck up and flashing the face of the outjogged card to the spectators under the guise of having them commit the card to memory. This allows you to adjust your grip on the cards as you bring your hands back down, and anchor your right thumb at the left inner corner of the deck.

3) Straighten the left forefinger (Wessmiller)

The left forefinger should not remained curled under the deck for the entire move. This will become a huge obstacle. When the jogged card is transferred from the right forefinger to the left thumb, the forefinger of the left hand should reposition and straighten out.

4) Stretch the left fingers (Wessmiller)

The way to avoid reaching for the card with the left hand is to have it already positioned further up the deck. This is accomplished by placing the left index, middle, and ring finger against the side of the right pinky while adjusting the jogged card with the left thumb.

5) Adjust the pivot point (Wessmiller)

This tip is from Vernon, and that is to alleviate the common flash of the left fingers in reaching for the card to be palmed. The way this is accomplished is by changing the fulcrum of the diagonally positioned card. The left pinky needs to be positioned in the middle of the long side of the card before the pivot occurs. This causes the card to pivot right into the palm as opposed to slightly out of it’s reach as it would when the left pinky is positioned lower.

6) Left hand should be positioned palm up, not towards you (Wessmiller)

This will save you from unnecessary movement of the fingers when trying to execute the palm.

7) Avoid a back and forth action with the left hand (Patnaik)

You should not use a back and forth action with the left hand to push the card through the deck. The card to be palmed should be pushed through in one continuous motion. Vernon mentions using the squaring action to position the card properly for the pivot.

8) The left thumb should clear over the right thumb (Patnaik)

The left thumb should go over the right thumb as the card is being palmed. This is to prevent the fish hooking that the thumb would instinctively do; suggesting that a card is being palmed. This is straight out of Erdnase

9) The left hand should remain as motionless as possible (Patnaik)

The card is not taken out by the left hand but dropped in the hand as the right hands the deck out to be shuffled. This is very important to direct the spectators attention to the deck rather than the dirty left hand.

10) Do not force the palm (Patnaik)

When the left hand palms the card(s), all the formulas for the bottom palm should be applied. If the move is done correctly the card will automatically lie in the left hand classic palm position and all the left palm has to do is to turn down. No effort to extend the fingers to squeeze the card into position should be made. The left palm and fingers should remain motionless when executing this move.

11) Turn the left hand palm down after the move (Wessmiller)

To emulate natural movement the palm should turn down and the whole arm should rotate at the elbow downwards and drop to the side. While it may look good on camera to leave the hand palm up, it provides angle issues during performance. If you look at figure 75 you will see how far the left hand should be turned after the palm is made. If you turn the hand too dramatically you will suffer two consequences. The card is inclined to snap out of the deck and cause an audible click, and the left hand will appear unnatural. This should be avoided at all costs.

12) Make the movements of the left arm natural (Patnaik)

The left hand should not stay suspended like a zombie above your waist. When a layman is asked to push a card flush into the deck, their hand falls naturally at the side of the body once the action is complete. Unless you keep the deck in the hand as seen in figure 76, the left hand needs to fall to the side.

13) Do not move the left hand towards your body after palming (Patnaik)

This would call more attention then is desired to your left hand. Remember to be natural and practice often.

Additional thoughts:

Other ways to perform the Diagonal Palm Shift:

1) Separate the move, change the moment (Wessmiller)

The DPS can also be performed in two distinctive actions:

“In the palm-shift described the card is placed in its diagonal position with apparently the customary movement of squaring up, (first action) and the rest is accomplished, as it were, by handing the deck to be shuffled (second action)”

As soon as you have the card in the diagonal position, perform two moves simultaneously: transfer the control of the card from your right forefinger to your left thumb, and reposition your right hand further to the right in a natural, relaxed, squaring motion. This will cover the actions of the left hand even more, and simulates what you would do if you were not performing the DPS. Remember that you need to convey that nothing is happening. If you are uncomfortable how you are handling the cards, the spectators will pick up on it and you will be caught every time.

If you pause here, the audience should believe the action is complete. In actuality you are incredibly dirty, only half way done with the move, and a card protruding diagonally from the deck.

This would be a good time to make a gesture or comment to misdirect the audience. Remember how you repositioned the right hand to give you that extra cover? Take advantage of it.

2) Flash a window (Wessmiller)

This is a concept I recall hearing about for the first time on a Patrick Paige DVD. The idea is that when a card is palmed with the palm of the hand facing the magicians eyes, a deck can be placed at the fingertips and create an illusion of an empty hand due to the “window of emptiness” visible to the audience. In other words, there is a space between the deck and the palm of the left hand that the audience can see through, which makes the hand appear empty. If you hold the deck in a death grip to conceal the palm(ing) you could arouse suspicion. You can display that window before pulling away the left hand.

Video by Jeff Wessmiller:

Video by Awhan Patnaik:

Additional Sources:

Click here to view a playlist of DPS’ I have compiled on youtube (some good, some bad)

Internet Sources:

Tony Chang’s free instructional video

http://www.doublefacers.com/2009/07/diagonal-palm-shift-1/

http://www.doublefacers.com/2009/07/diagonal-palm-shift-2/

Magic-pedia’s article on the Diagonal Palm Shift

http://www.geniimagazine.com/wiki/index.php/Diagonal_Palm_Shift

Jason England instructional video from Theory 11

http://media.theory11.com/1716-Jason-England---Diagonal-Palm-Shift

Books:

The Annotated Erdnase by Darwin Ortiz

L.I.N.T by John Luka (write up by Paul Chosse)

Revelation by Dai Vernon

Videos:

Vernon Chronicles (DVD) by L&L Publishing volume 7 and 8

Other sources I have not seen myself:

‘By Forces Unseen’ by Earnest Earick

‘Card College Volume 3’ by Roberto Giobbi

‘Classic Magic of Larry Jennings’ by Mike Maxwell

‘Expert Card Technique’ by Jean Hugard and Frederick Braue (3rd edition only)

‘Roger Klause in Concert ‘ by Lance Pierce

‘The Complete Works of Derek Dingle’ by Richard Kaufman

‘John Carney on the Diagonal Palm Shift’

Thinking outside the Erdnase box- To Get Sight of a Selected Card

Before I get into the nitty gritty on this topic, I’d like you to read this excerpt and visualize the move.

“have it (the card) inserted at the end and prevent the spectator from pushing it quite home by squeezing the deck. Then, with the card protruding about a quarter of an inch. covertly turn the deck: partially over by passing it to the other hand, and get sight of the index.”

Play with it for a while, hopefully you haven’t already seen anyone perform this move and you can establish your own interpretation.

Are you done? Okay, get ready to have your mind blown.

The general consensus is with the card partially protruding, the deck is gripped by the short end farthest from the performer by the right hand and turned end for end, so the deck is face up in the left hand. The index is then glimpsed and the card is pushed flush with the thumb of the right hand.

There’s three reasons I don’t think this is the correct interpretation of Erdnase:

A) Erdnase uses the word covertly. By performing the move this way, you are doing the opposite and openly turning the deck over.

B) Erdnase instructs to turn the deck partially, not completely, over

C) Erdnase says the cards are passed to the other

(right) hand, and in the aforementioned method, the deck stays in the left.

Okay so now we’re back on square one. How do you turn the deck over covertly without being incredibly obvious? I toyed with it for a while and came up with this solution:

The deck is in the left hand, with the same hand positioning of the DPS, with the card protruding about half an inch. In passing the deck to the right hand, the left hand starts turning palm down but stops when the deck is perpendicular to the ground, back of the cards facing right and the long side facing the performer. With the right hand grasp the sides of the deck in the following manner: Right thumb on bottom of the side facing performer, second finger grasping the opposite side (next to the left pinky) and forefinger curled on top, nail against the top card. Here comes the sneaky move:

Bend the cards by applying pressure inwards with both hands. This will allow the performer to “covertly” glimpse a sight of the index of the protruding card. (see image)

You obviously don't want to be in this position long, so as soon as you spot the index the left hand releases its grip and the right hand turns the face of the deck towards the audience. I justify this by explaining that I want to push the card flush as fairly as possible with all angles visible to the spectator to “prove” there is no funny business. I position my right pinky on the short end of the deck closest to the ground and push the card flush with my right forefinger. If you have small hands though, you could just tap the card flush with the left hand. Try it out, it's bold but it works!

Things magicians should never do

1. Spring the cards from hand to hand in a crowded elevator

2. Keep a deck in the bathroom (it’s creepy and every time you shower it will destroy the deck)

3. Try to perform a trick while smoking (you can only do so much in a single breath, and passing out is never a good kicker)

4. Play with cards in the bed when your spouse is trying to sleep (especially a riffle pass)

5. Do a torn and restored card trick with someones souvenir playing cards

Updated Links

Just added a bunch of links for you to check out that I frequent. They are listed to the right. Enjoy!

Erdnase was a swinger?

Topic of the day is Blind Cuts- To Retain Bottom Stock- Top Losing One Card

There has been a lot of debate on this technique, and many have dismissed it as obsolete in it’s entirety. I’d just like you to give it a fair shake before tossing it curbside.

The picture is what kills the technique. It’s easy to look at the figure and think this cut is garbage.

Now, Erdnase says to raise the deck “slightly” off the table. Seeing the figure we would assume that it’s several inches, but let’s try focusing more on the text as oppose to Marshall D Smith's interpretation of a millisecond in time. How much does slightly mean? Erdnase is specific to 1/8 of an inch in other parts of the book (who can tell me where?) so hypothetically we could even assume he means less then that, to the point where being specific isn’t practical.

Just something to think about, let’s get into the meat and potatoes of this post.

What I want you to think about is the following line:

“Immediately drop the left-hand packet on the table and bring the right-hand packet down on top with a slight swing”

What does Erdnase mean by swing? Does he mean just slapping the packet on top? What direction should the packet be swung? Realistically that could make a big difference in covering the action of the left hand, even if it is a foot off the table.

Some different swings:

Notes on Telekinesis

1. Definitions

A. Parapsychology- is a controversial discipline that seeks to investigate the existence and causes of psychic abilities.

(1) Telekinesis comes from Greek, tele meaning ‘distant’ and kinesis meaning ‘motion’

(2) Psychokinesis also comes from Greek, psycho meaning ‘mind’ and kinesis meaning ‘motion’

2. Famous individuals claiming to have these abilities

A. Uri Geller

(1) Used Psychokinesis (PK) demonstrations to convince individuals and governments in the 70’s he had the ability to manipulate small objects using the power of his mind. Exposed by the great James Randi in his book, 'The Truth about Uri Geller'

B. Nina Kulagina

(1) Alleged Soviet psychic of the late 1960s and early 1970s, she was apparently successful in repeating psychokinetic phenomena under controlled conditions of the soviet government

C. Felicia Parise

(1) an American medical laboratory technician who allegedly was able to repeatedly demonstrate telekinetic movement of small objects beginning in the 1970s, in the first reported instance spontaneously, and then with practice by intense conscious intention.

D. James Hydrick

(1) an American self-described psychic. Hydrick claimed to be able to perform acts of telekinesis, such as his trademark trick involving the movement of a pencil resting at the edge of a table. Following a nationally televised demonstration of his abilities, he was unable to prove his supernatural abilities, and Hydrick subsequently confessed the fraud to an investigative reporter. Also exposed by the great James Randi on television

E. Eusapia Palladino

(1) An Italian medium who allegedly could cause objects to move during seances in the early 1900s.

3. Common Methods

A. Invisible thread (what I use on the car in the above video)

(1) A very thin string, usually elastic, is attached to the performer and allows apparent distant control of small items. The thread is stretched between the hands, attached to the clothing, or even the eyeglasses of the performer

(a) Expected technique used by Nina Kulagina and Felicia Parise to manipulate small objects

B. Magnets (what I use on the cigarette pack in the above video)

(1) A magnet is attached to the performer and when brought close to the object, the attraction or repulsion of the magnet has an effect on the prepared item. Magnets are generally attached to the performers thumb via false finger tip, the wrist, or the knee.

(a) Technique used by Uri Geller to manipulate the dial of a compass

C. Manipulating the Surface (what I use on the bottle cap in the above video)

(1) The working surface on which the objects is on is manipulated. This can be achieved by moving or lifting the table, or sliding the table cloth

(a) Expected technique used by Eusapia Palladino

D. Air Current (what I use on the pencil in the above video)

(1) The object(s) is positioned in such a way, or is light enough in weight, to where the human breath or current of air can cause otherwise unexplained movement

(a) Technique used by James Hydrick

E. Other (what I use on the pen in the above video)

1. Some other, naturally occurring scientific event is taking place

(a) Convection

(1) The movement of molecules within liquids, gases and rheids (as in a Psi Wheel demonstration)

(b) Static Electricity

(2) The buildup of electric charge on the surface of objects

The (Legendary) Silent Second

I've been getting a lot of requests from people to post a vid of this, so here it goes. Listen carefully for that "swishing" sound you normally hear when someone deals seconds. I perform a regular second deal first to show the contrast. Enjoy!

Marlo On Erdnase Review Part 2

Picking up right where I left off a year ago reviewing Jon Racherbaumer's 'Marlo on Erdnase'

Marlo’s False Shuffle (page 40)
Simply put, a Zarrow without any interlacing of the cards. A step in the wrong direction in my opinion; the strength of the Zarrow is the clean interlace.

A Cutting Action
This paragraph is just apparently for plugging other material. It says there are better ways to strip out a center block, and gives some references but no direction at all.

Easy Technique for the Zarrow Shuffle
Solid, but it’s easy at a price. This shuffle involves riffling packets into each other when one has a jogged packet on top of it. Why not just hold the break with the thumb? Beats me, I guess they felt that was too difficult. I thought this sentence was funny:

“This small block remains jogged and flush on Section B”

So I guess it’s both. What are we talking about? Oh yeah Erdnase. Well let me just get back to my copy of Expert and follow along with....

Faro Riffle Shuffle

Wait a second, why are we talking about strip outs, push through, zarrows, and faros? Is this supposed to be a sequel to Erdnase or what? I digress....back to the review

Faro Riffle Shuffle
4 pages of Faro goodness. Apparently Marlo didn’t think much of what Erdnase thought, so he started fiddling with table faros.

Ok I have a pretty vicious headache after reading that. Is there anyone out there that needed a book to learn a tabled faro? I always thought it was pretty self explanatory. Granted I know it’s difficult but I don’t think text really helps. There’s some more plugging here, and talk about the stay-stack.

On the Stevens Control
History on the Stevens Control. Starts off by saying Vernon is full of bs.

more badmouthing Vernon...

Ok here’s the juicy stuff. Split the cards, spot the one you want, then....”Perform the actions of the Stevens move to angle the desired card”?! But that’s the hard part! I know how to spot the friggin thing. So now we are talking about a move that isn’t in Erdnase AND isn’t in this book. Guess I’ll be sticking to Erdnase’s technique ‘To Ascertain the Top Cards While Riffling and Reserve Them at Bottom’

Marnase False Cut
Ok at least the heading got my attention, maybe we’re going to get back on track here. Yes! Okay we are talking about Erdnase’s Blind Cut- To retain the complete stock. Wait, wait a second. It’s the same cut as Erdnase except using the right hand to draw out the under portion instead of the left. Is that all you have to do to take half the credit for a move? Ok then, be looking out for my next project- a booklet called the Wessarrow shuffle! And don’t worry, there will be plenty of terrible variations as well.

Slippage
This is a section about the slip-cut, of which Erdnase describes as ‘ To Retain Bottom Stock- Top Losing One Card’. Racherbaumer points out that “although Erdnase indicated that this blind cut retains the bottom stock, it also retains to top stock (except for the top card).” Hey, look at that! We just got some new info about Erdnase material!

Wait, what’s that? Erdnase mentions that in this very section? But Racherbaumer implied that Erdnase didn’t know it!

“if this blind is used when the top stock is to be retained, an extra card is placed there during the shuffle” -Erdnase (waiving a middle finger)

Back on track, this section starts with a history lesson on the move. It goes on to......Oh wait! Typo alert! Someone forgot a space! “spurred by the publication of Cy Endfield’sSlip- Cut Force”. I’ll have to meet this Cy Endfield’sSlip fellow. That’s a name with three whole words in it! Apparently his Cut Force is something to check out.

One-Hand Throw Cut
Doing a one handed slip cut with the top card face up. But the right hand is used to secure a break each time. Good for those moments when you want to appear talented with one hand only some of the time.

One-Hand Bottom Slip Cut
“The one-hand bottom slip cut, shows the difference between the one-hand top slip cut and the one-hand bottom slip cut” So just in case you weren’t following, we’re going to learn about the one-hand bottom slip cut in the one-hand bottom slip cut section. Did I mention one-hand bottom slip cut? This paragraph just talks about the set up for the next move.

Extremely Delicate Ace-Cutting
Sweet move, but there are much better techniques out there to accomplish this task. Looking at the photo I would worry about flashes from half of the angles. Take a look at my notes on the SWE shift to see one that actually accomplishes this task, and relates to Erdnase!

Marlo Slip-cut
In the hands slip cut where you hold the cards in dealing position and peel off the top card with your left thumb. Pretty simple.

The True Cut
Ever wonder how to REALLY cut the cards in your hands? This section is for you.

The Complete False Cut
A tap cut with a sliding action as opposed to a tapping action. If Erdnase was alive, and we knew who he was, and he was sitting here reading this.....he would yawn.

Marlo’s Slip Cut Force
Blah blah blah 19 something....Chigaco...more of the same old stuff.

As an Exchange
How about just “As a change, let’s talk about Erdnase”? Naw, why give the people what they want.

This is actually a pretty cool use for a slip cut as a force. Has absolutely nothing to do with Erdnase, but it’s pretty cool. A little trick involving a prediction, a card reversed, and a slip cut with the deck face up.

See my review of the earlier parts of the book here

Wessmiller system of mnemonics

Here is a way to memorize an entire deck of 52 cards or use as a signaling system to a partner. I have to credit Dai Vernon from the revelation series for giving me the idea to make my own list of words to associate with card values.

The idea is that the word will begin with a letter that corresponds to the cards numeric value. You may notice that I used specific letters that look similar to the number. This helps me make the connection a little quicker. I then take the first letter of the suit of the card and insert it in the small word to indicate the exact card.

AC- ACe
2C- DiCe
3C- MiCe
4C- HaCk
5C- SaCk
6C- CloCk
7C- LuCk
8C- BuCk
9C- GloCk
10C- TiCk
JC- JaCk
QC- QuaCk
KC- KiCk


AD- AdD
2D- DuDe
3D- MuD
4D- HarD
5D- SaD
6D- CaDdy
7D- LaD
8D- BeD
9D- GoD
10D- TaDpole
JD- JaDe
QD- QuanDary
KD- KiD


AH- AcHe
2H- DougH
3H- MoutH
4H- HigH
5H- SigH
6H- CatcH
7H- LigHt
8H- BatH
9H- GHost
10H- TigHt
JH- JoHn
QH- QuencH
KH- KnigHt

AS- AsS
2S- DreSs
3S- MoSs
4S- HairS
5S- SaSsy
6S- CaSe
7S- LaSer
8S- BuS
9S- GaS
10S- ToSs
JS- JeSter
QS- QueenS
KS- KiSs

To use this as a memorization demonstration go through the cards one at a time while dealing them face up on the table (retaining their order). Make a story up using the key words in your mind as you deal. Keep working on this and soon you'll be able to memorize the whole deck in a very short amount of time!

If you come up with any better words to use, I'd be very interested to hear it. Please post your ideas in the comments section.

Tribute to Erdnase 2009

Every year or so, I like to film myself doing some Erdnase material just to track my progress. Here's my latest take on it, and the 4th installment of "Tribute to Erdnase"