Simplifying The Erdnase System of Cull Shuffling

To put it bluntly, Erdnase is a difficult read. The culling section is so confusing with all the unnecessary math and lack of spacing in the descriptions it can be quite intimidating to even someone that is very familiar with the concepts. I cannot count how many times I’ve read the technique, cards in hand, and performed the same line twice destroying my previous work. My goal in this essay is to simplify the Erdnase culling process by taking out the math and breaking down the steps to an elementary level. I use the same terminology from the culling of two to nine cards, so the reader can progress easily and have an elevated understanding of what is taking place.

One area many individuals have trouble with is discerning the difference between the top card and the first card mid-shuffle when the cards are split between the hands. Erdnase defines the difference between these two terms under the heading “Technical Terms” earlier in the book.

I replace using the term “first card” with “first drawn card” so the reader understands it is the first card drawn off the right hand packet, and replaced “top card” with “top card of left hand packet”

It may be a good idea for you to practice by turning the cards you want to cull face up. I suggest you place them in the example positions and attempt the steps using my given numbers before trying it from a random deck. They are correct- trust me.

To Cull Two Cards

We are going to start from the top although it may sound simple to some. There’s only two numbers you will have to remember:

A= Number of cards (from the top) before the first desired card

B= Number of cards in between (and including) the first and second card

Example: Sound confusing? It’s not I promise. Go get your deck, I’ll wait.

Ready? Okay, pull out two Queens and place them in the following order: Random card (or X card as I will call them later), Random card, Queen, Random card, Random card, Queen.

A would equal 2 because there are two cards before our first Queen

B would equal 4 because there are two cards inbetween our two Queens (which we are also counting)

Here are the steps to cull the Queens to the bottom of the deck:

1. Undercut approx. half, injog the first drawn card, shuffle off, cut to injog (this is just done to position the cards to be stacked on top of the right hand packet)

2. Run A

3. Injog first drawn card (count as number one) and run the rest of B

4. Outjog next drawn card and shuffle off

5. Undercut to outjog forming break at injog

6. Injog first drawn card (this number will never change, we are just positioning those queens together) throw to break, shuffle off

7. Cut to injog and throw on top

The only part of that sequence that is ever going to change is the numbers in A and B. So what if the Queens were positioned 8 and 4 as in Erdnase’s example?

A would equal 7 for the number of X cards before the first Queen

B would equal 5 because there are 3 cards separating our 2 Queens

All I have really done is eliminated the extra math by getting a better understanding of the placement of the cards. Once you feel comfortable with culling two cards, move onto the next section.

To Cull Three Cards

Want to cull three of a kind? Erdnase has you covered. Here’s what you will have to remember:

A= Number of cards (from the top) before the first desired card

B= Number of cards in between (and including) first and second card

C= Number of cards between the second and third desired card

Example: We have three Kings positioned every fourth card from the top. (X card, X card, X card, King, X Card, X Card, X Card, King, etc...) The numbers you would remember are:

A= 3

B= 5

C= 3

Here are your steps:

1. Undercut approx. half, injog the first drawn card, shuffle off, cut to injog

2. Run A

3. Injog first drawn card (count as number one) and run the rest of B

4. Outjog next drawn card (count as number one) and run rest of C

5. Throw remaining stack on top

6. Undercut to outjog forming break at injog

7. Injog top card of left hand packet, run one card (this number will never change), throw to break, and shuffle rest of stack on top

8. Cut to injog and throw on top

To Cull Four Cards

So let’s say you have the four Aces spotted near the top and you want to get them all together. Easy as pie. There will be four numbers (surprise!) to memorize.

A= Number of cards (from the top) before the first desired card

B= Number of cards in between (and including) first and second card

C= Number of cards between the second and third desired card

D= Number of cards between the third and fourth card

Example: Let’s assume the four aces are every third card from the top (as in: X card, X card, Ace, X card, X card, Ace, etc....). The numbers you would remember are:

A=2

B=4

C=2

D=2

Here are your steps:

1. Undercut approx. half, injog the first drawn card, shuffle off, cut to injog

2. Run A

3. Injog first drawn card (count as number one) and run the rest of B

4. Outjog next drawn card (count as number one) and run rest of C

5. Throw remaining stack on top

6. Undercut to outjog forming break at injog

7. Injog top card of left hand packet, run one card (this number will never change), throw to your break, and shuffle rest of stack on top

8. Undercut to injog and run D and throw on top

This will leave you with three Aces on bottom and one on top. Erdnase suggests alleviating this by simply running one card into the left hand and throwing the balance of the deck on top.

To Cull 9 Cards

If there was ever a part of Erdnase I was guilty of skipping, this would be it. Erdnase System of Cull Shuffling- To Cull Nine Cards

Even the title is intimidating. And I know what you’re thinking. Hey, I know how to cull 2, 3, and 4 cards, why the heck would I want to memorize all those numbers to cull 9 cards?

Well here’s the thing....

You are not culling 9 cards, you are culling 3 sets (or groups) of cards. Whether that be face cards, red/black cards, cards of a certain suit, or even face down cards in a face up deck- as long as they are in 3 groups you are good to go. You could even use this simple technique to cull 3 single cards! And you only have to remember 4 key numbers to execute it. Keep in mind this cull was optimally designed to cull cards that are already in 3 groups of 3 or more. I would suggest using this cull after a hearts or spades demonstration, where you have the suits already clumped together in the collected tricks.

Here’s all you need to memorize:

A= number of cards before first group

B= number from (and including) first desired card to last desired card of second group

C= number of cards between second and third group

D= number of cards in second group

Example: Let’s say we have 3 groups that each contain 3 Diamonds. There are two indifferent cards separating each group. (X card, X card, 3 Diamond cards, X card, X card, 3 Diamond cards, X card, X card, 3 Diamond cards) The numbers you would remember are:

A=2

B=8

C=2

D=3

Here are the steps (really broken down):

1. Undercut approx. half, injog the first drawn card, shuffle off, cut to injog

2. Run A

3. Injog first drawn card (count as number 1) and run the rest of B

4. Outjog next drawn card (count as number 1) and run rest of C

5. Throw remaining stack on top

6. Undercut to outjog and form a break at injog

7. Injog top card of left hand packet

8. Run D

9. Throw to break shuffle off

10. Cut to injog and throw on top

One little tidbit that’s going to confuse you when you practice this:

You are only going to get the first card of the last grouping on the bottom, the rest will be on top. If you want to have all the cards on the bottom, you just need to memorize a 5th number, the number of cards in the 3rd group, and run that number minus one (because you’ll already have one where you want it) from the top to the bottom after the previous 10 steps.

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’

Notes on the Open Shift...

Tips:
A reason the open shift is so difficult is the fact that erdnase only instructs you to control the top packet with the nail of the right index finger and left thumb. The problem with this is the balance required does not allow optimum control. This is why the shift is rushed by many performers making it look like they have a “spasm” (to steal a word Marlo used about the SWE shift).

When Erdnase says “the shift can be made like a flash” I theorize that he is talking about the sole motion of reversing the packets. Not the set up. I say this because when describing other shifts in the book, erdnase uses the term ‘shift’ solely when he is transposing the packets.

The open shift spasm can be solved by adding one simple step. Once you are in the position illustrated in figure 70, and finished clearing the packets of each other, you reposition the right hand by sliding it to the left and gripping the top packet (which will be shifted to bottom) by the thumb and middle finger of your right hand. The left fingers assist in holding the bottom packet during the sliding motion. At this point you can release your left hand completely and maintain control of the entire deck by only the right hand; gripping the bottom packet with the right middle, ring, and pinky fingers.

The position of the right hand in this grip also greatly reduces the risk of flashing the bottom packet as the top is pushed with the right index finger. This makes the shift slightly less angley and allows greater versatility.

Covers
-Movement from right to extreme left
This is the most common cover for the shift. a break is secured and the deck is carried to the extreme left of the performer, so that the back of the top card is in the direct vision of the player sitting opposite the dealer. The shift is then performed before dealing to the first player.

The problem with performing the shift this way is the momentary pause before he deal. Even if it’s executed in a ‘flash’ the pause is unexplained and draws attention.

-Tapping the table
A break is secured and the body is turned slightly to the left. The current top packet is slid toward the left palm by the right index finger, and regripped in the middle of the short sides by the middle finger and thumb of right hand (see the “tips” section at the beginning of this entry) . The left fingers extend, and the top packet is tapped against the table. In repositioning the deck the packets are shifted in a squaring motion.

An alternate method of using the table tap to cover the move would be to complete the cut with the left hand, securing a break, and performing the shift with the face of the deck facing the performer.


-Using table edge
The cut is completed by the right hand (fingers and thumb on opposite short sides) and the entire deck is slid along the table so the long edges are parallel to the table edge. As the bottom pack remains tabled, the right index finger begins to push the top packet into the awaiting left hand. The right middle finger and thumb then slide the tabled packet onto the packet in the left hand as it is raised for the deal, completing the shift.


Getting the break
-Offsetting the bottom packet when completing the cut.
Deck is tabled in front of you, with the short edges running parallel to the table edge. The cut is made by the right hand placing the top half to the left . As the cut is completed the packets are offset by placing the original bottom packet a half inch further to the left, creating a step which is concealed by the back of the right hand. the right index finger is placed on the step while the deck is picked up in preparation for the shift.

-Left Handed
The cut is completed by the left hand with the palm facing the table. The thumb is on one long end and the fingers on the other. When placing the packets together, the fleshy pad of the left ring finger is placed between the packets. The deck is then slid to the table edge and the right hand approaches palm up from underneath; grasping the top packet with the middle finger and thumb on the short edges. The left ring finger is then extracted, transferring the break into a step for the right index finger to execute the shift.

-Traditional Erdnase method
“When the cut is made, pick up the packet that was under, by the sides, near end, between second and third fingers and thumb of right hand, and lay it on top of packet cut-off, so that the then under packet forms a jog or protrudes about quarter of an inch toward the right wrist. Pick up the two packets the instant the one is placed on the other, by a sliding movement, with the fingers in the same position, and place the deck across the left palm with the left thumb on top to hold it in position. Then release sides of deck with right hand and seize ends to square up. In doing so the right thumb comes against the inner end and in contact with the jog or projecting under packet. Press this down a little with the thumb and square ends of deck, forming break at thumb end. Now shift the left hand slightly so as to hold the break with the tip of the left little finger at the side, close to the end”


Alternate uses
-Color change
Erdnase suggests using the Open shift as a transformation on page 136. He suggests performing the shift with the deck turned face upwards.

When Erdnase says ‘turned face upwards” does he mean the cards are face up in the hand with the performer facing his left- or is the performer facing his right with the hands rotated clockwise to display the faces?

It’s interesting to think about. When Erdnase wants the deck face up for a transformation he states it pretty clearly using terms like “with the back of deck to the palm” (Transformation, first method pg. 154) or even “with the deck face up” (SWE Shift pg. 139).

In fact, Erdnase never refers to a face up deck as being turned upward (s) anywhere in the text. I believe Erdnase meant for the performer to be turned to his right rotating his hands to display the face of the bottom card.

Personally I think when the performer is turned to his left with the cards face up, there are far better ways to do a transformation anyway.

Notes on the SWE shift

I just stumbled across these notes because someone asked a question about the SWE on another website. Maybe this can help some of you out there that have trouble with the move.


Covers for the move:
-Tapping the table (Wesley James)
With the body slightly turned to the left the short edge of the deck is tapped against the table while performing the shift

-Blowing on the deck (Chris Kenner)
While bringing the deck up to the mouth to blow on it, perform the shift.

-Rotating the deck
Have the long side of the deck almost contacting table- top card facing audience. In rotating the deck (so the back of the top card faces toward yourself) perform the shift.

-Change the style of cut (Magic Cafe member Pavloter)
With the deck tabled, cut off top half and place in left hand in SWE position. Pick up original bottom half from table and perform shift while apparently placing the packets together to complete cut in the hands

-Perform at the table edge (Magic Cafe member Papermechanic)
With the deck tabled, cut top half away from performer and place on table. Complete the cut on the table holding a break. Slide deck to table edge and perform shift pinning the bottom packet (which will be shifted to top) to the table with the right second and third finger. Left hand pulls back top packet and completes shift.

Getting the break for the SWE
-Diagonal placement
With deck tabled, cut top half away from performer. Grab original bottom packet with right hand and place diagonally (almost so the two packets form a very tight “X”) creating the ‘step’ to utilize when cards are picked up from table.

-Pull back method a la Steve Freeman
With deck tabled, cut top half away from performer. Grab original bottom packet with right hand and place further forward on original top packet, leaving a step below the right thumb. In sliding deck back toward performer apply pressure down with right thumb while pulling original bottom packet back with right fingers to form break at back.

-From deal (the way Erdnase would probably do it)
Hold break with pinky while dealing. Bend left wrist so index finger points toward performer. bring right hand over deck, palm down (fingers contacting left thumb) allowing right thumb to pick up pinky break. Release left hand and turn counter clockwise inserting pinky as in Fig 72 ready for shift.

Tips
-Control the right thumb- do not let it kick out when performing shift. Keep it as far down as possible.
-Focus on top packet. Pull it back as fast as possible. It may help to perform the shift in front of a wall or hard object to prevent you from kicking the bottom packet forward. (I’m told this is how Chris Kenner practices)
-Make sure the deck stays as square as possible. Do not allow the left fingers to get in-between the packets when the bottom is being shifted to top.

Alternate Uses for SWE
-False Cut
-Dead Cutting to any card
-Elevator effects
-Transformation