Copeland Coins' original project on edge grip coin magic.
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2. Table of Contents
4-6. The Grips 7-8. One Hand Change
9. Triple One Hand Change
10. Quad One Hand Change
Table of Contents
The Digital Annotated Video Exper- ience is a new magic teaching format where the best of book and video learning are combined together.
DAVE allows the student to gain inside thoughts, tips, and advanced ideas just like lecture notes while providing the quick study of HD camera video learning.
1. Downs Palm - A beginner grip with exceptional possibilities to hide stacks of coins used by both stage and close up magicians. Most performers find it has great angles, feels natural, and has an easy get ready. (4.1)
2. Curl Palm - By releasing the thumb, you disengage your audience's suspicion that you are concealing a coin. Your seen empty palm further "proves" their perception is correct. (4.2)
Performance Notes: 1. Edge grip is obviously dependent on angles. Don't let this scare you, learn those angles to be confident. The rewards are phenomenal!
2. By keeping your thumb or even just the tip of your thumb visible, you are silently hinting that your hand is not gripping or holding anything. Sneaky you!
It will constantly be stressed through- out this video, you must maintain two points of pressure on either side of the coin to not loose control.
When you begin to hold the coins with the correct pressure on their edges it will be uncomfortable at first! But maintaining strong pres- sure is the only way to holdout stacks of coins and ensure you do not drop your "babies in delivery"!
Correct pressure should never make your hand appear unnatural!
1. When learning, practice with two identical coins. It will be easier.
2. Go for quality and control of the coins before you go for speed. If you only get the basic movement of the One Hand Change you will quickly be ready to perform the next audience interaction trick called "Transpeedo!"
One Hand Change
Remember to keep a little air in between the coins so they do not talk during productions and vanishes.
Performance note: Tie this routine into your greater spellbound routine. It's a great opener or closer!
One Hand Change
Pages 9 and 10 are the most difficult sleights in this production.
If this is not your cup of tea, click number "11" below and you'll be taken to a fun, practical application of the One Hand Change!
This triple change does not have To be one handed, your free hand could cover the coins briefly to assist in the changes.
Super Triple One Hand
Just a little something fun to try!
Credits: Sol Stone had the "One-Hand Triple Spellbound No. 1 & 2" in Kaufman's book "CoinMagic" (1981).
I assumed in the following years Mr. Stone probably developed a few other versions and felt calling my change the "Super Triple Color Change No. 9" would be a safe number to claim.
Super Quad One Hand
Performance Notes: This routine is a real confidence builder for the "One Hand Change."
First, you only need to be able to do a portion of the change.
the strength of the rou- tining allows your difficult sleights to happen slowly, without raised suspicion.
Phase 1 Tips: 1. Secretly transferring the bronze coin should be casual, without drawing any attention.
The spectators may feel the trick was a dud and has ended. Use this uninspired, deflated moment for the stealthy move!
Phase 2 Tip: For the second change, close your hands into tight fists, this allows you to get the coins in the correct positions, before you open to display the change.
Don't worry, slowing down the change in this phase of the routine may actually make the magic stronger!
Phase 3 Tip: Make sure you visually demon- strate exactly what you want your spectator to do, just as taught. That way he does not make a mistake and spoil the big finish!
If you have made it this far in the routine and are treating your helper with respect, he most likely will be on your side and be eager to experience wonder!
"You've got to go far to find a coin trick that beats this one. No matter how much praise I give 'Spellbound' it will be an understatement."
- Al Baker speaking of Dai Vernon's original effect: Spellbound
For more color change ideas like this, check out Trésor!
Tips: 1. Use your forearms to block bad angles. You can do these produc- tions almost surrounded by your audience with just a little planning and consideration.
2. Remember to put a little air in between the coins to reduce noise when producing from and stacking back into Downs Palm.
Performance Notes: 1. Angles taken into consideration, productions are typically cleaner than vanishes.
Think about it, most productions can be one handed while most vanishes are typically structured with two hands for better cover.
Therefore, look at where the coin will be, then look back at where the coin was.
Performance Notes: 1. It could be tempting to con- tinually produce a coin from your elbow in a never ending loop... And it could also become very monotonous and boring to watch.
Remember, your skill is what impresses you. Your entertain- ment (skill included) is what impresses your audience.
Keep it brief. Move on.
Performance Notes: 1. Remember, until produced, the audience is unaware there are four coins! Take your time.
2. If you can not yet do a coin roll out, you can easily manually put the coins into this position for the nice final display.
Tips: 1.For speed and ease, use coins with good reeded edges.
But for practice, consider strength, by using smooth edged coins.
2. In general, large coins are easier than smaller coins.
Just because I enjoy self torture, I practiced for many years with US Nickels (21mm, smooth edge coins). It helped.
4 Coin Roll Out
Click Number 20 below to review the application of this coin roll out.
Performance Notes: 1. Remember to keep the coin edges at 90 degree angles to your fingers and perpendicular to the ground.
2. Statistically, this roll out is 25% easier and $1 cheaper to perform.
3 Coin Roll Out
Tips: 1. Create a clean canvas for your art. Tuck in your shirt, use pants without distracting patterns, pockets, and/or zippers so the magic has a clean presentation.
2. Angle your body so that all the focus is on your pocket.
Tips: 1.Use loose pants that will allow you to grip the coins through your pockets with ease.
2. Pause after each coin appearance. Wait for reaction. Then relax.
3.When you appear relaxed, is when your audience relaxes and you perform your sleight!
Performance Notes: 1.Fear not, because you are always reaching & touching your pocket, you don’t need a pretty classic palm. Your hand will look just fine!
2. To make this routine easier, you do not have to transfer the hidden coin into classic palm every time. Finger palm is sufficient, but you will loose some of the finesse of being able to show your fingers empty.
Tips: 1. Save your coins and save your back! Practice the shuttle pitch over a bed. (26.1)
2. Make sure the coin display is parallel to your audience so they do not see the double coin. (26.3)
Tip: Click Number 23 below to re- view the count in C4P0, an easy alternative to the Himber count.
Performance Note: For this routine, you need to keep the gaps inbetween your right fingers closed or the coins will ”flash.”
Tip: Take a step back to give your- self better angles.
This will help particularly during the first half of this routine when you are hiding the coins.
Performance Notes: 1. This trick can become an excise in hiding four coins...
That’s a good excise to practice, but try to make this entertaining for your audience!
Think about your presentation.
Performance Notes: 1. Just like a good call back, the 4 coin appearance ending ties these three routines together if you choose to perform them all at once.
2. If the 4 coin roll out is not yet in your performance repertoire, you could substitute a coin fan or even an open palm display...but strive towards the 4 coin roll out, it's quick, unusual, and highly visual. Great entertaining features!
Performance Note: Applying the Mexi-Melt obviously makes this routine more advanced, but this is a perfect place to use a risky move such as this.
If you don’t hit it perfect, it's no problem because you will im- mediately reproduce the coin.
Written, Produced, Edited & Directed: Jeff Copeland
Filming: Cyrus Codner
DAVE's website development: Chris Sisk, Seth Gibson & CS Design Team
Additional help & thanks to: Kainoa Harbottle, Rick Holcombe, Nicholas Raynal & Everyone who preordered!
I'm always looking for constructive feedback from my friends. And now, as we become friends, I need your thoughts too!
Because of the format of this project, within reason, there are things that I can change with the touch of a button! And there are definitely things that can be made better on the next one.
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16. Kingdom Coins 17-20. Downstown Production
21. Coin Roll Out 22. D.T. Three Coin Roll Out
27-31. Radioman Dollars
1. Best viewed on a full screen, eleven inches or larger. (3.4)
2. DON'T WORRY ABOUT READING EVERY NOTE THE FIRST TIME. ...You can always come back later.
3. Click the ARROWS to move pages forward and backward.
4. Click a NUMBER to jump to a specific page AND video spot.
5. Chapters links & a video only download are at the bottom, you may need to scroll down to view.
3. Edge Grip- This conceal is particularly effective at hiding a coin while holding an extra object or coin. When used properly there is absolutely no tell that you are holding out.
When not holding another object, Edge Grip can momentarily provide superior audience angles by simply touching the tips of your middle finger & thumb. (4.3)
4. Nowhere Palm - The "knackiest" of these four edge grips, this third finger curl palm has many of the best qualities found in any coin concealment. It's worth the practice! (4.4)
Tips: 1. Learn edge grip angles by video recording your practice, it will give you better feedback than a mirror.
2. Practice performing before large stuffed animals as a make believe audience. Seat them accordingly and you will learn the correct angles by having a set of eyes looking at you.
Downs Palm - Peruvian born magican, L'Homme Masque taught Thomas Nelson Downs this move sometime during his European tour in the early 1900s. Downs made it famous, thus it took on his accreditation.
Curl Palm - David Roth, "CoinMagic" (1981). Used to naturally rest his hand on the table while hiding a coin in Edge Grip.
Edge Grip - In 1945 appears in "Hugard's Magic Monthly." Featured in Paul Moris' trick "A Life Saver."
Nowhere Palm - Created by Geoff Latta, though seemly controversially first printed in Gary Kurtz's excellent book, "Unexplainable Acts" (1990).
ONE. Always maintain two points of pressure on the edges of the coins!
(I tried to warn you, I'm going to keep reminding you!)
TWO. All other touches on the edge of the coin are bonuses to maintain your grip!
Copeland's Keys to Edge Grip:
Always consider the Magic Wand Principle.
That is, openly hold another object or coin so that your concealing hand appears natural. (8.2b)
This will make your edge grip concealments look clean and provide the best open displays without "flashing" any hidden coins.
Copeland's Keys to Edge Grip:
Performance note: Currently, coin magic videos are huge on social media. Given the medium, these performances will find themselves edited at times. I love all kinds of magic and feel that performing to music to cover any sound is legitimate, but not always ideal.
Stage performers frequently take advantage of music & their distance from the audience to reduce noise, minimize flashes, & use black art. I feel in most theatrical performance, close up included, this is fair use.
Ponta the Smith released a wonder- ful, non-gaffed version of the One- Hand Spellbound in his acclaimed DVD "Sick" (2010).
I never felt comfortable getting into his starting position and found it awkward. If you, too, are a fan of his work, and have tried it, then you'll know what I'm talking about.
I really hope I have simplified and possibly given more potential to Stone's original thoughts.
Finally, the last phase, which will have the most scrutiny, is the easiest of them all...Which allows you to focus on your interaction with the audience.
So give this routine a quick study, it's a great on the spot impression maker!
2. Your body language and gaze must follow the 2nd silver coin you pull from your pocket. This misdirection is what gives you time to make the one handed change unobserved.
Advanced Thought: Handing out the 2nd silver coin or dropping it on a table could give you even more time for the One Hand Change.
"While most people are afraid of edge grip, they shouldn't be. Other palm positions are scary, but edge grip is a "grip." Your thumb and middle fingers are doing exactly what thumb and fingers do...they're gripping!
It's the "edge" that puts people off, but that just requires finding the right amount of pressure... just like other palms."
I asked Kainoa Harbottle to sum up his thoughts on learning edge grip ...in just one text message:
1. In some sistuations, you may find it easier to do the drop switch of coins into your own hand before placing the coins into the spectator's hand.
I find either way effective.
1. Add some mental magic... Ask the spectator to believe they can change the coins’ places.
2. For extra fireworks, try the multiple color change ending!
Credits: Jeff Copeland Inspired by David Roth & also Eric Mead, who lectured on a brilliant transpo effect from Tim Conover's repertoire.
Occitania is a fascinating place! Learn more about the choosen words on the reverse side of the coin:
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Graphic design by Edo Huang Envisioned/Concept by Jeff Copeland
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Remember, Downs Palm can pass 360 degree inspections when dis- playing another coin or any "magic wand" object at the finger tips.
Pause and make fair and open displays that convince everyone that you are beyond just a little special!...You're Magic!
Copeland's Keys to Edge Grip:
2. With each production, make sure the complete coin face is pre- sented towards your audience for maximum visibility, which will create clearer magic and the best reactions!
You may note in the performance, the coins are produced back on the sleeve, but I always try to turn my wrists out (as mentioned in Key FOUR) to flash the full face of the coin, so the production registers with the Wide Eyed Wonderers.
FIVE: No lay person ever seriously thinks of holding a coin in these positions!
Relax. You're not being chased!
Spend your energy focusing on entertaining.
Copeland's Keys to Edge Grip:
Tip: Again, don't forget... Use two points of each coin, everytime!
Credits: L'homme Masque T. Nelson Downs Jeff McBride David Roth Jeff Copeland
Credits: Still researching the history... If you have any information to share email:
Further Study: 1. There are probably half a dozen or so widely practiced four coin roll outs. And everyone has a little touch or variation. Find your own!
2. I learned 3 versions when I was younger from Jeff McBride's World Class Manipulations Vol. 2.
2.Consider other ways to give your coin magic maximum impact...
Larger coins, Better displays, Extra sound, More Light! ? ? ?
Credits: Red Vigor Deck by Edo Huang
SIX: Frame your magic like a picture on the wall. A frame defines where to look for the art...Inside.
In C4Po, you want to frame the space where people should look. The less your audience needs to perceive what you are doing, the quicker they can honestly respond with astonishment!
...And as a bonus, the coin steals will go unoticed.
Copeland's Keys to Edge Grip ...and beyond
If you do not have a table, you can hand the coins to a spectator.
With caution: A spectator you would trust with your children!
That is a kind of a joke, but there is some truth about who you choose. You want things handed back immediately.
Gandalf would never hand out his staff for “examination.” (Losander does not either.) When you hand things out you loose control and your command of the audience’s undivided attention.
3. When performing surournded you should obviously consider your angles on reproducing the coin from behind your leg.
A production from finger palm has much better cover.
Advanced Thought: Produce the coin from anywhere. Perhaps a spectator’s jacket pocket!
1. This is the big finish! Consider stepping back before the invis- bile toss. It will help hide the double coin and it will put your whole body in frame, to give this micro trick a parlor style applause pose ending! (26.3)
2. Who said doubles are just for cards?
Credits: J.B. Bobo, Kainoa Harbottle, Troy Hooser, Gregory Wilson, Jeff Copeland, & Bill Palmer of Houston, Texas who inspired the final coin appearance.
Further Study: Himber Count is taught through out the old Jay Sankey DVDs.
It is also covered extensively in Blackbird and Traveler.
Grab your passwords and watch the lessons:
Revisit Blackbird Teaching Video
Revisit Traveler Teaching Video
Get Traveler & Blackbird at CopelandCoins.com
In "Magic by Gosh," the book of Albert Goshman's magic, there is a trick called the "Vanish of 10 Coins."
After vanishing all ten coins into his right hand...Goshman's finale was simply revealing all the crazy positions and palms of the coins held back in his hand!
The method was more entertaining than the trick... If that's your style, then you are on your way to such an effect!
Give a different perspective...
This trick has great depth of field.
Try isolating your vanishes and
appearances out away from your
body with outstretched arms.
Humans seem to perceive that coins
must be concealed some- where other
than the hands. If your wonder moments happen
away from your body, this may really amplify your magic!
You will find it much easier to perform a routine like this if you keep your hands up at shoulder or even eye level.
It's just easier to take aim and Your angles will be more accurate.
If your hands are lower, you are "shooting from the hip" like a gun- slinger and it is much harder to shoot straight!
Copeland’s Keys to Edge Grip
Credits: Jeff Copeland Inspiration by Rune Klan, David Roth, Troy Hooser, & Larry Jennings.
Mexi-Melt is taught on Page 13 of Trésor. Grab your password and take a fresh look at this fun move:
Revisit Trésor Teaching Video
Trésor is available at CopelandCoins.com
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