The reason for this w ill be explained in a later chapter. Y ou do not have to close your h a n d tight, h old it sort of lim p and careless w ith the F IR S T F I N G E R A L W A Y S E X T E N D E D. 3 Practice this move u n til you get the feeling of it being secure at the finger tips, rem em bering to keep the fourth finger under a n d against the third finger as a brace. Next release the grip of the th u m b a n d first finger a n d snap the b all into the p a lm w ith the second a n d third fingers but DO N O T RELEASE TH E B A L L F R O M T H E P IN C H because you will want to get it later without fumbling to add a ball (Fig. F ou rth finger (p in k y ) acts as a brace u nder a n d against the third finger (Fig.-2 ). N o w extend the second a n d third fingers and p in c h the ball between them. THE FINGER PALM or FINGER PINCH Pick u p one of the large balls by p in c h in g it at the top between the right th u m b and first finger (F ig. ” This sleight is used th ro u g h out the entire routine. WALSH Before going in to the routines, let us devote a few m inutes to the sleight called “ The Finger P a lm or Finger P in c h. COPYRIGHT, 1940 BY AUDLEY WALSH COPYRIGHT, 1947 BY LOUIS TANNEN Printed in the U.SPONGE BALL MA N I P U L A T I O N Chester M orris, the fam ous star of stage, screen and radio, gets all “ balled” u p as A udley W alsh gives h im the works.
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