METHOD 1 November 24 1973

Openly remove the four Kings from the deck while secredy culling the four Aces to the face with one indifferent card for cover. Mario's Moveable Card Pass (New Tops, Vol. 9, No. 3, March 1969, page 27 or M.I.N T, Volume II, 1995, page 50 or see page 173 of this volume) will allow this to be done directly. You may, however, use the Mario Prayer Cull New Tops, Vol. 6, No. 6, June 1966, page 28 or M.I.N. 77, Volume I, 1988, page 232) to bring the Aces to the top of the deck, then with a Double Cut...

Bottom Add Backs

Carl's technique for the No Contact Add-Back led to the following pair of techniques for adding cards from Low Lateral Palm to the bottom of the deck. While turning to the left, move your left hand to the right and in toward your body. Stop when the left hand is about six inches in front and four inches left of the right hand. Open and extend your right hand, releasing all holds except the clip. Move the hands together, the left fingers straightening, to allow the clipped card to pass above...

September 31981 ALPHA

BIRTHDAY Aces is so named for two reasons First, the idea came to me on September third, which is my birthday and second, the patter is based on the idea that on my tenth birthday my great-grandfather taught me how to handle the first Ace on my twentieth birthday my grandfather taught me the handling of the second Ace on my thirtieth birthday my father taught me the procedure for the third Ace. And the fourth Ace is my own because he didn't live to see my fortieth birthday. Birthday Aces is a...

April 1 1976 BETA

I am far from the first to attempt to eliminate the use of gaffed cards from the celebrated MacDonald 100 Routine (More Inner Secrets of Card Magic, 1960, page 26). One might speculate that card aficionados began the effort to eliminate the gaffs the day after Hofcinser introduced the idea. Nevertheless, most published material on Ace routines using double-faced cards are more in the way of handling variations. My goal was to simulate, as much as possible, the types of vanishes found in most...

Miscellaneou false deals

Greek Bottom Deal -The earliest mentions of the Greek Bottom of which I'm aware occur in Koschitz's Manual of Useful Information (1894) and Theodore Hardison's Poker (1914). Neither Koschitz nor Hardison explain a method for the Deal. From then until now, the Greek Bottom Deal has been a technique that allows a Dealer to substitute the card second from bottom for the top card. I have no idea how the appellation Greek came to be applied. The technique was first conceived to address the problem...

March 7 1990

THE WTJ count is an incremental evolutionary step in the development of a convincing Elmsley-style Gemini Move. It may not be the final step but it is, in my opinion, the best offered to the fraternity to date, and it's easy. The basic idea for the move derives from a Larry West technique called the Mirage Count, which is essentially a handling variation of the Olram Subtlety but the WTJ Count hides two cards while showing two cards twice during an Elmsley-style Count. In that respect, the...

Contents

PART ONE FORGERY, PACKETS & PRINCIPLES 1 Section Three Packet Effects 47 The Mario Flexible Count Grip 54 Semaj-Novrec Masked Packet Reverse 57 The Mario-James Multiple Shift 69 Small Packet One-Handed Top (spot) Palm 82 Section Four TWo Principles 99 Vanishing Eleven and Placement 113 Section One Palming 119 Palming Secretly Disordering the Deck 127 The Coughlin Palm Replacement 139 The One-Handed Daley Switch 141 De-Flourished Ossip Slip Cut 146 Naturalness The Double Lift and More 153 The...

Low Lateral Steals

The techniques and applications we've been looking at thus far have used the Low Lateral Palm position in a form of Deal Switch and a form of Side Steal. It can be much more. Unlike most concealment positions, which severely restrict the use of the hand, Low Lateral Palm leaves all the fingers and, most importantly, the thumb, free to be used in other ways. As flexible as it is, one must initially move the card(s) into Low Lateral Palm before anything else can be done. The techniques for doing...

Vanishing eleven and placement

IT WOULD be very easy to skip right over this item, thinking, The Vanishing Eleven again If you do, someone is going to fool you with it. Remember, I warned you. There's not much point in recounting the history of the Vanishing Eleven. Most cardicians know Ed Mario contributed it to Ibidem, No. 24 in December 1961 (page 9 page 535 in the book edition). The idea of interest here is a concept Fulves called the Nine-Principle Location. The description of this principle appeared in Epilogue, No....

September 211989 BETA

This routine offers a number of handling refinements on Wilber Kattner and Roger Smith's routine Maxi-Twist (see Innovative Magic, No. 2, 1976, page 17 and Maxi-Twist II, 1976) but is closer to its better-known predecessor, Derek Dingle's We'll Twist If You Insist (Epilogue, No. 15, July 1972, page 121 and The Compete Works of Derek Dingle, 1982, page 54). It is interesting to note that the Smith routine and the Dingle routine are identical in all significant respects except that the Smith...

June 4 1973 final

For all the effort, published and otherwise, Paul Curry's Open Prediction plot and Stewart James' condition-defining Fifty-One Faces North have drawn from the fraternity, Mario's variation, the Spectator's Open Prediction (suggested obliquely in The Cardician, 1953, page 189, and directly in The Hierophant, No. 1, 1969, page 12) has elicited relatively little response. Normally, one might conclude this meant the variation was unappealing. In this instance, what I believe it means is that the...

Marlos Future Reverse Broken Form

In my experience, this technique can either be performed quickly or quiedy but not both. I opt for quietly, which demands that you perform it slowly. In part because the move must be performed slowly, both hands remain in contact with the packet for a fairly extended period. Such moments are always problematic, as there is nothing for the spectators to watch except the hands. In this case, because there is another action taking place (the removal of the Spades), the problem is ameliorated, but...

Etude for dealer

When Bill Simon mentioned The Scarne Puzzle in his 1949 book, Controlled Miracles (page 21), it is unlikely anyone anticipated where it would lead. It is doubtful anyone even noticed. When he published Call to the Colors in Effective Card Magic (1952, page 79), it aroused little interest because so few card men of that period could deal Seconds not to mention Bottoms well enough to use them under the conditions prevailing in the routine. Subsequently, when Mario explored the premise (Mario...

Action

Because this topic is so extensive, I cannot take as systematic an approach as I have in previous sections. I am not, however, unaware of how useful such an analysis would be. For the time being, I can only offer that there are at least three recurrent problems in efforts to create deceptive Bottom Deals. These are (1) Hiding the finger drop and or flash in Side-Take Bottom Deals, whether Buckle or Strike type. The Artanis idea of strongly beveling the deck is extremely helpful in masking this...

The Sequel September 9 1969 FINAL

Brown treatment of the Thought-of Card Across plot (see the aforementioned Wandering Card in Willane's Method's for Miracles, No. Three, 1952, or Trevor Hall's The Card Magic of Edward G. Brown, 1973, page 39), and is therefore related to The Blushing Leaper. (I think Jordan's Unknown Leaper see his Four Full Hands, 1921, page 27 plays a part in this history, but it would take some work to figure out exactly where.) Unlike The Blushing Leaper, it has no kicker...

Grip

Take the deck into your left hand (assuming you're right-handed), with the left near corner pressing into the crease between the thenar (base of the thumb) and the palm proper. The first finger should be curled around the outer end of the deck. The other three fingers rest along the right side. The tip of the first finger should rest about three-eighths of an inch from the right corner and protrude above the top edge of the deck, to serve as a registration point. The left thumb rests diagonally...

Deal

All conventional False Deals are Switches. Whether the top card is switched for the second card, the third card, the nineteenth card or the bottom card, is irrelevant. All such techniques switch the top card for some other card. Stated starkly this makes False Deals seem a relatively unimportant tool. After all, we have a wealth of other switching techniques. False Deals are important however because, unlike other switching methods, they appear no more than the action one must perform to move a...

Color triumphant

Let me begin by making it clear that I do not consider this treatment a revolutionary improvement on Derek Dingle's beautiful routine as it appears in Dingle's Deceptions with Cards and Coins, written by Harry Lorayne (circa 1966, page 3). Nor is it a Zarrow-based effect but while we are on the subject of Triumph effects I thought I'd include it. I consider Derek's routine to be the culmination of the Triumph-Color-Changing Deck routine, the best extant. I have been performing this version for...

Lifts

Many of the finest practitioners of our craft have expressed a common opinion about the performance of sleights and other techniques in magic. Their thesis, even without much elaboration, has been of tremendous interest to a small, but fortunately growing, number of their brethren. This shared advocacy is for the precept of naturalness. So entrenched is this injunction, it may be considered heresy to challenge it, but I intend to hold the assertion up to the light. Without denying the...

February 111973 FINAL

I consider Card Warp (released as a one-trick manuscript in 1974) to be among the most unique effects of the twentieth century, and a masterpiece as it was originally intended to be performed. In spite of all the variations that have seen print in the ensuing years, none have improved upon the gem at the core. I will not either, nor is there any need for me to do so. Instead, I will offer an improved means of beginning the effect and an ending that approaches par with the rest of it. I believe...

Coming Up In The World aka The LoadUp Move

Give the deck an open Slip Cut somewhere close to the middle, using your left thumb to peel the face-down card off the top of the deck onto the lower packet. (This actually is the Ambitious Card.) It should be drawn into a position out-jogged for about half its length (Figure 137). Place the upper packet onto the lower one so that the top packet is in-jogged for about a quarter of its length relative to the bottom packet. As soon as the top packet is in position, riffle its two lowermost cards...

The Bluff Shift As A Riffle Force

As previously mentioned, the Bluff Shift can be substituted for the Riffle Force. Let's assume you wish to force one or more cards which you have positioned first, second, third, fourth, etc. from the top. Perform the first segment of the Bluff Shift, riffling down the corner until stopped and apparently removing all the cards above that point. If you now allow the spectator to take the top card of the left-hand group, that card will be one of the Force cards from the top stock. Which card they...

Watch the wild ace

IN APRIL of 1962, Gus Southall contributed a description and explanation of a Peter Kane routine called Watch the Ace to Hugard's Magic Monthly (Vol. 19, No. 8, page 89). This started a series of letters from magicians all over the world, sharing touches and variations on the idea. Among the people moved by the Kane routine was Frank Garcia, who altered it in a number of ways. As Frank told me the story, Lou Tannen witnessed a Garcia performance of his variation of the routine. Lou saw its...

Introduction

It is a performing art and an academic discipline. Both can be enjoyable pursuits. Neither can exist without the other. Magic can also be a wonderfully engaging hobby. Hobbyists, like sports fans, are true devotees they are important, perhaps even essential, to the vitality of our art, though they are not players themselves. Their tastes influence magic, their creativity feeds its repertoire and their dollars contribute to its viability as a livelihood. Still,...

Wj On The Zarrow April 1970

Prepare for the Shuffle by undercutting more than a third but less than half of the deck to the right. The smaller the portion you take, the smaller the block you will have to screen later. Thus, unless the application demands it, slighdy less than half is preferable. (See notes, at the end, on the question of cutting the top or the bottom to the right.) Bring the packets together so that they form an inner angle of 160-165 degrees. An angle smaller than 160 degrees may be suspect, but...

Lushing leaper

MANY YEARS ago, Jack McMillen developed an effect (The Leaper Card, n.d.) that is clearly related to, but somewhat different from, a card problem later addressed by Edward G. Brown (see Wandering Card in Willane's Method's for Miracles, No. Three (1952) or Trevor Hall's The Card Magic of Edward G. Brown, 1973, page 39). The McMillan approach became popular for a while but fell into relative disuse. As I see it, apart from procedural differences, the distinction between the two plots turns on a...

July 1 1973 BETA

I suspect that this premise has a longer history than that of which I am aware. I will, however, offer those credits I know. The effect is a sort of packet version of a visible, slow-motion, packet-elevator routine that to the best of my knowledge, began with Bob Ostin's 1974 marketed effect, The Submarine Card. The presentational idea of a card acting like a submarine, however, seems to date back to Charles Jordan's Impossible Journey (Thirty Card Mysteries, 1919, page 58). Ostin's version...

Forgery

In 1980, or thereabouts, I seriously considered selling this effect, just as presented here, for fifteen dollars. The text that follows was the proposed ad copy. I was warned at the time that I was not well enough known in magic to get away with this kind of marketing approach. As a result, magic did without the effect until I released a version in my 1989 lecture notes, Stop Fooling Us (page 39). See what happens when I listen to nay-sayers. Since 1972 (when I first revealed Forgery to the...

The hand

The hands of a magician, unlike the hands of any other performing artist, must have the correct moisture level to function optimally. Certainly the hands of a pianist or a violinist must be supple and strong, but only magicians must be concerned with the exact moisture level of the skin. While it is true of other props besides cards, it is arguably more true that handling cards is affected by the condition of your skin. Dry hands will almost totally stop you from being able to deal Bottoms and...

January 1965

FORM A small fourth-finger break at the near right corner, under the two (or more) cards to be lifted. The method used to accomplish this will depend on the circumstances of the effect and will not be directly addressed here. With the right hand, grasp the cards above the break as a unit in Overhand Grip. The right thumb should be on the near edge, near the right corner, and the fingers at the front edge. The right thumb and second finger will do most of the work. Lift the cards slightly, more...

November 9 1973 BETA

This effect is a treatment of the now classic Card in Matchbox. Generally, i would see no reason to include yet another handling of this idea. (Matt Schul-ien, Eugene Burger and Tony Giorgio have all featured this item and influenced my interpretation.) Nevertheless, I think you will find this version has some interesting features that distinguish it from others. The method is a clear outgrowth of a Peter McDonald routine called The Gambler's Prediction from his inspirational book Highly...

Circa 1969

This has been my general-duty Pass for more than twenty-five years. I am assured by magicians that it is invisible, and by lay people that it is indetectable. Learn it well and it can change your thinking about the Pass. The major innovation embodied in this Pass is the movement of the deck from edge-on to front-tipped-down via a diagonal rolling action. I wish I could say its easy, but it isn't. Expect it to take about six months to master if you don't already do a decent Pass, and perhaps a...

False riffle shuffles

LOOKING AT False Riffle Shuffles analytically, all other considerations aside, they all must, at some point, deviate from legitimacy. While that statement might seem fatuous, the instant at which this deviation occurs determines the last moment the shuffle can be fully scrutinized by viewers. That is an often overlooked but fundamental consideration. From that perspective, the shuffle that deviates earliest is the Zarrow. A One-Shuffle Zarrow begins its deviation in the split before the...

Progeny

For further variations on my Forgery theme, see Peter Samelson's New York Transpo from his book Theatrical Close-Up (1984, page 73) Darwin Ortiz's Bold Fusion (Cardshark, 1995, page 139) Chris Carter's Cold Fusion (The Linking Ring, Vol. 70, No. 9, September 1990, page 94) Anniversary Waltz, a Doc Eason presentational variation of the Carter treatment and Gary Kurtz's Psychological Fusion in the August 1991 issue of Genii magazine (Vol. 54, No. 10, page 664). Jay Sankey's effect titled Forgery...

June 4 1990

THIS TECHNIQUE was developed for my Kannibal Kings routine (see Stop Fooling Us , page 11). It is based on an item titled Cul-de-Sac, which appears in Ken Krenzel's Close-Up Impact (1990, page 154). The broad method is Kens, the technique and application are mine. As a historical note, my treatment is more familially related to the Depth Illusion, popularly known as Tilt, than is Ken's. Nevertheless, my treatment would not exist without Ken's idea as inspiration. It is worth mention that in...

Txjrnantula

MY NOTES on this technique are not conclusive, but they suggest that I first became aware of this unique Bob Farmer equivalent to the Half Pass in April of 1997. Bob began circulating the sleight via private manuscript in mid-August 1995. At the time, I expected that Bob would publish the technique within a reasonable period. I'd then be able to apply it, with proper credit, in those effects to which it lends itself. Under that assumption, I began adding remarks within my notes that referenced...

Method

Push-OFF Let me begin by saying that my developmental view of the Push-Off approach is chronologically incorrect and I know it. I take this seemingly odd approach because it helps my understanding of the Second Deal. I could readily appreciate argument for a different perspective. What is important to me is functional relationship rather than chronology. I pay homage to the developmental relationship only in passing, as it is largely irrelevant for the purposes of magic. There are,...

Econd bealii

IN SECOND Deals, as in Bottom Deals, an observant viewer can discern some of the distinguishing elements. Such an observer would be recognizing appearance factors. As in all False Deals, these factors are as relevant to legitimate deals as false ones. For that reason, many of the observations made in the grip discussion on the Bottom Deal apply to Second Deals as well. They will not be restated here. Instead, after a few comparative comments and a brief historical overview, I will proceed to...

Catalytic progressive aces

The progressive Ace premise has generally been considered a Ken Krenzel problem dating back to the 1960s. Stephen Minch, the ever-helpful publisher of this work, brought to my attention that Roger Smith may have been the first to have published a version of the Progressive Aces, in Necromancer (Vol. 1, No. 1, August 1970, page 6). The Smith treatment, however, is nearly incomprehensible in parts. One of the appealing aspects of the routine is the simplicity of the plot. The first Ace vanishes...

The merlin pushthrough

Split the pack, taking less than half from the top to the right. Place the adjacent inner corners together, just touching, with the packets at an approximate 165-degree angle to each other. (This angle has more to do with consistency with my Zarrow Shuffle than it does with the Push-Through technique.) Regrasp both packets along the sides, near the far ends, with the second, third and fourth fingers at the front side and the thumbs of each hand at the near side. All fingertips should rest on...

Allan Kennedy Fake Center Deal

Center Deal -The Center Deal has a nearly mythical history, documented in a little-known article by Bruce Elliott and James Tuck in Saga magazine (March 1952, page 51). The article was titled The Search for the Middle Deal. It recounted Dai Vernon's tenacious effort, throughout the 1930's, to track down a man rumored to deal from the Center of the deck. The man Vernon eventually found was a card cheat named Allen Kennedy who, Vernon maintained, taught his technique to him. More recently, Karl...

Wishuffle

This is one of those effects that always demonstrates extremely well, is richly enjoyed by lay audiences, but has never caught on in the magic world so go know. I'm explaining it here in its entirety, with the instructions that came with the effect, but with this added little historical preamble. I first wish to acknowledge that the presentation was influenced by a man who inspired much in me through his writings, Mr. Ed Mario. His gags and bits of business pertaining to shuffles, which...

Miscellaneous false deals

Double Deal It may be argued that the Double Deal is insinuated in Erdnase, with no technical detail, by Illustration 26, page 59. It was certainly in use as a means for dealing extra cards to oneself or a partner. That, of course, is the purpose for which it would be most useful to a gambler. For the magician it has many additional uses. It should be apparent that the Double Deal has some of the functionality of a Double Lift. It can also be applied to False Counts. It is in that capacity that...

Alignment displacement sequence

(A WJ TECHNICAL VARIATION) January 14, 1990 In TED ANNEMANN'S Alignment Move (see Synthetic Sympathy in The Jinx, No. 2, November 1934, page 7) the top card of a three-card packet is pulled partially back so the second card can be pushed forward while simultaneously realigning the top card with the bottom one. The out-jogged card is then either drawn from the packet for display or relocation or the aligned cards are turned end over end as a single card onto the out-jogged second card to display...

Sympathetic blacks

IN Vol. 8, No. 12, September 1908, of Ellis Stanyon's Magic (page 90) he discusses the use of a glass with a tinfoil-backed card. This special card effectively converts a normal glass into a mirror glass. Applying this method to accomplishing a packet switch, I believe it possible that a method was developed for the effect known as Sympathetic Clubs. I have not, however, been able to determine where this method may have seen print. The trick, accomplished with double-faced cards, has, through...

Mental magic

Some of the effects in this book suggest that the performer has the ability either to predict or control future events, or to read or control a spectators thoughts. Such effects are commonly classed as mentalism. There are some members of our fraternity who would contend that magicians should not perform such effects, that they should be left to those who work as mentalists. I am not sure how widely held this position is, and I don't want to set up a straw man but I feel this issue should be...

The zarrow shuffle

IN MY years of doing magic I have seen many people perform many different False Riffle Shuffles. Of all I've seen, as done by both magicians and cheats, none have been as deceptive as the Zarrow Shuffle The New Phoenix, No. 346, July 20, 1957, page 210 and Dai Vernon's More Inner Secrets of Card Magic, 1960, page 49 . No Push-Through or Strip-Out, no matter how fine the brief or how smooth the action, can compare, and for riffle stacking the Zarrow Shuffle is nearly ideal. Having written this,...

Surprise

Hupped ACE surprise is a straightforward, tongue-in-cheek, Four-Ace Location. Since I avoid flourishes like the plague, most such routines are out of the question for me. This one is fun and effectively devoid of flourishes. SET-UP The Four Aces are on top of the deck in Diamond-Heart-Club-Spade order from the top down. Give the deck a convincing false shuffle and false cut, retaining the Aces on top. Spread the cards between your hands and hold them out toward a spectator, saying, Some...

October 21 2002

With many forms of the Double Lift it is both possible and desirable to turn the double card down, unloading one, and at the same time have it appear that the card s was never redeposited onto the deck. The origins of the following technique seem shrouded in controversy. Back in the mid-1960s Larry Jennings developed it after studying a similar but far more difficult procedure by Dai Vernon, published in The Gen Vol. 19, No. 7, November 1963, page 175 . The Jennings technique circulated through...

Low Lateral Conversions November 7 1995

For a wide variety of reasons, including applicability, angles, choreography and general deceptiveness, the ability to convert from one palm position to others argues for its desirability as part of one's arsenal. Motivated by this awareness, I've investigated a number of Palm Conversions for Low Lateral Palm. These conversions run in both directions, to and from Low Lateral Palm. I considered including full details for every imaginable conversion but have decided that an overview of the...

The Wj Side Steal December 15 1968

There is a strange history to the Side Steal. For many years it was considered an essential move it then fell into relative disuse. Still more recently, it is again enjoying a resurgence of interest and popularity. I believe the reason for its fickle past is, at least in part, that few people do it well or invisibly. This is due in large measure to the considerable exertion of force required to squeeze the deck, as part of the extraction. The exertion of force, biophysics being as they are,...

The Jehhfowj Count July 1 1973

You are now ready to execute the JEHHFOWJ Count pronounced JEFF-OOGE , which combines elements of the Jordan Houghton-Haxton and Elmsley Counts with a five-card packet. It was devised for this routine but has much broader applications. It is similar to, though I believe it predates, a count devised by Daryl Martinez called The D.M. Count first described with a three-card packet in Secrets of a Puerto Rican Gambler, 1980, page 109 and with a four-card packet in Daryl's Cardboard Chameleons,...

The wj twostep double lift hit variation

We have already encountered the Hit variation of this Double Lift in Step 5 of Trapped Ace Surprise, page 20. However, this seems the right place to address the handling in a bit more detail. The Hit method is nearly as efficient as the Push-Off and is easier of execution. Its weakness, if it has one, is that it is does not seem to prove the card is single. If the situation doesn't require such proof, or other actions in the effect prove the point sufficiently, the Hit is acceptable. The Vernon...

METHOD 4 November 30 1973

Method 4 is based on a Gene Maze idea, though he was not aware of this routine at the time. His concept, the Universal Stock Ellison Poland's Wonderful Routines of Magic, First Addendum, 1973, page 39 , introduces an additional element to the effect, allowing the number of hands between three and seven to be chosen by the spectator. You could, of course, accomplish this additional feature using Bottom Deals alone but for those familiar with Gene's method using a combination of Riffle Stacking,...

Abled Winnipeg Cut May 14 1975

Action move it to the right Figure 203 and clear of the left-hand packet. action move it to the right Figure 203 and clear of the left-hand packet. The first finger creates the illusion that it is the top that moves to the right. This move is a tabled version of Mel Stovers Winnipeg Cut. See Garcias Million Dollar Card Secrets, 1972, page 93. Others may argue that another designation is more historically accurate. Argument, for example, could be made for calling it the Marnase False Cut see...

Lateral

IN the course of toying with a deck of cards, card workers can and have produced many amazing techniques and concealments. What is, perhaps, more surprising is that new discoveries continue to occur regularly. In the summer of 1979, while toying with a deck, I made what seemed at the time a discovery that could revolutionize card magic. I was wrong. Someone else had made the same discovery more than twenty-five years earlier. He had published it, and card magic had not been revolutionized by...

June 22 1976 BETA

My notes are very sketchy as to how this effect evolved. The only fact I can determine with certainty is that I was inspired by something I saw Derek Dingle perform. A related routine much later appeared under the title of Illusion Aces in his excellent collection, The Complete Works of Derek Dingle 1982, page 79 . Derek did not explain his routine to me frankly I didn't ask and the version I saw seems to differ in some ways from what appears here and from what was eventually published. I...

The Krenzel Square Reverse

While holding a break under the card you wish to reverse, turn your left side toward your audience. Adjusting the packet to a position a bit deeper in the hand then usual, straighten your left thumb along the left side of the packet. The thumb should completely screen the left edge. Your right hand, from above, grips the packet, the second finger resting at the front end, and the thumb at the rear, near the left corners. The other right fingers should be straight but relaxed. In a light, quick,...