Richard Kaufman - The Gallo Pitch

THE GALLO PITCH (Lou Gallo) COMMENTS: When I first printed this, I began by saying this was the best coin move I had learned in years. Now, seven years later, I can still say the same thing! I've shown this to magicians from a dozen different countries, and they all agree the illusion is perfect. Because it is so versatile, I am going to explain it very carefully, with a great attention to detail. The Pitch first saw print in Richard Kaufman’s RICHARD'S ALMANAC. The serious student will want to study Richard's concise explanation also, but I am going to try to explain details here that almost a decade of use have uncovered. One of the reasons I like this so much is that it can be used either sitting or standing, with little or no change in technique. Particularly, I feel it is much more natural for a stand up performer showing coins in both hands than the traditional Han Ping Chien move. When standing, it is unnatural for someone to bend his whole body over the table, slapping his palm to the top of the table to show what is inside. This is a case of "overkill" in terms of simply showing what is in the hand. This is less of a problem for the sit-down worker because the forearms and palms are much closer to the table top and don't have to unnaturally move to that position for the display to take place. Lou Gallo, who performs this with deadly results, only does it sitting, while I, on the other hand, only perform it standing. Another interesting properly of The Pitch is the fact that the coins being retained in the tossing hand can be held there in any of the basic grips. That is to say, you can conveniently hold back coins in either the classic palm, the thumb palm, the finger palm, or the back palm. This amounts to an impressive degree of flexibility in its application. But the really disarming property of the Pitch is that the display of the coins can take place so casually. Once the rhythm and "knack" are acquired, the move can easily be done with your full attention focused on the audience. You can actually look at and talk to the audience as the crucial move takes place. Since I've included the most minute detail, the description might seem lengthy. For this reason, you might want to quickly scan the description to get a feel for full details, and then go back through with coins in hand. As you rehearse, keep the arms and shoulders loose, and remember to use a smooth, natural movement. PROCEDURES: If you allow your arms to swing out naturally while standing up, you'd notice that continuing the line of motion of the hands would form an "X" on the table in front of you. The arms move towards each other and the intersection of the "X", as they move forward. This is the way the arms will swing out to show the coins when doing the Gallo Pitch standing. It is also the way the wrist will move while sitting, but the wind up and swing of the arms will be more limited. When coins are tossed from hands moving along the lower portions of the "X", the coins continue along that line when they leave the hand. In other words, the tossing movement of the hands form the lower portions of the "X", while the coins continue on along their paths to complete the upper portion of the "X". What makes the move deceptive is that at one point the left hand will be throwing it's coin "against the grain" of it's X, in the direction that the win from the right hand should be

traveling. This toss of the left hand's coin along the path the right hand's coin should be taking is done under cover of picking up the coin or coins first thrown by the left hand. What the spectators first see is the left hand tossing it's coin to the table. Then, as the left hand seems to pick up it's coin, the right hand tosses it's min onto the table. During this opposite-direction throw by the left hand, the right hand will either be: (1) holding back all the coins it is supposed to be throwing, (2) tossing all its coins along with the coins released from the left hand, or (3) holding back some of it's coins while actually tossing some of it's coins. In some cases, the right hand may even be empty. In those cases, it simply imitates the tossing action, as the coins are released from the left hand. I’ll teach the basic move first, and then go on to some of the professional applications. Begin by showing a coin at the fingertips of each hand, as in illustration 1. Both hands turn palm down. The left hand will show its coin first.

Begin by giving a slight backwards “wind up," and then toss the coin towards the upper right corner, Ill. 2

During the wind up of the left hand, the right hand classic palms it's coin. See illustration 3.

It adds to the deceptiveness if the fingers follow through in the direction the coins are being tossed. The hand doesn't have to turn completely palm up, but it is important that the fingers extend outwards towards the tossed coin. This follow through shouldn't be exaggerated, and is, in fact, most important for the right fingers, but the left hand will establish the move. The way this first coin is thrown from the left hand is important. How it is propelled in the opposite direction is also very important I'll give more details on this in the final tips. after explaining the basic move. The left hand now comes up, PALM DOWN, to retrieve the coin. Ill. 4.

The coin will be picked up by allowing the left thumb to slip under the coin, pressing it up against the left fingers. At the same time, this coin is being picked up, the right hand is performing it's wind up move. Again, the wind up is just a slight back swing of the right wrist in preparation for the apparent toss to the upper left. This slight movement establishes the right hand's toss an instant before it takes place. The first coin thrown, just picked up by the left hand, is now going to be tossed to the upper left corner of the mat. This toss to the upper left is done under the cover of closing the left hand, and turning it palm up. There is no flipping or propelling of the coin by the left thumb in any way. That is important. The coin gets it's momentum from the hand turning palm up, and moving to the left as it closes. See illustration. 5.

Doing this in a loose, natural way is the key to the whole illusion, and the trouble I see most people having is that they try to make too much out of this. The coin is simply allowed to fly out from the partially dosed - yet continuing to dose - left hand as it turns palm up. The coin actually leaves the hand traveling over the tips of the fingers. Depending on the way you pick up the coin, the coin will either turn over or not during the toss. Mike uses this particular property of the move to great advantage with copper/silver coins. The right hand times it's tossing movement toward the upper left to coincide with the coin flying from the left hand. Make certain the forgers follow through in the same direction as the coin being tossed from the left hand, and the illusion that the traveling coin came from the right hand is perfect. See illustration 6.

By not turning the right hand completely palm up, you can conceal the coin in classic palm by means of the Kaps Subtlety, as the base of the thumb prevents it from being seen. After the toss has taken place, the right hand picks up the coin from the upper left in the same way that the left hand did. Move the right hand back to its starting position, make the magic happen, and then open the hands to show the coin from the left hand has magically joined the one in the right FINAL TIPS There are basically four points to be concerned with now that the Gallo Pitch has been technically described: 1. Controlling the bounce of the coins on the table surface, as they are initially thrown from the left hand, as well as when executing the Pitch. 2. Maintaining consistency of actions between the left hand and the right hand.

3. Specifying the motivation for showing the coins again after the initial display. 4. timing the movements of both hands to correspond to one another as the move takes place. The key factor in controlling the coins is to keep them flat, and toss them low to the table. Don't put an arch on the coin, because the coin will bounce, or possibly land on an edge. If you have to chase the coin around the table before moving back to the position for the Pitch, you would be sacrificing the beauty of the natural flow. Particularly during the opening Pitch from the left hand, make sure the coin is tossed low and flat to the table. Another way to lose control of the coin is to try to propel it from the left hand in some sort of flipping manner. Of course, this is wrong, as the coin should fly from the tips of the left hand as the hand turns over, and you should try to have it land flat to the table as you do. Consistency of actions is a necessity in perforating sleight of hand. In the Gallo Pitch, the actions of the left hand must set up the actions of the right hand. The actions to pay attention to are the slight wind up of the hands before the toss, and the follow through of the fingers after the toss. Also important is the establishment of the direction of the toss from each hand. The 'X' factor behind the natural swinging of the arms is set up with the first toss from the left hand. One important consideration that is often neglected is the motivation for reshowing the coins after they are initially shown as in illustration 1. To close the coins into the hands and then immediately go into the Pitch for no reason would give away the MOMENT the move took place, if not the method itself. A properly planned false move of some sort will arouse curiosity among the viewers as to what might now be in the hands. If you create a desire in the spectator to see what is in the hands, then the move is properly motivated and the deception will be complete. The last consideration, timing, is all important The best way to properly teach the correct timing would be for me to influence you to do what you will actually be pretending to do when you perform the Gallo Pitch. Several times, toss the coin in the left hand towards the upper right Then, as the left hand is picking up the coin just tossed, the right hand should wind up and toss it's coin to the upper left There is a slight overlapping, not in the actual throwing of the coins, but in the picking up of the coin in the left hand and in the wind up of the right hand. After doing this a few times, you will develop the rhythm that is right for you and continues to support the illusion. There is no iron-clad rule on how fast the move should be done because the deceptiveness does not depend on speed. What is most important is that the speed of the move be consistent with the way that you would normally toss a coin from each hand. PROFESSIONAL APPLICATIONS OF THE GALLO PITCH PROFESSIONAL APPLICATIONS: Advanced sleight of hand workers learn from experience not to waste time on unusable techniques. Utility moves, such as the Gallo Pitch, can be given top priority learning time because of their versatility. Here you have all the information you need to learn how to do the basic Pitch Now let's take a quick look at professional applications for the Pitch. Each of these handlings includes a special touch to add to its effectiveness.

MICHAEL GALLO'S SIX COINS THROUGH THE TABLE: This particular handling is performed while sitting. Six coins and a ring are shown. The left hand takes three coins, while the right hand takes three coins and the ring. After creating a natural excuse for showing the coins again, the left hand tosses its coins towards the upper right In the meantime, the right hand, holding the ring loosely, has finger palmed the three coins. After the left hand picks up its coins, you perform the Pitch with three coins, allowing the ring from the right hand to join the three coins being Pitched from the left hand. The right hand picks the coins up along with the ring, goes below the table, and the first passage through the table is revealed. For the repeat, once again the right hand takes three coins and the ring, and the left hand clearly takes three coins. Bring the hands close together in a suspicious manner, and act as if you sense their suspicion. You are now going to fake doing the Pitch, and in the process provide perfect cover for tossing three coins into your lap. The Gallos have done a lot of work on multiple lapping, and Michael does this extremely well. This is a bold move, based on perfect tinting, so try to visualize how this would look before you try it. the left hand tosses its coins towards the upper right. As the left hand picks up its coins, the right hand is winding up in preparation for its toss. This time, the right hand will actually toss all three coins, as well as the ring towards the upper left corner. An instant before the right hand tosses, the left hand picks up its coins and is sweeping out of the way to the left. As the left hand moves back it releases the three coins, allowing them to fall into the lap. the left hand continues out of the way, closing as it moves to the left. the sound of the coins falling into the lap is covered because they are timed to land at the same moment the three coins tossed by the right hand land in the upper left corner. If timed right, not only is the sound covered, but the toss from the right hand provides terrific misdirection for the actions of the left hand. What a bold move! At this point, the right hand, obviously empty except for the three coins and the ring, can go below the table to pick up the three coins in the lap. dramatically slap the left hand to the table, and reveal the fact that the coins have once again penetrated the table top. LOU GALLO'S COINS ACROSS: You will need two half dollars, an English penny, and a copper/silver coin. this routine takes advantage of the copper/silver coin in a very subtle way, and is an excellent example of time misdirection. As you seem to place the three silver coins into the left hand, retain one of them in the right hand. Classic palm this coin in the right hand as you pick up the copper coin. the hands make a motion that indicates the magic has happened, and the left hand tosses its two coins to the upper right take care to make certain that the coins are tossed flat, so that the copper/silver doesn't bounce over. As the left hand picks up the two coins, take the copper/silver coin into the left hand finger palm, and perform the Pitch with the other silver coin as the right hand tosses out the copper coin only. (the other silver coin is left in the right hand classic palm.) As the right hand picks up the two coins following the Pitch, do a palm to palm switch that leaves the copper coin in the right hand classic palm. Once again indicate that the magic has taken place, and dearly show that you have only one silver coin in the left hand, by tossing it to the upper right comer. Now you will combine the copper/silver coin with the Pitch for a super throw off. As the left hand picks up the coin,

perform the Gallo Pitch in such a way that the coin turnos over as it travels towards the upper left comer. At the same time, the right hand will appear to be tossing its coins out one at a time, starting with the copper coin Here is where the time misdirection comes into play, as the left hand has traveled on out of the action zone before any silver coins are tossed from the right hand. this will eliminate any suspicions that you have added the last silver coin to those in the right hand. The right hand continues to toss the two silver coins out, one at a time with the same rhythm, leaving the copper coin classic palmed. Pick up the coins, make the magic happen, and turn over the hands (reversing the copper/silver coin) to reveal that the last coin has traveled. You will find this routine to be completely deceptive, even to those familiar with traditional techniques. this idea of doing the Pitch as the coins are tossed from the right hand one at a time is my favorite use of the Pitch. the extra rhythm of tossing the coins one at a time, doing the Pitch on the first one, seems to make the move even more deceptive. MICHAEL AMMAR'S COINS THROUGH THE TABLE: this handling is for the classic four coins through the table plot the right hand retains one of the coins as it places them into the left hand. the left hand slaps to the table top as the right snaps its coin against the underside of the table, indicating the first passage. The left hand lifts to show only three coins, and as you pick them up you win prepare one of those coins for the Pitch. the right hand comes from below the table to show its min. Use a slight time delay here, by first flipping the coin in the right hand, and then perform the Pitch. Notice that the coins are not Pitched from the left hand this time, but simply shown on the table and then picked up. However, the left hand does turn palm up as it moves away, which will provide the same action. The right hand takes the visible coin below the table along with the coin concealed in the classic palm. Once again the left hand slaps to the table as the right hand snaps a coin against the underside of the table. this time, don't lift the left hand to show the coins, just pick them up and move to the left. the right hand comes from below the table to toss its two coins to the upper left. this toss is just to establish the Pitching action. Now pick up the coins with the right hand as the left tosses its two coins to the upper right “That leaves two coins below the table. these two coins will also travel through the table, but I'll do these a little differently than I did these two coins.' (Perform the Pitch as the second half of that sentence is said.) "Only this time it will be even more impossible. this time, I won't even touch the table with the left hand. Just a blow, and the third coin passes through. For the last coin, you actually get to see, AND HEAR, the coin go through the table." As mentioned, you will do the Pitch with both coins as you say "I’ll do these coins a little differently than I did these two." the right hand picks up the two coins from the upper left, keeping its original two coins either in the right hand classic palm, or the finger palm. the left hand stays a foot or so above the table as the right hand goes below. this time the right hand moves one of the coins into a back clip position as it snaps one of the other coins against the underside of the table to indicate the passage of the third min. Keep the left hand closed as the right hand comes from below the table palm up. toss the three visible coins onto the table, giving a quick flash of the empty right palm.

The left hand is still closed, apparently holding the fourth coin.The right hand goes below the table, and prepares the coin for an excellent touch from Roger Klause. Drag the coin along the bottom of the table as the left hand follows the same path from above, acting as if it contains the coin creating the scraping sound. Once again, snap the coin against the table, and show that the last coin has penetrated. This audible climax combined with a speed up in the pacing for the passage of the last two coins make a strong, definite ending.