Spey classes

First, let me congratulate Rene Hesse for fearlessly stepping out with his single hand Spey class experience and thrusting us all into learning so much as we traverse this topic ! That is the way our best Masters do things. They STEP FORWARD and TEACH and in doing so, never stop learning.

As most of you know, Al Buhr is Chairman of our FFF CBOG Two Handed Casting Committee. This message sent by him, has a great deal of information along with the attachment which is a class outline for teaching single handed Spey casting. I, for one, will archive this for future reference. G. :-

Attached is a class out line for single-hand, no level of skill noted, most are in some stage of intermediate level. There may appear to have many casts listed, however, once the fundamentals are known/instilled in an increment fashion, the re-position moves are adsorbed quickly.. For those who are a ?straight-line? caster, keep in mind that this is for a ?constant tension? method.

I use the ?Figure of Eight?, explain the difference as to ?straight-line? and ?constant tension?.

Of all tasks, the ?Figure of Eight? is the only must for all students to master (including slow advancers). Once the movement/energies/tempos of the ?eight? is understood, the dominos begin to fall?

In this course, the students have rod-in-hand most of the time, known development errors are ambushed as a group (some straight-liners will resist).

I will mix in a fishing situation to defuse the learning input, while creating desire in the group to master the cast. Once the student recognizes the personal value, learning the task shifts to lust, the circle is completed.

Each student has a threshold to data input, even when feed in small chunks on several layers. The fishing situation exercises will resolve some learning overload; along with adding one or two segments of fun exercises with minimal learning input can open room for more data in coming task. Allowing the mind to relax, collected data can be stored or absorbed; meanwhile the fun exercise, unknowing to the student, allows new motor skills are stimulated? As in,,, multi spirals task. Multi spirals, are very instructive, much is learned in eye-hand-rod motor skills. Yet, fun, with a false impression of no-learning-input..

During exercises, when the primary task is starting to gel, the students are encouraged to make movements with a greater curve, more height, seek the extreme. This a fun moment, relaxes the mind thought, and fosters erosion of ?straight-line? limitations?

I teach all the spiral-based casts second, once scribing circles is introduced to a student, it is hard to shift the mindset back to non-circular casts.

Many instructors include Snake roll into a casting class; it?s an effective cast. Teaching this cast late in the sequence will allow more control to student focus. Why students are mesmerized by this cast? The continual motion,,, it?s natural circular form is anti ?straight-line??

The pause, its death to a student for many reasons. Technically, pause can be used or removed, therefore is not substance within a constant tension cast,,, in straight-line, pause is a must. Use of pause will force the instructor to deal with timing, and all the consequences of learning timing. It is best for the student to describe timing as the size and depth of the D-loop which is developed by momentum, not pause?

Greatest issue ?pause? causes is commitment of energy direction; this is very restricting. Rick W. is correct in stating the degree of change of direction makes the Single spey increasingly difficult (in a straight-line method). In ?straight-line? all things get difficult if the cast goes off the 180, as in a change-of-direction (lift to D-loop). Acceleration and pause are the source, its in the math; how energy is developed is critical.

?Constant tension? will make energy generation fluctuate, always tied to direction; a primary element in the ?Figure of Eight?. In ?constant tension? angle change is pre-determined during an energy generation move; the following tempo regulates the energy, allowing the rod position to align with the next command with minimal change of the past command. A cast is a dance, with foot changes and turns; or a song with a tempo and changing rhythm.

I use the phrase Acceleration in limitation, for it is best in a lineal (no change-of-direction) cast. Momentum is a more effective word for students to absorb. Ideals of momentum allow good control change-of-direction of any degree, any cast.

§ A round peg fits in a round hole? need a change-of-direction, then impart curves with directed energy and smooth with tempo. No limitations in the round world.

§ A square peg can go in a square hole? in a low change-of direction use a ?straight-line? method, making energy development lineal, stay within the 180.

§ A small square peg will go into a round hole? it?s a small peg,, there will be limitations on the rate of learning, and to the degree-of-ease in change-of-directions.

Al.... I love your "KEEP IT SIMPLE" caveats !!!

Gordy

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