Belgian cast / "Essentials"

The important Distinction for Belgian, Elliptical, Continuous Tension casts etc. is the Back and Forward casts are made in different line planes and rod planes. That changes the rules.

(I believe Jason Borger describes this in “The Nature…” when he discusses continuous tension casts.)

When you get to the forward cast portion you can make a cast by continuing the swing however it will become some kind of curve depending on the overall path of the tip and line during the entire cast.

For the forward portion if you want to hit a target throw a tight loop etc. Then you must adhere to the rules of Stroke, Power, SLP, Stop Pause for the Forward Cast.

I also would say for me anyway I often do throw a SLP backcast (probably from memory) and continue the tension without a stop a “circle up” (see TWO HANDED FLY CASTING SPEY CASTING TECHNIQUES by Al Buhr), into the forward cast. Therefore I have a BC and a FC in different planes, joined by an active continuous tension Drift or Repositioning.

I find these continuous tension casts terrific for teaching students the feel of the load, the potential of the fly rod, and the flexibility to learn line control.

Jim.... Yes. I do it both ways depending on several factors such as the weight of the fly, the distance required, and the relative need for accuracy and the wind.

Gordy

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From Guy Manning (In response to my note to Jerry puckett about pause time not being considered on the Belgian cast. ): -

Gordy,

Below you write:” Pause time is not considered, here, since this is a continuous tension cast with no actual pause and no defined STOP”.

Actually the pause “time” is important. To get a good Belgian cast you make a good sidearm back cast. At that point of the casts timing, for X amount of line, where you would normally stop and wait for the loop to unroll, you instead stop and immediately move the tip slowly in a different direction. In the time it would take a “normal” cast to turn over, you reposition the tip where you want it. At that point in the timing of a normal cast that you would begin your forward stroke, you do the same with the Belgian.

Timing hasn’t’ changed… just what you do during the pause has changed.

Guy Manning

FFF Master Certified Casting Instructor

Moderator FFFCCI Yahoo Group

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Guy.....

As I think about that, I feel you are correct when you do it by making a back cast stop, then use the, "pause time" to change rod planes for the forward stroke. That forward stroke then becomes no different than a stroke used with straight line overhead casting where all the essentials pertain. I don't know if the pause time used for changing rod planes on the back cast is commensurate with the length of line carried nor do I know if the timing would really be the same as when pausing for a back cast loop to unroll as with straight line casting. Perhaps it is.

Jim describes a variation on this theme in his next to last paragraph (1st message, above ). I often do it the same way when I don't need much distance and am not casting a heavy weighted fly. It is THAT instance where the caster has no real stop and continues up and around with the casting hand never stopping at all, to do what Jim referred to as Al Buhr's, "circle up". This move melds with continuous tension into the forward stroke where all the essentials should be met. As with Spey casting, that happens at what Al calls the, "key position" which he defines as, "...the starting point of the straight-line path in the forward cast". Ref: TWO HANDED FLY CASTING SPEY CASTING TECHNIQUES , Al Buhr, 2006, p. 9.

I see that distinction as important not as a matter of semantics, but because by using this variation of the Belgian cast we can easily lead into teaching the basics of Spey casting.

My way of looking at it is that if you have a casting stroke which does not end in a stop (or, "almost stop" ) than you then have no true pause time.

Having said all that, I submit that when you make the Belgian cast including even a brief stop on the back cast and change rod planes you ARE doing that during pause time. That fits with what is in the casting literature:

# ...THE NATURE OF FLY CASTING, Jason Borger, 2001, p.144. Here we can see in his fig. 8-5 where this elliptical cast is made with what he calls a, "semi-circular drifting motion made up-and-around during the Pause Module". On p. 45, P #IV, he describes, "A variation of the Elliptical Cast" where you don't make a real, "back cast". Here the caster makes a continuous smoothly accelerating motion sweeping the rod, "back and up and around", "and continue right into the forward cast".

# ....FLY CASTING TECHNIQUES, Joan Wulff, 1987, pp. 132 - 136 describes the back cast as using a, "curving power snap, tipping the curve to end a little higher than it began." then, "drift upward to reposition for the vertical forward cast..."

# CASTING ANGLES, Mac Brown, pp.164-166. Mac's language doesn't include terms such as, "pause" or, "drift" on this subject. He does call attention to the change of rod planes with elliptical casts. In keeping with our discussions, above, he refers to, "the infinite number of elliptical style casts...."

I agree with his statement, "All fly casts are elliptical strokes in reality, if you view the forward and backward casting strokes in unison, because the rod plane is always changing." (As I see it most casters change rod planes between the back and forward casts to some degree, except for some who don't for straight line overhead accuracy casting.)

# TROUT, Ernest Schwiebert, pp. 1216 - 1222, discusses at length the different forms of elliptical casting used by Albert Godart (The Belgian caster for whom the cast was named) depending upon wind direction and strength. "With a right-hand wind, the back cast is executed in a vertical plane and the forward cast is delivered in sidearm plane, about seventy degrees off the water's surface." ... the opposite of what he used with a left hand wind, ie., "The back cast is brought back slightly sidearm, with the rod held at about seventy degrees, while the forward cast is delivered in the overhead plane". (In the late 1930's, my grandfather saw Albert use the former method in a tournament.) He does not mention pause or a, "stop".

# A FLY FISHER'S LIFE, Charles Ritz, 1959, pp. 169 - 173, "Three days on the Andelle with Albert Godart, 15th to 18th May, 1947." This chapter contains a detailed description of Albert's cast and fishing methods. An historical piece definitely worth reading.

# FLY-FISHING Simple to Sophisticated, 2nd ed., 1982, Al Kyte pp. 175-176 . Al cites another use for the Belgian cast; for unusually long leaders. He feels this is, "..enhanced by maintaining a continuous motion from the back cast through the forward cast. This constant feeling of pressure from the line on the rod tip is obtained by making your back cast to the side and continuing the movement over the top on the forward cast." (From this description, I infer that no stop is involved.)

Gordy

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From Paul Arden :-

Hi Gordy,

I think another important point regards translation is that it puts your body into the most effective position for rod rotation. I too don't see translation as simply slack removal; a good backcast has no slack.

With regards the SLP in the Belgian Cast: the SLP is a theoretical ideal, something that you don't wish to actually obtain since were it actually to happen the line would collide with the rod tip. Bill's construct does exist on the backcast in the Belgian Cast, since the closer the tip travels to the SLP (ie in both planes) the tighter the loop.

Instead of "pause time" I'd use "timing"; ie the backcast must have straightened before the power is applied on the forward cast.

Bill's five essentials relate to all straight line casts.

Hope all is well. Some great fishing at the moment.

Cheers,

Paul

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I think we've pretty well, "covered the waterfront" on variations of the Belgian cast including varying opinions as to where and when the essentials apply !

Gordy