Passing Patterns Compendium

Edition July 06

Acknowledgements These patterns come from many sources, though the largest is the passingdb.com website as of 2005/6, by JiBe urteau!. "n compiling these patterns "#$e made the editorial decision to not include attributions and credits, partially because in many cases a pattern/rhythm is %fol&lore', in$ented by many people independently, or of un&nown origin( and partially to sa$e space. The $ast number of patterns out there for 2 or more people bear witness to the efforts of many people, too many to list here, but some contributors "#$e noticed are) JiBe urteau!, *artin +rost, ,eil+red -icciotto, .ic& .ubenstein, /d 0arstens, 1a$e 1a$is, *adison 2rea Jugglers, Tarim, 2idan Burns, /d -ultar and 1a$e 2laya, 0hristoph 3chumacher, and " myself ha$e e$en contributed a few patterns. 2pologies to anyone "#$e not mentioned who reads this and finds a pattern they in$ented( ta&e comfort in the fact that " don#t intend to publish this and if " do in fact publish it "#ll do my best to credit things. This collection is not intended to supplant or negate the forthcoming tome by *artin +rost which "#$e heard is entitled -assing *adness. +or all that he has done for the passing community, when he finally publishes the thing the least you can do is get rid of this and buy his boo&. Please contribute!! "f you &now of a pattern/rhythm that you are sure is not in here, please contact me and tell me about it4 "f you ha$e any other suggestions, comments, about the content or layout , "#d lo$e to hear them. /mail me at mweston at u$ic dot ca. 5 compiled by *ar& 6eston

Terminology and Notation

2 rhythm is the se7uence of throws between the 8ugglers, a pattern is the physical layout of 8ugglers on the floor and se7uence of who passes to whom. 9b$iously a gi$en pattern can ha$e many rhythms. Throughout, patterns and rhythms are gi$en in multiple notations as well as a te!tual description and casual diagram to aid 7uic& comprehension. 0ross5references are underlined in blue.

R yt m Notation
6e refer to the two 8ugglers in a rhythm as J: and J2( J: is always the top line in a casual diagram, and their hands as . ;right hand< and = ;left hand<. 2 pass is crossing if it goes = to = ;or . to . <, straight ;or tramline< if it goes . to = ;or $ice $ersa<. 2 se7uence of throws for a single 8uggler can be written as a series of numbers in siteswap notation) ! " #ip ;or hand-across<, $ " old, % " single spin, %&' " (loaty single, ) " double, '" triple, etc. 2 p means the number is a pass( generally a pass is a straight or tramline ;.5>= or =5>.< unless it ends in &', in which case it crosses ;.5>. or =5>=<( e!ceptions can be noted with an *+*. 2 non5passing throw returns to the same hand if it is e$en, otherwise it crosses( thus a % is the ;crossing< self single you throw in a ?5club cascade. 3ometimes a , is used to denote a urry ;two throws in a row from the same hand<. Two throws at the same time for one 8uggler are written -+.+/. 0 +++ 1 +++ 2 denotes a synchronous sequence of throws for the two 8ugglers( the first se7uence of +s is J:#s, the second is J2#s. 3e7uences are often written in shorthand using P"pass. 3"sel(. 4" old. 5"#ip. 6"double ;usually a self double<, T"triple. Multihand notation is a compact way to represent asynchronous patterns ;J: and J2 do not throw at the same time<. 2n * , se7uence +++ represents a siteswap se7uence for all four hands in$ol$ed, going in order J:. J2. J:= J:= . To 7uic&ly find the se7uence of throws for each 8uggler, ta&e e$ery second number ;cyclically< in the se7uence and di$ide each digit by 2. $"#ip. )" old. 6"single. 7"%&'p. a"!0. b"!!, etc. Casual diagrams are $ery powerful and easy5to5use tools for describing a rhythm. /ach diagram has a hori@ontal row of hands for each 8uggler, with . and = for throws from each hand. 2rrows are throws) passes go between lines and selfs stay on the same line, and time progresses from left to right. 4olds -$s/ are represented by a small loop coming bac& to the same hand) 5ips -!s/ are selfs that are so fast they go $ertically or bac&wards) they cause the pre$ious throw to be made, in order to empty the hand to recei$e the @ip) 2n empty and is represented by an arrow mo$ing 2 beats bac&wards into that hand) 2 single ;%< goes one place forward, a %&'p mo$es :A places ;so the rhythm of the 8ugglers must be staggered by A a beat<, a ) two places, etc. 2 pattern has one club for each path mo$ing down the diagram, plus one club held in each hand to start. To start a pattern, each hand holds a club to start, plus one e!tra for each arrow coming into that hand from the left5hand side of the diagram.

8eed Notation
88 is the BfeederB, who passes to 8! and 8$, who are the BfeedeesB. +: is always the top line of the casual diagrams shown and ++ is the middle line. 2n e!tension of a 25person notation can be used) 0 +++ 1 +++ 1 +++ 2 denotes a synchronous se7uence of throws( the first series of +s is ++#s se7uence, the second is +:#s and the third +2#s. Throw heights are gi$en by siteswap as i n rhythms( a p means the number is a pass( for ++ the p can be subscripted ;p! or p$< to indicate the recei$er if it is not easy to deduce. 3ometimes we use the terms outsides/insides) from ++#s perspecti$e, these are throws to the outside or inside of the pattern ;i.e. ++#s = to the right5hand feedee is an inside<.

Pattern Notation
Jugglers in a pattern are shown by letters ; 2, B, 0...<. "n casual diagrams, 2 is the top line, B the second, etc. "n diagrams, passes are shown by blac& arrows, self throws are usually not shown. Optional passes are shown as blue arrows( movement of jugglers is shown by red arrows Tables are used to show the se7uence of passes for all 8ugglers for patterns for CD( selfs may or may not be included( and the pattern can be easily changed by adding e!tra selfs, changing which hand ma&es which pass, etc. /ntries in the table show the recipient of the pass at each beat( selfs are shown by %s'.

Table of Contents
.hythms........................................................................................................................................................................ C ?55 0lubs.................................................................................................................................................................. C 6 clubs...................................................................................................................................................................... 6 E clubs.................................................................................................................................................................... :6 F5G clubs................................................................................................................................................................. 2G +un "deas................................................................................................................................................................ ?2 +eeds........................................................................................................................................................................... ?? 25count +eeds......................................................................................................................................................... ?? --3 +eeds............................................................................................................................................................... ?C :5count +eeds......................................................................................................................................................... ?5 *i!ed 0ount +eeds................................................................................................................................................ ?6 -opcorn +eeds........................................................................................................................................................ ?F 3low5+ast +eeds .................................................................................................................................................... C0 *artin#s *adness....................................................................................................................................................C: 2symmetric +eeds..................................................................................................................................................CC ?5person -atterns.........................................................................................................................................................C5 Triangles.................................................................................................................................................................C5 =ines....................................................................................................................................................................... CG .unarounds.............................................................................................................................................................5: C5person -atterns.........................................................................................................................................................5C =arge +eeds............................................................................................................................................................ 5C 37uare.....................................................................................................................................................................5E +east....................................................................................................................................................................... 5F The H......................................................................................................................................................................62 3peed 6ea$e.......................................................................................................................................................... 6C *o$ing -atterns..................................................................................................................................................... 6G 5D 5person -atterns..................................................................................................................................................... E? +un "deas and -assing Iames................................................................................................................................ G:

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R yt ms
These are passing rhythms for two 8ugglers.

% clubs9 % Around

' clubs9 !=count

This pattern is the 6 club 25count with ? clubs missing. J: starts withNormal !=count 0%p$,1$,%p2 ? clubs in a cascade and sends three consecuti$e . passes to J2. J2 -asses are normal singles, with one of the 8ugglers throwing all recei$es them with ? = selfs and throws three . passes bac& to crossing passes. J:. This pattern is good for learning tric& throws as you ha$e plenty of time to thin& about the throw while the other person has the clubs.

' clubs9 Passing and Running t e :ap

2ny 6D club pattern missing a club can still be 8uggled by 8ust pretending the club is still in the pattern( the space where the club should be is called the %gap'.

<ariations) throw the 24 3ync ronous popcorn9 -6.)/-6+.)/-).)/. That is, when the pass comes in throw a self double ;and the 2 with the other hand4<, before passing again. 3low !=count. or 8lurry - %&'p$$ 7)) / This $ersion is $ery similar to normal :5count( 8ust ma&e lofty passes instead of normal passes ;also try doubles<. <ariation9 replace the $$ with %! ;self @ip< ;7$6<.

Passing t e :ap ;also confusingly called olding the Iap<. This refers to the 8ast !=count -$&'p . '/ techni7ue of not passing unless you ha$e enough clubs( in patterns Iet close together and pass in flats, pushing the clubs forward. 2 with ? clubs per person ;i.e. 65club 25count< the rule is %6on*t pass $ery 7uic& rhythm that#s $isual, fun, and not that difficult. unless you a;e t ree clubs'. Thus you hold two clubs until someone passes you a third. J: passes and doesn#t recei$e from J2 since J2 had the gap. They do nothing ;hold two clubs< until J2 passes bac& to them)

<ariations) you can ma&e lots of nice slow patterns by adding in self throws when you recei$e a pass ;and the other person does sel( #ip, or (louris es<. The passes can be flats or > spin singles.

3yncopations -3iteswaps/ 2n easy way to add siteswap syncopations is to thin& of your side of the pattern as 8ust a ?5club cascade -%%%&&&/? the other person is acting Running t e :ap as gra$ity to send the clubs bac& to you. ,ow you can throw any This refers to the techni7ue of continuing to 8uggle, treating the siteswap you li&e. missing club as a %hole' that you 8uggle. This loo&s better in 5 all )s are doubles, 's triples, etc. "f your %s are crossing then odd performance but it ta&es longer for the hole to mo$e between 8ugglers. -ractise this in a 65club 25count by 8ust continuing to pass numbers cross and e$ens are straight, $ice $ersa if you are throwing straight ?s by default. whene$er there is a club in your . , and your = throws selfs 5 J: simply sends bac& normal passes whene$er they can. whene$er possible. ere is an e!ample in 25count) J: has the hole but they don#t pass it to J2 until it is in their . when they are supposed to pass( then J2 gets it for a while. ))!9 6ouble. double. #ip& '%!9 Triple. single. #ip&

)$%9 6ouble. old& <ariations) any ;4< of the following rhythms can be done missing some clubs( some of the resulting patterns may e$en be interesting.

)))09 6ouble. double. double. gap&

2lso try %)'!$9 double. triple. @ip, or 6%!)!) @uad. #ip. double. #ip&

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' clubs9 666$' -33P35/

2 simple pattern. sel(. sel(. pass. sel(. #ip& <ariations9 double. old. pass. sel(. #ip -A6)$'. 0) $ $&'p % !2 / double. #ip. sel(. pass. old -$'A6). 0! % $&'p $ )2

' clubs9 C yNotD and NotC yD

9ne 8uggler does crossing passes, while the other one does straight passes. 2ll passes are floaty singles ;%&'<. C yNotD T e double=#ip9 when a pass is coming to your . , instead of freeing it with a usual self ;%<, you ha$e to do a = double ;)<, followed by a right to left @ip ;!<. +or 5 clubs the se7uence is 65P44 -double #ip pass old old/, and start again from the other hand.

' clubs9 777$$ -PP5P5. Parsnip/

%&'p %&'p ! %&'p !

The se7uence goes) pass. pass. #ip. pass. #ip. Thin& of it as boo&ends ;--3-3< with @ips instead of selfs.

NotC yD 2ll passes are floaty singles( J: does straight passes and J2 crossing ere, in order to catch a pass, you throw 8ust one double ;from the passes. J: starts with the . with PP5P5, and J2 starts with the . same hand<, followed by a pass from the other hand and a @ip. "t#s a little easier to get used to than the double @ip in 6hy,otJ. A a beat after J: with P5, then PP5P5. Thus the rhythm is) double. pass. #ip. old. old. "nstead of the two holds ;$$<, you could do a sel(. #ip ;%!<.

' clubs9 77$6$6

J: does P55, J2 does P33, starting A a beat later( all passes are floaty singles. These patterns are good warm5ups for the 65club $ersions.

' clubs9 Bltimate=#ip

<ariation9 J2 can %steal' one of the @ips by passing to J: instead of The rhythm is . pass, = pass, . pass, = pass, see normal their first self( then both 8ugglers are doing P35 -76$/. Then either ultimates ;:5count< for the base pattern. 8uggler can steal a second self by throwing 2 passes in a row again. 8or eac incoming pass. w at appens is9 : 5 a club is coming to your . ' Clubs9 B Pass 2 5 in order to catch it, do a right to left #ip ? 5 in order to catch the @ipped club in your = , pass from the = . 9ne club goes bac& and forth on one side "n fact, 2 and ? are happening simultaneously. of the pattern( each 8uggler does half of a ,ote also that if the right hand throw is crossed in the normal bo! to recei$e it and send it bac& out. ;This ultimates, then the pass made from the left hand ;step ?< is straight in is the double=#ip mo$e from 6hy,otJ) ultimate5@ip ;and con$ersely<. double=#ip in one direction caused by the pass, and then pass=#ip in the other Hou can ha$e only one of the 8ugglers doing the ultimate5@ip( the direction caused by the first double<. other one does the normal $ersion. "f J: does it and J2 doesn#t, both <ariation) for more symmetric $ersions, one or both 8ugglers crosses their passes, to get a 6hy,otJ Kariation. passing straight, you get the '=club Eo+& To start the rhythm, it#s better to start from a normal :5count, and, passing twice from the same hand, begin to do the @ips. Try ma&ing floaty passes, one or both 8ugglers can do doubles.

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6 clubs9 !=count -Bltimates. T

unders ower/ %p

<ariations) use any $alid C5club siteswap you li&e) 7))!. ''6!%. '66!'!. etc. Transition (rom 3ync to Async There are se$eral different methods) 5 one hand throws a double pass 5 one hand does a single or floaty double self

ere there is no selfs, only passes. "t#s as if you were 8uggling ? clubs on each side of the pattern. Hou both start at the same time doing . pass, = pass, . pass, = pass...

5 do a hurry by throwing twice 7uic&ly with one hand <ariations9 Try starting with J: with C clubs passing both at once) a 5 collect on one side and throw a multiple! ;from async to sync< nice sync ronous pattern. 2lso see Jim#s :50ount, *artin#s :50ount, Brendan#s +olly, 3imul 6 clubs9 Erendan*s 8olly0%p+ %p+ %p %p 1 %p %p+, %p+ %p,2 37uirrel,Lltimate5@ip, etc. Brendan#s +olly is a :5count rhythm for 6 clubs. The two 8ugglers 3yncopations -3iteswaps/ ha$e different roles) 2n easy way to add siteswap syncopations is to thin& of your side of the pattern as 8ust a C5club fountain( the other person is acting as J: ;top line< does BR=F=R=FB as Bcrossing5crossing5 gra$ity to send the clubs bac& to you. ,ow you can throw any $alid straig t5straig tB siteswap you li&e. J2 does BR=R=F=FB as Bstraig t5crossing5crossing5 5 all %s are selfs, 's are crossing doubles, 6s straight triples, etc. straig tB and gets the hurried throws ;in green< 5 J: simply sends bac& normal passes whene$er they can. '%9 double. sel( '%)9 double. sel(. pass. double. sel(. pass.&&& ;it#s almost a --3 < There is also a hea$y ris& of collision no later than beat 2 ;red circle<. To a$oid that, you can agree that J2 ;. crossing pass< will throw from the outside and J2 ;= crossing pass< from the inside.

''$9 double. double. old

'''!9 double. double. double. #ip

6 clubs9 Jim*s !=count

0%p %p, 1 %p, %p2

J: ;upper line< does straight passes, J2 does crossing passes. The rhythm is R R F F&.. similar to Brendan#s +olly. ''''09 double. double. double. double. gap urried passes are shown in green.

6%%9 triple. sel(. sel(

<ariation) both doing RRFF in sync ;each starting with the first .<, each 8uggler does cross=straig t=cross=straig t.

6 clubs9 Jim*s !=count G Erendan*s 8olly

J: does cross cross straig t straig t, J2 does all straights. 3ymmetric( and both 8ugglers get hurries. <ariation) on sync ronous !=count, use any $alid synchronous siteswap) -6+.)/-).$+/9 -crossing triple. pass/ -pass. #ip/ -6+.)+/-).$/9 -crossing triple. crossing pass/ -pass. old/ urried passes are shown in green.

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6 clubs9 Hartin*s !=Count -PPPP5/

The :5count $ersion of *ild *adness. The principle is the same) ma&ing @ips when a pass arri$es in your BwrongB hand. Just &eep thin&ing you must only do passes, as one might want to add a few selfs when used to doing *ild *adness. .hythm is pass. pass. pass. pass. #ip. The 8uggler doing straight passes ;upper line< will need to start at the middle of the se7uence by PP5 ;and then PPPP5...<.

6 clubs9 PP5 ;s PP3

7777$6

This can be thought of as an asymmetric asynchronous *ild *adness. J: throws PP5 with straight passes( J2 starts A a beat later with PP3 on crossing passes. -asses are floaty singles ;?.5s<. Try one or both of you on doubles to start.

<ariation9 J: can insert a self after their @ip to force J2 to get the @ip automatically( or J2 ;with the @ip< can lose the @ip by 8ust lea$ing it out ;throwing C passes in succession<. -lay with switching bac& and forth4

6 clubs9 PPP5 PPP4

J: starts with C clubs and throws cross cross cross #ip, J2 waits :A beats and throws straig t straig t straig t old. -asses are floaty singles.

6 clubs 9 $=count
Compressed Hesopotamia

-E;erys. 3 ower/ %p %

This is the other traditional one5sided passing pattern, typically learned after 65club C5count. 2ll throws made from the right hand are passes, all throws made from the left are selfs. Hou &eep doing) R4 pass. F4 sel(.

<ariations9 J2 switches hands and starts with the = , so J: crosses and J2 throws straights. 2lso, see the E5 and F5club $ersions.

6 clubs9 PP5
Both 8ugglers startswith ? clubs and throw cross cross #ip. The rhythm goes R R #ip F F #ip R ... it#s $ery fast, ma&e those passes floaty4. Kariation) throw in a couple of selfs so that you can get the pattern bac& under control between @ips) PP53. PP533.

0)p ! 1 % %p29 throw . straight doubles and @ips with your = . Hou can get into this by throwing a = early double ;)$< and then throwing the ne!t double with your . . 0)&'p % 1 ! %&' p29 J: throws straight double passes and J2 throws single passes and @ips. 3yncopations9 )$9 = crossing double, . hold ;%early double'< %=ate double') . crossing double, the recei$er gets the hold.

6 clubs9 Bltimate=#ip
The rhythm is . pass, = pass, . pass, = pass, see 6 club :5 count for the base pattern. 3ee 5 club Lltimate5@ip for the theory. +or 6 clubs, if you do an %ultimate5@ip' the pass mus then cross. Hou can ha$e only one of the 8ugglers doing the ultimate5@ip( the other one does the normal $ersion. Try ma&ing floaty passes, one or both 8ugglers can do doubles. 6=club Bltimate=#ip ;J: only< 6=club Bltimate=#ip ;J: M J2<) collisions 4 <ariation9 late double, early double, triple ;7uad, 7uin, etc<. )'!$9 = early crossing double, . early straight triple, @ip, hold.

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6 clubs9 %=count -P33. Calt#. Tic=Tac/

%p%%

6 clubs9 Jim*s %=count

0%p%,%%p%% 1 %p%%%p%,%2

This pattern is gaining in popularity as the %default' passing pattern The original %random' pattern) this rhythm is $ery similar to regular for 6 clubs, since it is not hard and is ambide!trous. ?5count, and is not really harder. "n ? count, passes are made alternately by both hands) if a pass is The difference to regular ?5count is that a 8uggler crosses his passes made from the right hand, the following pass will be done from the ;for e$ery throw<. ence it creates a hurry, but as long as you left hand. "t#s always the same 2 clubs that are being passed bac& and remember that you ha$e to t row t e club you Kust recei;ed, it forth. should present no particular problem. /ach 8uggler regularly throws twice in a row with the same hand.

C at is good in %=count D 5 Hou still ha$e a few selfs to play with ;as in a C5count< <ariations9 most of the standard ?5count syncopations wor&. 5 "t#s more con$enient for solo tric&s that ha$e period ? ;such as *ills *ess<. 5 all of the %traditional' syncopations from 25count and most from C5 6 clubs9 Jim*s )=count 0%p%,%%%p%%% 1 %p%%%%p%,%%2 count wor&, and they can be done on both sides 44 The difference with a normal C5count is that one of the 8ugglers ;the Nice ;ariations) ) $ %p N throw your self double under the incoming bottom one in the diagrams< will cross all their passes. This is $ery pass, ) )p ! I throw your self double and then early crossing similar to Jim#s ?5count but with ? self#s between each pass. doubles, )p ) ! N start with late crossing double pass, 'p % ! N throw early triple pass, ' %p ! is fun also. 3 ared ))!9 0)p % % 1 %p ) !2 J: throws a late crossing double, J2 responds with )! ;instead of $%<. Agreed ))!9 J: throws late doubles ;)p%%<, J2 throws %p!), starting with 2 clubs in the = .

6 clubs9 Jim*s $=count

0%p%%p%, 1 %p%,%p% 2

Both 8ugglers 8uggle a 25count( J: ;top< crosses all passes and J2 throws tramlines.. urried selfs are shown in green) 0)p % % 1 $ $ )p2

6 clubs9 %=countJ!=count

This pattern allows one 8uggler to wor& on the E clubs ?5count while the other one 8uggles a $ery slow :5count on doubles ;and can use Compressed Hildness) some holds<. "t#s not a slow5fast though because the 8ugglers &eep 8uggling at the same speed ;if we count a hold as being a throw<. "f both 8ugglers cross their throws each 2ll passes are crossing doubles. 8uggler throws R R F F( throw the passes from inside to outside to a$oid collisions. 2ll selfs are hurried ;in green<) <ariation) throw one cycle ;straight pass D 2n easy way to start this pattern is to start from a C5count, and then self< of normal :5count before crossing ;Juergen*s $=count/. to throw a late double. The one who throws the double starts 8uggling on a ?5count, the other one starts his :5count side of the T e Los i=4ellner Mne@uality pattern by throwing bac& a crossing double under the incoming +or an asymmetric $ersion, J: does a double ;see diagram below<. 25count, alternating which hand they pass to, and J2 does R R F F alternating ?5count/:5count with a C5count start) which hand they throw to. This is a :5 count/25count slow5fast with J2 using an e!tra club to Bfill the gapB. J2 gets hurried selfs) shown in green)

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6 clubs9 )=count -E;ery Nt

T / classical pattern of passing.

ers/ %p % % %

6 clubs9 Eookends -PP3P3/

2 55count with ? passes and 2 selfs.

%p%p%%p%

<ariations) any period C siteswap can be done at either end) %p'%!%p, %p))!%p, etc. 3yncopations) late double ;)p%%%<, early double ;%p%%)p$<, late triple ;'p%%%<, early triple ;%p%'p$$/&

There are two ways of thin&ing about this rhythm) one is 8ust PP3P3, the other is P3P3P, and both ways feel different to 8uggle4

6 clubs9 C ocolate Ear -PP33. Two=two. 6esmond Tu=Tu/

%p%p%%

6 clubs9 6ouble Returns

0)+p % % % 1 $ $ % )+p2 2 $ariation on C5count) all passes are straig t doubles, This pattern is a useful $ariant of 25count that can ma&e many feeds and J2 does a 25count with and 25count patterns more interesting without adding more passes in large gaps. <ariation) C beats. cross both passes. 6 clubs9 PPP33 %p%p%p%%

6 clubs9 6=count

%p % % % % %

This pattern has period 5 and is thus symmetric.

6 clubs9 Eenni*s Nig tmare

Oeep this pattern in mind if you are doing difficult multi5person patterns which are initially challenging on C5count) switching to 65 count can ma&e things slower. J: does R4 double, old, R4 double, F4 sel( on tramline doubles( J2 does F4 sel(, R4 single, F4 single. old on crossing singles. To stagger the rhythms, both 8ugglers can throw floaty singles. <ariation9 an easy symmetric ;ersion can be done by adding in a self for both 8ugglers before J:#s first or second pass. The C passed clubs are always the same, 8ust li&e the two clubs that are used for selfs.

6 clubs9 PP3 -6ouble %=count. Ngil;ies/

%p %p %

6 clubs9 O7$

<ariations) )p)p! ;crossing Cps<, 'p%p! ;noncrossing 5p?p( $ery 2 beautiful pattern that#s lots of fun to 8uggle. nice when both 8ugglers run it<( throw the first Cp or 5p instead of the 2ll passes are floaty( J: starts with 2 in their = and 8uggles cross self in --3. double. #ip. straig t single( J2 starts A a beat later with 2 in their . and 8uggles cross single. straig t double. #ip. 6 clubs9 Tango %p%%p%%p%p%% This rhythm is a combination of a 25count and a chocolate bar. The easiest way to describe it consists in saying ) P3 P3 PP33. "t can also be considered as a 2, 2, :, ?5count.

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6 clubs9 C yNotD

%&'p % %&'p ) ! A6$77

6 clubs9 Haybe

A67$7 %&'p %&'p % ! )

9ne 8uggler does crossing passes, while the other one does straight passes. 2ll passes are floaty singles ;%&'<. 3ee 55club 6hy,otJ for a warm5up. T e double=#ip9 when a pass is coming to your . , instead of freeing it with a usual self ;%<, you ha$e to do a = double ;)<, followed by a right to left @ip ;!<. The full cycle is) 65P3P -double #ip pass sel( pass/.

J: starts with four clubs, starts with . pass and J2 starts with their double :.5 beats later. The se7uence is double pass pass sel( #ip&

Haybe a Fittle 8aster9 ma&e the passes faster ;$&'p in fact< and remo$e the %!) the se7uence is double pass pass, J: crosses and starts with a double, J2 throws straights and starts A a beat later.

To start, the best is to ha$e J: starting with C clubs, and doing P3P65. J2 starts half a beat later with the sel( double.

Fa#y <ersion -Can*t Ee Eot ered/9 replace the double. #ip with old. sel(&? hen the se7uence goes 43P3P 0%&'p % %&'p $ % 2. Hou 2 long se7uence that will test your powers of memory. The se7uence goes pass. pass. old. sel(. pass. sel(. pass. , old. pass. can switch from one to the other at any time. sel(. pass. old. sel( and repeats again on the other side. J:, with C 6 clubs9 a77A$$6 -e+tended C yNotD/ clubs, starts at the beginning and throws straight passes, J2 starts A a beat later with the second5hold ;mar&ed P< throwing cross passes. 2 period5E symmetric rhythm with all sorts of fun throws. /ach -asses are floaty singles( for a hurried $ersion with normal passes J2 8uggler starts with ? clubs, 2 in their . . The se7uence is triple. pass. #ip. sel(. pass. double. #ip( J: starts at the begining, J2 starts starts synchronously. ;casual diagram below shows only one side of the pattern, repeat starting with = <. A a beat later at pass. double. &&. J: throws tramline passes, J2 crosses, all triples are crossing selfs, doubles are noncrossing selfs, and passes are floaty singles ;?.5p<.

6 clubs9 Erainstorm

6 clubs9 E+panded Hoose

<ariation) throw more selfs) each new self after your triple must correspond to a new self for your partner before their triple.

)p)p)p)p0$%p%p

2 si!5club pattern with a 0 in it4 J: starts with C clubs, J2 starts with 2. 2ll doubles are diagonals, all singles straights.

6 clubs9 NotC yD

) %&'p ! % %&'p A$776

J: crosses and J2 throws straights. The passes are lofty singles. 3ee 55club ,ot6hyJ for a warm5up. ere, in order to catch a pass, you throw 8ust one double ;from the same hand<, followed by a pass from the other hand and a @ip. "t#s a little easier to get used to than the double @ip in 6hy,otJ. The full cycle is double. pass. #ip. sel(. pass.

6 clubs9 5ap Npus P! -'67/

The se7uence is #ap ;2.5p<, (loaty single, sel(. 3tand close together and ma&e the singles floaty. +or J:, the @aps cross and singles don#t, $ice $ersa for J2( so for each person they pass twice ;@ap, single< to the same hand. J2 starts with 2 clubs in their LH and starts a beat later with a @ap.

3tart) ? clubs each ;2 in the . <, J: starts with a . double and does crossing passes. J2 starts A a beat after J:#s first pass with a . pass, followed by a double to start the cycle. J2 does straights. Fa#y <ersion -Eot ered Ee Can*t/9 replace the double. pass. #ip with sel(. pass. old to get 3P43P.

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6 clubs9 Jim*s <ariations

Jim*s C ocolate Ear -PP33/ 2 $ariation on --33) J: throws Cross Cross sel( sel( 3traig t 3traig t sel( sel(( J2 throws 3traig t 3traig t sel( sel( 3traig t 3traig t sel( sel(. Hou get hurries and it#s symmetric and each end feels different. To speed up the hurries 8ust ha$e J: cross all their passes.

T e Futkinsky This bi@arre rhythm has J: throwing straights and J2 crossing. J: starts with 2 in their = and J2 with 2 in their . . J: does PP5P3 PPP53, J2 does PPP3 PPP3( J2 gets hurries but no @ips and J: gets @ips but no hurries.

<ariation9 after e$ery C beats ;J:#s --Q-3<, switch roles.

6 clubs9 Jim*s Jam Arc ibald '=Count 2 *artin#s/Jim#s Boo&ends ;PP3P3< pattern) J: ;the easy side< does straig t straig t sel( cross sel(, J2 ;the hard side< does cross cross 2 pattern featuring BhopsB) selfs to the same hand ;?!<. Both 8ugglers start with 2 in the same hand and throw, at the same time, #ip sel( straig t sel(. J2 gets ? hurries per round ;4<. op straig t sel( cross - urry/ sel(, and start again from the other hand. 9ne half of the full cycle is shown( hops are in green)

<ariation9 .emo$e the pulp to get Jim*s Jelly9 op. cross. 3to;er Conser;atory - urry/ sel( and repeat on the other side. This pattern mi!es straight and crossing passes) you both do straig t 3ee urries Ialore for more on hops. diagonal sel( sel(, the first self is hurried by the diagonal. Nt er Patterns) 9ther 65club rhythms can be BJim#sBed 8ust by ha$ing one 8uggler cross all their passes. PP3P3. PP33. PP333. PPP33. etc. 2 few 6 clubs9 3imul Patterns nice patterns from this idea) both 8ugglers do straig t. straig t. diagonal. - urry/ sel(. diagonal and the se7uence repeats from the These are 65club patterns in$ol$ing simuls ;two tramline passes thrown at once<, which usually appear only in feeds. They tend to be other side. 7uite fast as there are plenty of hurries. Reading Romp9 both 8ugglers do diagonal. - urry/ straig t. Hoose straig t. straig t& The se7uence is 3imul. R. F. R. F , where all passes are crossing 4ammy '=count floaty singles ;%&'p<. ,o selfs4 The same two clubs get thrown bac& This is an unbalanced 3dne&oob ;re$erse boo&ends< pattern) J: has and forth as the simuls. two hurries and J2 has none. J: does cross sel( straig t sel( sel(, starting with the = , and J2 does straig t sel( diagonal sel( sel(, J: starts with C clubs starting with . . with the four singles( J2 waits as long as possible and then throws their simul. Compact 4ammy This is the ammy 55count with the two ending selfs remo$ed) J: does R4 straig t, R4 cross, R4 sel( and repeats with the = , J2 does cross straig t sel( starting with . . There are collision issues between the first and third crossing singles( both 8ugglers must throw accurately and lofty.

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3imul 3@uirrel This is basically F5club :5count with two holes, so ma&e floaty passes or try the 3low $ersion below first. J: does simul. R=2R. F= 2F. simul, and J2 does the same but starting at the F=2F. 3imuls are shown in bo!es below, the re$erse arrows indicate empty hands)

6 clubs9 Countdowns
The countdowns are a family of patterns in which you constantly change the main pattern. +or instance, you start with a C5count cycle, a ?5count cycle, a 25count cycle, an ultimate cycle ;only one pass< and bac&, and so on. Countdown (rom % -%=$=!=$/ 6e do a ?5count cycle, then a 25count cycle, a :5count, a 25count, and then we start again. This rhythm is a cycle of F throws, which means there are two $ersions of it ;one starts with a . pass, the other with a = pass<. The entire se7uence is P33P3PP3, easier to remember when you thin& of it as P33P=3PP3.

3low 3imul 3@uirrel 2dding selfs into the abo$e gi$es the se7uence simul. R4 cross. sel(. sel(. F4 cross. simul. sel(. sel(( J: starts with the first simul and J2 with the F=2F pass. "n these ne!t patterns both people are throwing simuls at the same time) to a$oid collisions, you must agree that one person should throw to the side, or inside, li&e this)

3imul -Parallel/ Bni;erse Both 8ugglers do P. 3. 3imul. 3. P -F4 t is time/. 3. 3imul. sel(&

Countdown (rom ) -)=%=$=!=$=%/ .un a C5count cycle, a ?5count cycle, a 25count, a :5count, a 25count and a ?5count, then start from the other hand. 2s opposed to the countdown from ? there is only one $ersion since you alternate a start with the . and a start in the = in the same pattern. The se7uence is P333P33P3PP3P33, but you#d rather count in your head than learn it by heart.

8ast <ersion9 eliminate all the selfs4 Just do 3imul. R4 pass. 3imul. F4 pass. Hou can come up with other $ariations. 6 clubs9 Compressed FCH).% -see FCH ).% 8eed/

<ariations) )=%=$, )=%=$=!, any se7uence in$ol$ing an odd number of odd numbers ;J< will in$ol$e changing sides, which is nice.

Hi+ed=up Countdowns) %=)=$, %=)=!=$. etc, you get the idea. Counting down t e Passes) switch passes for selfs in all of the Basically, do the =0*5C,? feed but with the two feedees compressed abo$e) so )=%=$=! becomes PPP3 PP3 P3 P, etc. into one person ;it 8ust feels li&e a random :2 count se7uence<. Because the count is e$en and the simul causes a hurry, at some 3urprisingly nice is the Parker )=%. in which you switch between C5 point you ha$e to do a another hurry to e7uali@e things. +or the sa&e count and ?5count. of symmetry ;and to ma&e it easy to recall< this diagram has the hurry as the middle pass ;an alternati$e is to ma&e it an ::5count +or the E club $ersions see 0openhagen and 9slo countdown. cycle instead of :2 counts) do a straight pass as the middle one and don#t do the final self<. 3o the cycle goes simul. sel(. sel(. pass. pass. sel(. cross pass. - urry/ sel(. pass. pass. sel(. sel(.

,ote also that one person should throw their simuls inside to a$oid collisions.

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6 clubs9 Hild Hadness

*ild *adness is an e$ol$ed $ersion of the normal --3. The cycle is PP3 PP53, where the @ips alternate directions. 9ne 8uggler crosses all passes ;. to . , = to = <.

3low ;ersion 7777$66 There also is a $ersion with no hurries, and passes done with floaty singles. -ractically spea&ing, you#ll be 8uggling something in between.

This is a close relati$e of EEEE26 ;--Q $s --3<. 2 classic mista&e is to forget the self. 3o be careful, the @ip does not replace the self. Hore <ariations9 *artin#s Lltimates is the *ildness with selfs remo$ed. "f one self is added on each side Hild 3plattered 3uns ine results, a *artini@ed --33.

Hild 3 attered 3cattered 3uns ine. <ariations9 ha$e the 2 8ugglers swap between crossing and straight J2 throws diagonal passes and performs hurries rather than @ips, while J: throws straight passes and performs @ips representati$e of passes) the feedee position for 3hattered 3cattered 3unshine. J: does PP53PP3? J2 does PP3P- urry/33 and the se7uence repeats on the 3ync ronous c ange ;6 beats< The two 8ugglers change at the same time e$ery 6 beats ;the time other side. for --3 --Q3<. The conse7uence is that each 8uggler has the @ip twice in a row, the new cycle being PP3 PP53 PP53 PP3.

3ync ronous c ange -% beats/ The two 8ugglers change at the same time e$ery ? beats ;the time for --3 or for --Q3<. one 8uggler now has all the @ips, while the other one is 8ust doing --3.

Hi+ed=Bp Hadness 2 *adness pattern in which the two 8ugglers are not doing the same things at the same time. Because of the $ery fast passes, try to 8uggle $ery sloooowwww...

6 clubs9 Hild Psyc osis

This is a 25person $ersion of *artin#s -sychosis. The principle is to do the feed part of *artin#s *adness, and instead of doing #ips, to anticipate the @ips by throwing from that same hand. 9nly J2 is Async ronous c ange -6 beats/ The two 8ugglers change e$ery 6 beats but not at the same time. 2s actually doing the -sychosis, J: is doing whate$er necessary to ma&e a conse7uence, one of them has no more @ips, while the other one the pattern wor&. &eeps ha$ing as many @ips as usual. There are collision problems. J2, starting from . , does cross. cross. - urry/ sel(. cross. cross. sel(. cross. - urry/ cross. sel(. cross. cross. - urry/ sel(. cross. cross. sel(. cross. - urry/ cross. sel(. J2 does cross. straig t. sel(. straig t. - urry/ cross. sel(. straig t. straig t. - urry/ sel(. cross .straig t. sel(. straig t. - urry/ cross. sel(. straig t. straig t. - urry/ sel(& Iot thatJ The easiest way to do it is probably 8ust ha$e J: do --3 with all crossing passes ;and no @ips<, and J2 does whate$er re7uired to ma&e it wor&. <ariation9 J2 instead does #ips to ma&e the pattern wor&. J: crosses all passes and J2 does all straights( J: does PP3 P - urry/ P3 PP - urry/ 3 FF3 P - urry/ P3 PP - urry/ 3. J2 does PP53 PP3 P5P3 PP53 PP3 P5P3 ;J2 gets some hurried throws in there as well( "#m sure you#ll figure it out<.

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6 clubs9 No Apparent Reason

2 long pattern that combines *artin#s *ildness and :5count/25 count fast/slow. There are two @ips and no hurries. Hou can thin& of the pattern in measures of ?55 throws each( the cycle is) fast ;C fast throws of a 25count slow5fast, with an e!tra self at the end<, straight ;--3 on straights, with a @ip<, slow ;2 slow throws of :5count slow5fast, plus a self<, diagonal ;--3 crossing<, slow. diagonal. fast. straight. J: starts at the beginning, J2 starts at the 5th measure ;the second slow<.

%= s ower. straig t passes Lpon recei$ing a pass to the = , throw a .5>= self and a @ip =5>. at a the same time. 6hen the self comes down again, throw the club you#$e 8ust caught. Both 8ugglers do straight passes. 2mbide!trous pattern.

2fter the cycle listed abo$e you switch roles.

)= s ower. straig t and cross passes 3ame as abo$e, but one of the 8ugglers cross his passes. -asses are made twice in a row on each side. .ather a difficult one.

6 clubs9 Hartin*s %=$=!=$

This is a *artin#s $ersion of P33P3PP3 -%=$=!=$/. /ach person gets a @ip before their final self, as well as some hurries. J: does straights 9n the same principle, you can try out what the ?5count has to offer, and does the se7uence P33P3PP53 P33P3PP3 ;hurries not especially if you 8uggle a bo! instead of normal selfs. "n fact, you indicated<, and their second cycle is normal( J2 does the first cycle can try on any rhythm to replace the selfs by some synchronous self5 normal and the second cycle has the @ip. @ips.

6 clubs9 4urries :alore

2ll these rhythms are based on a 25count, on which we add some hurries with the following combinations) 3el(s) ma&e a synchronous self5@ip with the self being either straight ;?!) half5bo!<, or cross ;?) shower<. Passes) /ither the 2 8ugglers do straight passes, or one of them does cross passes and the other straight passes.

2 strange rhythm in which the 8ugglers do different patterns but both ha$e a BhopB ;single to same hand< at the same time)

This gi$es us C possible combinations. Being able to 8uggle the bo! 6 clubs9 Crossing Patterns or the shower on singles will help. 2ny pattern can be done with both partners throwing crossing passes instead of straights( one partner must do the pattern %left5handed'. 4al(=bo+. straig t passes To a$oid collisions, especially with synchronous passes, one person This one might be the easiest. Lpon recei$ing a pass to the = , should pass slightly later than the other. throw a . straight self and a @ip = to . at a the same time. 6hen the self comes down again, throw the @ipped club. Both 8ugglers do straight passes. ,ot an ambide!trous pattern4 Try) 5 crossing 25count, ?5count, --3, C5count 5 crossing :5count ;ultimates< 44

$= al(=bo+. straig t and cross passes 3ame as abo$e, but one of the 8ugglers cross his passes. The result is a nice ambide!trous rhythm.

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6G clubs9 3lowJ8ast Patterns

Je#ebel 8astJ3low This is a 55count/65count with some e!tra complications. J: ;slow< These patterns share the characteristic that one 8uggler is 8uggling at does straig t straig t diagonal sel( sel( starting with . ( J2 ;fast< a slower tempo than the other. "n the first three patterns each 8uggler does cross cross #ip sel( cross sel( sel( starting with = . crosses e$ery other pass. %=countJ)=count

$=countJ%=count

<ariation9 for the Compact Je#ebel 8astJ3low, remo$e the two trailing selfs to ma&e a difficult ?5count/C5count pattern. 4urries in slow5fasts are easy for the slow side since they aren#t hurried at all4 ence play with changing crossing and straight passes. This is a 4urried $=countJ%=count9

"f J: and J2 switch roles after each pass you get Rus ed 4ammy& !=countJ$=count The classical %slow5 fast' pattern. PP3J$=count9 2 strange rhythm. J: does --3 to J2#s = , J2 passes to J:#s hands in the order . = = . ...

J: does a normal ?5count, J2 does cross. - urry/ sel( from both sides. <ariation9 add one BselfB beat after each cycle to ma&e things easier, and ambide!trous. +or e!ample, for the Turlock $=countJ!=count J: does P3P33 while J2 does PP3( both 8ugglers cross their second pass in the cycle. <ariation9 BJim#sB a pattern by changing straight throws to crossing, and $ice $ersa.

PP3J!=count)

<ariation9 Kary all of the abo$e by switc ing roles& This is %=countJ)=count switc ing e;ery pass)

The person doing PP3 ;J2 here< passes straights( J:#s passes go cross straig t. in the rhythm R R F F. +or a $ersion with all straight passes, J: can do P5P)

2lso see E5club slow/fast patterns.

*ore disparate rhythms are doable, for e!ample )=CountJ$=Count, $=countJ'=count, %=countJ'=count, )=countJ'=count, etc. "f the difference between the counts is odd at least one person will need to cross some of their passes.

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7 clubs9 !=count -Bltimates/ 0%&'p1%&'p2

7 clubs 9 $=count -3

ower/ 0)p % 1 % )p2

There#s no Bbig secretB to this ama@ing pattern( you 8ust need a lot of The basic E clubs pattern. Both 8ugglers are passing a 25count on practice and some precision. Hou can either 8uggle it on doubles doubles ;i.e. R4 tramline double pass. F4 sel(<. ;harder because of the precision needed< or on floaty singles ;faster J: ;on top< starts with 2 clubs in each hand and begins with a pass, but easier to get down and nicer<. J2 starts a beat later with a pass. J: starts with C clubs ;2 in each hand< and ma&es tramline passes ;the . ma&es the first pass<, J2 starts half a beat later and throws diagonal passes ;the . ma&e the first pass<. 9n singles, try to slow down the pattern by throwing lofty passes. 3ingles 2 common $ariation is to use floaty singles instead of doubles. "f it goes too fast, &eep cool and throw higher passes and selfs. "n both the doubles and singles $ersion, any tric& from 6 clubs 25 count will wor& ;doubles, triples, tric& throws, multiple!...< pro$ided that you ma&e the necessary ad8usments ;the doubles become triples, etc<.

<ariations) *a&e the pattern synchronous by ha$ing one 8uggler throwing doubles and the other singles&

<ariations 3yncopations -3iteswaps/ 2n easy way to add siteswap syncopations is to thin& of your side of Triple=3ingles) the pattern as %8ust' a 55club cascade( the other person is acting as J: throws triple passes, all gra$ity to send the clubs bac& to you. ,ow you can throw any other throws are singles. siteswap you want. 0'p1%20%p1%2 5 all %s are selfs, )s are self doubles, 6s straight double passes, 7s are crossing triples, etc. 2lso, one person can throw double passes and selfs, the other 5 J: simply sends bac& normal passes whene$er they can. singles. Transition between singles, one person doing doubles, both doubles, etc. 6)9 double pass. double sel( 7 clubs9 ) ;s % $=counts Try running 6)' continuously( it#s These patterns in$ol$e one person ;J2< doing ? clubs in a standard 25 $ery nice. count pattern( thus they are good for passers of different abilities. 66%9 double pass. double pass. sel( '%p ;s $=count 0'%p 1 %%p2 J: throws self triples, all other throws are singles ;selfs and passes<. ) 8ountain ;s $=count 0)p) 1 %%p2 J: does an aysnc fountain with C and throws continuous early doubles to J2. J:#s . 8ust does 2 in one hand independently of the rest of the pattern. ) 3ync 8ountain ;s $=count 0 -)p.)+/ 1 %p% 2 J: throws crossing = double selfs and . tramline double passes. ) 3ingles 3ync 8ountain ;s $=count J: does C in sync singles, e$ery second throw is a . pass and crossing self from the = .

7))9 triple pass. double sel(. double sel( There are many more ;really hard< patterns using 5 ball siteswaps) try 77%%. 7'%. A))). 667'!. A''$. 6666!.

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7 clubs9 Crossing $=count

This pattern is nearly identical to the classic E club 25count e!cept that J2 ma&es left hand passes. Both J: and J2 ma&e diagonal passes.

7 clubs9 %=count -P33/ )&'p % %

O66

0ollisions are a$oided because the clubs cross in the centre at different times. <ariations9 try singles, and in fact all the $ersions of 25count.

7 clubs9 Jim*s $=count

2 $ery nice rhythm for E clubs. 5 "t#s a ?5count, so the feeling is the same as the 6 clubs ?5count. The incoming clubs are those that are thrown bac& ;it#s always the same ? clubs in the air<. 5 The passes are made on doubles. The theorical siteswap of the passes is )&'p so ma&e them high and slow. "t#s also possible to ma&e the passes on singles. 5 J: starts with 2 clubs in each hand and 8uggles ) . pass, self, self, ... 5 J2 waits for as long as possible ;one and a half beats< and starts with a pass) . pass, self, self, ...

Both 8ugglers throw ? passes from the right and then ? from the left. J: throws crosses and J2 straights. J: starts with C clubs and throws their first ? passes from their . ( J2 starts at the same time with a = self and one right5hand pass before switching to the = . <ariation) "f J2 starts synchronously with two selfs, J: can throw triples and J2 crossing doubles ;0'p%%1%%)p2/. 3ome syncopations) ' ! )&'p, a nice ?5count pattern, ' )&'p !9 sel( triple. pass double. #ip instead of self pass self. ) $ )&'p) throw sel( double. old instead of self self( feels $ery different in the pattern. ?5count in singles is Techno. -retty much anything you can do in 65club ?5 7 clubs9 Crossing ) count you can do with E, 8ust increase doubles to triples, etc. This pattern is li&e Jim#s 25count but with the cycle e!tended to C <ariation9 both 8ugglers cross their passes( then both sides get throws on each side by mi!ing up the passes. J: throws all crossing hurries, but each person will ha$e one hand throw more often than passes and J2 throws one crossing and then straight. J: starts with the other ;depending on how you start<. 3ee 9dd@ Iod@ for more on C . crossing passes( J2 starts with the last straight from their . this. before switching and doing one crossing from their = and then straights. J2 can remember it by 8ust doing one crossing after the 7 clubs9 ) ;s % %=count hurry and then switching to straights. J2 does a standard ?5count ;%%%p< and J: does a C5club )))p, i.e. sel( double. sel( double. double pass. J: <ariation) J: throws all straights and J2 throws one straight and ? throws crossing doubles and J2 straight singles. crossing.

7 clubs9 Crossing $ ;s Mnside Eunnies

This is a good pattern for passers of different abilities.

<ariation) J2 passes crossing singles and J: straight doubles. This is li&e Jim#s 25count with hurries e$ery 2 throws. J: throws one <ariation9 se$eral of the ?5count popcorn $ariations are more straight and one crossing pass( J2 throws crosses. difficult $ariations of );s% pattern) CC?p $s ?5count -opcorn, and 5?Cp $s ?5count. Crossing $ ;s Mnside Eunnies <ariation9 3traig t $ ;s Nutside Eunnies9 .e$erse the hands of J: to throw one cross and one straight( J2 throws all straights.

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7 clubs9 )=count

0% % 'p % 1 'p % % %2

7 clubs9 Pieces o( Eig t

Both passers are 8uggling a C5count and the passes are made on These patterns are formed by ta&ing a club from the standard F5club triples ;you got to ma&e them nice M clean<. The passes are not 25count) the simplest is the E club C5count. thrown at the same time) there#s two beats between the pass of the J: and the pass of J2. To get started, J: starts with a pass and J2 starts at 2t any point in the E club C5count, either person can throw two . the same time with the se7uence ) . self, = self, pass... triple passes in a row) the other must respond with two triples ;or go 3ince it#s a C5count, you can do many of the 6 clubs C5count tric&s ;))! for e!ample<. into a C club pattern 4<. "f this continues, J: is doing PP4 with their . , and J2 is doing PP3)

J2 can %steal' the holds by throwing three . triples bac& instead of +or a speedy but easier $ariation ;because the passes are usually better<, throw doubles instead of triples) a good pattern that helps to two) master the :: clubs 25count feed.

7 clubs9 ) ;s % )=counts
These patterns in$ol$e one person ;J2< doing ? clubs in a standard C5 "n this way J: and J2 can constantly try to steal the e!tra clubs bac& count pattern( thus they are good for passers of different abilities. J2 and forth. 2t any point either person with the holds can switch bac& can e$en throw tric&s ;syncopations, tric& throws< to J: 4 to C5count by only returning one triple. This is a great e!ercise in peripheral $ision since you need to &eep an '%p'% ;s )=count 0'%p'%1%%p%%2 eye on what your partner is throwing you while watching their J: throws = self triples, all other incoming triples. throws are singles ;selfs and passes<. <ariations9 J: can do '%p)) instead. ) 8ountain ;s )=count 0)p))) 1 %%p%%2 J: does an aysnc fountain with C and throws continuous early doubles to J2. J:#s . 8ust does 25in5:5hand independently of the rest of the pattern. This pattern is slightly harder for J2 as they need to catch doubles. To start, J2 starts with C and ma&es their first pass to J:. Pieces o( 6ed -T3T333P3/ This pattern is formed from the abo$e by %filling' the holds of the other person by throwing a single pass. 0ounting only right hands, J: throws triple pass. triple pass. sel(. single pass and J2 does the same, starting with the self. J: starts with C clubs.

6hile you are throwing your . self, loo& at the other person to %spot' the single you are about to throw) it must be thrown blind as you must watch the first incoming triple pass.

) 3ync 8ountain ;s )=count 0 -).)/ -)p.)+/ 1 %%%p% 2 J: does a sync fountain on doubles( e$ery other beat they throw a straight double pass from the . and crossing double single from the = . J2 starts with ? selfs. ) 3ingles 3ync 8ountain ;s )=count J: does a sync fountain on singles( e$ery third throw they throw a straight pass from the . and crossing single from the = . J2 starts with ? selfs.

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7 clubs9 '=count -P3333/

3imilar to C5count on triples, e!cept the triples ha$e to be floaty ;or the selfs faster<. J2 crosses their passes and J: throws straights. J: starts with a . pass( J2 waits 2 :/2 beats ;or waits :/2 a beat and then throws 2 selfs< before their first . pass.

7 clubs9 Tower Pass

2 synchronous simultaneous pattern) J: throws crossing single passes, J2 tramline singles. 6hen a pass comes in to a hand, throw a self double from that hand and then throw the pass bac& ;which occurs simultaneously to a pass coming in to the other side<. "t#s li&e throwing )$%p in a 65club ?5count ;P33<, e!cept a little faster...

7 clubs9 PP4P3

%&'p)&'p$)&'p%

/ach 8uggler throws single. double. old. double. sel(, before repeating from the other side. J: throws crossing singles, straight doubles, J2 throws straight singles, crossing doubles. J: starts with four clubs and throws their single from their . , J2 starts with their last double in the se7uence from the = A a beat later.

7 clubs9 PP3 7 clubs9 PPPPP3

0%p%p)p)p)p% 1 )p)p%%p%p)p 2

0)p )p % 1 % %p )p2

There is no such thing as a symmetrical --3 with E clubs. "n the $ersions below one of the 8ugglers must alternate between passes on singles and passes on doubles.

The se7uence for both 8ugglers is straig t straig t cross cross cross 6ith tramline doubles) sel(, where the straights are singles and the crossing passes are doubles.. J: starts from . at the beginning of the se7uence, J2 starts simultaneously from = with the second cross pass ;i.e. J2 does cross cross self and then into the se7uence<. J: is doing PP3 with tramline double passes ;this is the easy end<. J2 is also doing PP3 but the first pass is a diagonal single, and the second pass is a tramline double. Hou pass twice in a row to the same side of the pattern. Hou need to ma&e your singles really low compared to the height of the doubles. J: starts with PP from . and J2 starts with a sel( from their = . 7 clubs9 PPPPP5 <ariations9 a $ariation with a different feel is to throw the doubles Both 8ugglers throw all crossing passes on floaty singles ;fast< or as diagonal passes and the singles as tramline. 6ith diagonal doubles. J: starts with C clubs at the beginning of the se7uence and doubles) J2 starts with ?, with --Q.

<ariation) PPP5PP5, all passes are crossing doubles, " thin&4

7 clubs9 7=count PPP3PP5

2n asynch $ariation ;G66EEE< allows the 8uggler doing tramline doubles to get away with singles.

9ne 8uggler can do 65club --3 and the other do 65club --3 with The se7uence is double. double. double. sel(. single. single. #ip. J: double selfs) 7777A6 0%&'p%&'p% 1 %&'p%&'p)2& starts with C clubs at the beginning of the se7uence, J2 starts with 2 in . A beat later with their first single pass. J: crosses their doubles but not their singles, J2 does the opposite. *a&e senseJ The se7uence is symmetric( only one side is shown below)

-O7O7O$6/

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7 clubs9 PPP33
6arm up with the 65clubs ---33 to familiarise yourself with the tempo. J: starts with C clubs and throws three diagonal passes on doubles followed by two normal selfs. J2 starts at the same time but throws a self first, before going into their ---33 se7uence) tramline single. tramline single. tramline triple. sel(. sel(.. The diagram shows the same thing, only with all the crossing throws in$erted. Try both $ersions( it 8ust depends on which hand J: and J2 start with.

7 clubs9 PPP3

0%+p )p )p % 1 )p % %+p )p2

2n asymmetric pattern since the period is e$en ;but one person does it left5handed<. *a&e sure you try both sides4 The se7uence is crossing single. double. double. sel(. J: starts with C clubs with the single, J2 starts with their second double, from the opposite hand<. 2ll doubles are tramline.

OO6O$ This is a similar but asynchronous pattern) each 8uggler does double double double old old -or sel( #ip/( J: crossing and J2 straights. J: starts with double old old and J2, with C clubs, starts A a beat later with the full se7uence. 2ll passes are floaty doubles.

<ariations9 you can add pairs of %1)p, alternating who does what, after the crossing single) effecti$ely you do a 25count for a while before switching. O7AO$9 for a symmetric $ersion, throw double. double. sel( double -same and/. #ip. single& J: crosses their doubles and throws straight singles( J2 throws straight doubles and crossing singles. 2ll passes are floaty.

7 clubs9 PP3 6oubles ;s 3ingles

0%p%p%1)p))p2

7 clubs9 Eookends -PP3P3/

ere#s an easy --3 pattern) J: is 8uggling e$erything on singles, J2 Easic bookends ,ot actually that hard, you 8ust add another pass and another self to on doubles 5 e$en the uncrossing selfs. The passes from J: are the basic --3. J: starts with C clubs. 1on#t forget to try both ends tramline singles and those from J2 are diagonal doubles. and to re$erse the passes li&e in the --3 patterns J: starts with PP3, J2 does P6P at the same time. J2#s double is a non5crossing self double.

<ariation) all passes are singles ;4<)

Async ronous Eookends O6677 ere is a $ersion where both 8ugglers do ;almost< the same thing. J: does (loaty crossing singles and straig t (loaty doubles and J2 does the opposite. J2 has C clubs and starts from the . with PP3P3, and J: starts immediately ;half a beat< after with P3 ;then PP3P3< from the = . P) floaty single P) floaty double 3) single P) floaty single 3) single 8unky Eookends A6777 +or an e$en weirder boo&ends) J: has C clubs, and J2 starts half a beat later with P3 ;then PP3P3< on the = . P) floaty single P) floaty single 3) single P) floaty single 3) straight double

20

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3dnekoob 7 clubs9 Compressed Hesopotamia 0)p)p)p!1 +or a #re$erse# boo&ends ;33P3P or P3P33< try this one 5 it e$en has a triple in it. J: starts with C clubs with P33 ;at the same time as J2 )p)p)p%2 who starts with 33P<. The passes don#t need to be floaty, and you 2 hardcore rhythm, highly collision prone. Both 8ugglers are can try ma&ing the crossing passes straight and $ice $ersa. passing straight doubles ;perhaps e$en singles4J<. J: does PPP5 and P) straight triple for J: J2 does PPP3. To a$oid collisions, try to &eep the passes in / crossing double for J2 corridors. 3) single 3) single P) crossing double 3) single Eookends wit a old O76)7 J: starts with C clubs with cross double. sel(. straig t single. double. old( J2 waits A a beat and does straig t double. old. straig t double. sel(. cross single. <ariation9 J: ma&es triple passes while J2 ma&es single passes. /$en better would be floaty doubles and floaty singles. 2lso, see the 65club ;easier< and F5club ;harder< $ersions.

7 clubs9 Copen agen Countdown -P33P 3PP3/

To warm up) do the 6 club $ersion. Thin& of it as one round of a ?5 count ;P33P< followed immediately by the re$erse ;that is 3PP3<)

7 clubs9 PP3 ;s PPP3P3 0)p)p%%+p)p% 1 %%+p)p)p%)p2

"n this pattern J: ;let this be the better 8uggler if possible< starts with J: feels li&e they are doing E5club --3 and constantly changing sides. J:, with C clubs, does double double. sel(. single. double. two clubs in each hand throwing the countdown se7uence li&e in the sel(( J2 starts at the same time from the = with sel(. single. double. 65club $ersion but ma&ing his passes crossing (loaty doubles. "f J: double. sel(. double( all doubles are tramline, all singles are starts from the left hand it will be easier for J2, ;so J: actually does the left5handed $ersion of the pattern, while J2 does it right5handed. crossing. Hou could practice the left5handed $ersion with 6 clubs first if you are sure this won#t mess up your partner#s head e$en more as he will then ha$e to learn it left5handed. The pattern is one5sided since it repeats e$ery eight beats, and it actually feels a bit different doing the #left5handed# $ersion. J2 has two clubs in his right and one in his left and does e!actly what 7 clubs9 P3PP3JPP5P5 -6as %/ OO6OO$OO6$ he was doing in 65club $ersion ;starting right5handed<, only his J: crosses, J2 does straights( all passes are floaty doubles ;C.5p<. J: passes are straig t (loaty doubles ;this will be fairly easy if you starts with their -3, J2 starts A a beat later with --Q. ha$e the 65club $ersion solid<. J2 starts one and a half beats after J:, so the timing of the start is e!actly li&e in a E5club three5count. To get this to wor&, J: gets two @ips instead of two selfs( so her entire throwing se7uence is P53P3PP5 ;,ote) The first @ip in the first round should be thrown as a normal self, meaning that the first <ariation9 J: can %steal' the @ips by doing --3 instead of a @ip( actual @ip is throw number F<. The two @ips are both from right to then J2 gets the selfs( J2 ;with the @ips< can steal the selfs by doing a left so J:#s right hand will be doing no normal selfs ;e!cept for its self after the -Q and continue with -3--3. $ery first throw< so her right hand will be starting with a self and then doing PP55PP5, etc. 7 clubs9 8rost 8ren#y 0 % )p )p 1 )p )p $ 2 J: does PP3, J2 does P4P. To start, J2 does pass sel( pass pass old and J: waits a beat before doing P3PP. 2ll passes are doubles, though for e!tra fren@ied fun try it on ;floaty< singles4

2:

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7 clubs9 Nslo Countdown

This one is a real bastard as the se7uence is :5 beats long ;from each side, that is<, and furthermore because of collision danger. "f you are planning on 8ust a little bit of success with this pattern, learn the 65club $ersion ;countdown from C<. Just do one round of C5count, one of ?5count, one of 25count, a :5count, a 2 count, a ?5 count, and then all o$er starting with the other hand. The throwing se7uence is P333P33P3PP3P33P. The original $ersion of the 9slo 0ountdown is a synchronous pattern where both 8ugglers do straight ;4< passes 5 either on triples or doubles. /specially around the one5count the pattern gets a bit weird for J: as the se7uence goes ;starting from throw number F< R -, hold, -, -, Q, -, empty hand, Q, -, hold R Iood luc&. J: starts with C clubs.

7 clubs9 Ndd# :od#

0)p %, 1 %, )p2

9ne of the 8uggler ma&es tramline passes on doubles. The other one ma&es diagonal passes on doubles. The rhythm for each 8uggler is) R4 pass. R4 sel(. F4 pass. F4 sel(& /ach hand throws twice in a row) all of the hurries ma&e it $ery difficult. Throw $ery floaty doubles to start ;e$en triples<. 3ee Jim#s 25count and $ariations with hurries for practise throwing hurried 25counts. 2t the beginning, J: ;on top< starts with ? clubs in the . and one in = . e goes li&e this ) R4 pass. R4 sel(, ... J2 starts with 2 clubs in the . and one in = . e starts at the same time as J: and 8uggles) R4 sel(. F4 pass. F4 sel(, ...

6hen we tried it in doubles we found that ma&ing the four5count $ery fast ;try to do a E5club four5count in doubles instead of triples to warm up< helps. The one5count, on the other hand, should be nice and slooooow.

3taggered :od#9 J: has no hurries, they 8ust alternate crossJstraig t for their passes. The full se7uence for J2 is F=R 3el(. R=F 6ouble. R=F 3el(. F=F 6ouble. F=R 3el(. R=F 6ouble, ...

Async ronous Nslo countdown This $ersion is ;possibly< a bit easier. There is an asynchronous $ersion that might be a bit easier, as all the passes are floaty doubles 7 clubs9 %=count Popcorn -8renc %=count/ 7A6 ;definitely doubles4<, and it contains no holds or empty hands. owe$er there is a self double. J: starts with C clubs, and J2 starts Both 8ugglers 8uggle) one and a half beats later) pass ;diagonal for one of you and tramline for the other< N floaty singles sel( ;crossing single< double ;non5crossing self<

3ince you will be 8uggling with a delay of a half beat, the second passer needs to wait a bit before throwing his first pass. e can wait half a beat and start with the double or wait : A beats and start with the pass.

Hou throw a pass when you recei$e one, and only then.

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7 clubs9 8ast %=count Popcorn

6ith triple5self ) ' % %&'p % %

There#s a ?5count popcorn that follows the logic of the E5count and 55count popcorns. The se7uence would be) a self triple followed by a normal self and a $ery fast pass ;a low flat<. This pattern is nearly impossible to 8uggle properly( to 8uggle it with clubs, you can throw all the passes a beat earlier as floaty singles or throw all the passes on the beat as floaty singles too ;swapping the tramline5diagonal in 6ith double double ;twin towers< ) ) ) %&'p % % each case<. Both patterns will ha$e a hold ;or a $ery low throw, siteswap 2< so the C hands siteswaps are aEC and aCE. 2 F clubs --3 $ariatation can also be e!trapolated if you throw passes instead of holds. 6ith early singles 6ith late singles Note ) 3ince the triple ;siteswap 5< is thrown e$ery 5 beats, it#s always the same club that is thrown as the triple. 3yncopations ) There#s not too many siteswap $ariations here because we only ha$e 2 selfs. )$ is a possibility, especially if you throw the 2 as a $ery fast single. Hou can also try to throw a self triple on the beat before the normal triple, forcing you to ma&e a transfer instead of a self after the second triple ;why J because you#re 8uggling ''! before the pass instead of %'%<. J: 8uggling 55: and J2 8uggling C2)

7 clubs 9 )=count Popcorn

' % %&'p % %

The C5count ;non5ambide!trous< popcorn, is useful as a mean to boost the difficulty of some feeds ;see popcorn feeds<. The se7uence is ) R4 triple. F4 sel(. R4 single pass. F4 sel(. J: starts with C clubs and begins with the pass, J2 starts at the same time with the triple. 3ince the se7uence is short because of the single passes, it can be difficult to find the correct tempo. Try to concentrate on ma&ing your triples high enough and your passes low and fast.

Hou can also throw an early double followed by a hold 5 something that opens new possibilities since there#s now the hold and the 2 selfs ;ie ) $%%< to ha$e fun with. ;if you#re doing ))%&'p the early double gi$es you a %%% to play with<. Try '%0 for e!ample, ))0 or )!%, '!$ ;throwing the 2 or not, you decide<. The 55count popcorn with all early doubles is ) )&'p%%%9

2lso try the Btwin towersB $ersion ) R4 double. F4 double ;each double comes bac& in the hand that threw it< instead of the . triple, = self ;CC instead of 5?<.

6ith some siteswaps) C:? and 5:2 for J:, CC0 and 5?0 for J2)

7 clubs 9 '=count Popcorn

a6667 or A6A67 ))%&'p%%

ere is what you ha$e to do ) t ing. t ing. -(loaty/ single pass. sel(. sel( where ) 5 t ing. t ing S triple, self ;original but tric&y because of the triple< <ariations) add e!tra pairs of Cs and ?s to either end to ma&e the 5 or ) t ing. t ing S double, double ;Btwin towersB $ersion, easier< se7uence longer) one pair for E5count, two pairs for an easy G5count popcorn, etc. 6hen a pass comes your way, you throw 2 doubles ;or a triple5self< to get the C clubs, ma&e a pass, then throw two selfs before starting again on the other side.

2?

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AA6A'9 a 55count popcorn with a fast ;$&'p< pass) each 8uggler does double. double. double. pass. sel(& J: starts with ? clubs with their first double, J2 starts with C clubs A a beat later with pass sel(.

7 clubs 9 6=count %=pass Popcorn

0)p'%%p%p%2

ere is a difficult popcorn, created from ta&ing the 65count popcorn and adding e!tra passes. The se7uence is triple. sel(. single pass. single pass. sel(. double pass. J: starts with their triple and J2 starts with C clubs with their pass. sel(. 1ouble passes are crossing, singles are not.

Asymmetric '=count Popcorn 0%p % % ) ) 1 ) ) ) %p %2 ere J: spends 2 beats lifted into C clubs, J2 three. J: starts with four clubs and does P3366, J2 does 666P3& ,ote that there are two places where both 8ugglers are doing selfs, and thus two more single passes could be added in, to get PPPPPT 4 <ariation9 J2 can pass their third double and then do a siteswap afterwards) 66 double pass 33.

7 clubs 9 7=count Popcorn

Ta&e the 65count popcorn, and apply these modifications ) 5 add a self ;we now ha$e an ambide!trous pattern< 5 ma&e the passes floaty ;)&'p< 5 one 8uggler ma&es diagonal passes.

7 clubs 9 6=count Popcorn -%=$=!/

0%%%'p%)p 1 'p%)p%%%2

The right hand se7uence ;the left hand throws only singles< for each E clubs E5count popcorn with triple5single 8uggler is ) triple=sel( ;thrown to the left hand< -Q%R/ tramline double pass -Q$R/ sel( -Q!R/ "f we brea& it down, we ha$e) 5 triple=sel( ;or double5double( Btwin towersB< 5 pass as a floaty double ;tramline for you, diagonal for your partner< 5 ) normal sel(s 5 ... ;same thing on the other side of the pattern<

"t#s 8ust a round of solo triple5single ;the triple is a self< when the double ;the pass< comes in.

<ariations9 Try the same $ariations as in the 65count. Hou can choose when to throw the CC: or the 5?: because of the C selfs that you ha$e to play with. 9r you can do any ? club siteswap of length <ariation) replace the triple5selfs by double5selfs and the passes on C, li&e the superfun&y 5?C0. "f you 8uggle it continously, add another doubles by passes on singles -Ji((yPop/. "t#s faster, but lower and club and ma&e the pass a floaty single, you ha$e the F clubs E5count popcorn of Jon and 1ani. thus easier to master. Try replacing the triple=singles ;siteswap '%< by sel( doubles ;)), 6ith continuous 5?C0) called BTwin TowersB<. 2s a matter of fact, you can switch between the two at any moment. 2lso, since each 8uggler gets ? normal selfs after the pass, you can get into ))! or '%! ;leading to their own $ariations<. 2 final $ariation can be 8uggled by throwing a right hand double self instead of the pass followed by a diagonal single By replacing the pass on the double by a right self double ;a normal pass. C<, followed by a floaty single pass ;diagonal if you were throwing <ariations9 5 J: 8uggles triple5singles tramline doubles and $ice5$ersa<, we obtain a fantastic rhythm ;a666A67<. "t#s easier if you can both 8uggle 5?C solo, because what with a bit of CC: then throws the diagonal pass you#re doing here is a 5?C followed by a floaty single pass then ? normal selfs before starting again on the other side. with single spin. 5 J2 does the Btwin towersB beginning with 5?:.

2C

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7 clubs. 7=count popcorn with triple=single and late single pass.

Popcorn Nddities

$=count Popcorn )%p /ach of you 8uggles two in one hand in one hand and passes the other ? ;in singles, as in ultimates< with the other hand( J: ;C clubs< +or a spicier $ariation e$en, you can try any of the 65count $ariations starts with pass while J2 starts with double self. +or a faster ;and since you still ha$e ? selfs left to play with. ere#s the diagram of J: symmetric< $ersion see Tower -ass. 8uggling a popcorn and 5?: ;a6A7a6$< while J2 does the Twin Towers with a CC: ;AAA7AA$<. Iood luc&... Asymmetric Popcorns The patterns based on )))or '%) $s %=count can be seen as asymmetric popcorns)one 8uggler ne$er lifts into C, the other ne$er drops into ?. Progressi;e Popcorns These are patterns in which each 8uggler lifts twice, then drops twice, i.e. 2 5> ? 5> C 5> ? 5> ... clubs. 2 65club progressi$e popcorn, '%%p%p%!)

7 clubs9 A=count '''! Popcorn

0' ' ' ! %p % % % 1 %p % % % ' ' ' !2

7 clubs9 O=count '''! Popcorn

"n this pattern, it#s always the same club that is passed bac& and forth, as a single. 6hen the pass comes in, flash your ? clubs ;as triples in theory, howe$er it#s easier with floaty doubles<, catch the pass, feed it to the other hand, pass it bac& to your partner then catch 2n F5club progressi$e se7uence is '')p))p%%). e$erything that comes down. Fonger se@uences -opcorns can be lengthened in se$eral ways) add e!tra self throws on either end ;i.e. an e!tra C for you, ? for your partner, then $ice $ersa<, ma&e higher passes, enabling your partner to get in more selfs before lifting their pattern. Hou can also lengthen by adding rounds o( normal $=count when you pass) instead of passing one away, pass two away( when you recei$e a pass, throw one away before *a&e your flash on doubles and concentrate on throwing the second lifting into C. double ;left hand< high enough to calm things down. 2lso, be careful with your single passes( there#s a natural tendency to throw them a 3iteswaps9 6here$er possible, throw in siteswaps) ))!, )$%, or '%! instead of %%%, etc. 3iteswaps in$ol$ing early triples or late singles bit too high. ;that don#t mess up your partner< wor& well. 6636T -$=$=!=$=%/ This nice rhythm is formed by e!tending the standard 65count popcorn ;triple=double=sel(<. The full cycle, counting . s only, is double pass. double pass. sel(. double pass. triple ;the triple is a self<. J:, with C clubs, starts at the beginning of the cycle. J2 starts : beat later with double pass. triple.

This is the ambide!trous $ariation of the F5count 555: popcorn. 2ll you ha$e to do is add an e!tra self. "n order to do that, one of you must throw tramline passes while the other responds with diagonal passes. 2ll passes are singles and must be as floaty as possible. The beginning is the same as in the F5count. The se7uence becomes) triple. triple. triple. #ip. pass. sel(. sel(. sel(. sel( and repeats on the other side. Throwing doubles instead of triples will probably be easier here too.

7 clubs9 $=countJ!=count transitions

8rom $=count to !=count +rom a 25count on singles ;floaty ones<, 2 throws a double ;instead of the single( in red in the diagram< to B. 2 then ma&es a last self before going into ultimate with diagonal throws. B waits for the double to come down before getting into ultimates with tramline passes by throwing a left hand pass ;in blue< under the incoming doubles.

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8rom !=count to $=count 7 clubs 9 Transition +rom :5count on singles, the 8uggler who is throwing diagonal passes ma&es a diagonal double ;= to = < instead of a single, 8rom $=count to %=count followed by a tramline double ;. to = < before clic&ing into the 25 count. 6hen the first double arri$es, the other 8uggler goes directly into a 25count ;a self instead of a pass, you#d better react 7uic&ly4<. The 25count you both fall into can be 8uggled on singles or doubles. 8rom %=count to $=count

$=countJ%=count

<ariations ;from ultimate to 25count<

7 clubs 9 Transition $=countJ6=count popcorn

8rom $=count to regular popcorn

7 clubs 9 Transition $=countJcrossing $=count

8rom $=count to crossing $=count 25count to crossing 25count / with hurry

8rom popcorn to $=count

7 clubs9 ))%p ;s %=count Popcorn

25count to crossing 25count / slow $ersion J: does ))%p, i.e. double=double=pass. J2 does pass=sel(=double, which is ?5count popcorn. The result is an asymmetric popcorn that includes no selfs for J:, his share of 8uggling ? ob8ects reduced to the pass. The passes are normal straight singles for both 8ugglers. The easiest way to get it going is for J: to start with C clubs and 8ump right into the se7uence. J2 starts with 2 clubs in the right hand and : in the left. e waits for J:#s first pass to arri$e and then starts with his left hand with pass=sel(=double.

8rom crossing $=count to $=count 0rossing 25count to 25count / with hurry

0rossing 25count to 25count / slow $ersion

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7 clubs9 ))p% ;s %=count Popcorn

J: does ) %&'p %, the ?5count popcorn ;pass sel( double< passing tramline floaty singles, and J2 does % % )&'p, i.e. classical ?5count, passing tramline floaty doubles.

7 clubs9 Tec no -%=count singles/

This is actually the E clubs ?5count, but done in singles. "t#s a lot harder but it can be done. 2s the diagram below shows clearly, you need to ma&e synchronous throws sometimes. The se7uence becomes)

The start is easy, J: starts with C clubs( he throws a . floaty single pass . J2 waits as in a E clubs 2 count and then throws a . double 5 . pass / = self pass. 5 . self 5 = pass / . self This pattern is $ery cool 5 = self because you can teach the classical E clubs ? count 5 J: starts with 2 clubs in each hand and 8uggles) . pass/= self, ;)&'p % %< to your partner self, ... and you can learn the ? 5 J2 waits for a beat and starts with a pass ) . pass/= self, self, ... count popcorn. <ariation) switch who is passing doubles $s singles ) J: does ) )&'p 7 clubs9 8renc Tec no %, J2 % % %p ;i.e 65club ?5count<. =engthen the pattern by adding )s .emember that when you do singles instead of doubles in the E clubs and %s together ;J: stays in a C club pattern for longer<. ?5count, you get a rhythm called Techno. 9ne can switch at any time between ?5count and +rench ?5count. 3o there is also a compressed 7 clubs9 '%)p ;s %=count Popcorn 0'%)p 1 %p%%2 $ersion of +rench ?5count, similar to Techno. J: does '%)p, passing The se7uence is $ery similar to the one of techno, but the self that is crossing doubles( J2 done at the same time as the pass is now a straight self ;. to . or does P33 ;?5count< = to = <. This is in fact the self double from the +rench ?5count throwing tramline that has become a single. singles. 5 . pass/= <ariations) switch who is passing doubles and who singles( switch straight self who is crossing and who throws tramline. 2lso, both 8ugglers throw 5 = self floaty singles and J: throws his/her 5 as a double. J: can do )))&'p. 5 = pass/. 3ince J2 is doing 65club ?5count they can throw syncopations li&e straight self ))p!, '%p!. *a&e the pattern longer by adding Cs and ?s, one for 5 . self each person. 5 J: ;crossing passes< starts with 2 clubs in each hand and 8uggles) 7 clubs9 '%)p% ;s )=count Popcorn 0'%)p%1)p%%)2 . pass/= straight self, self, ... 5 J2 ;straight passes< starts a beat later with) . pass/= straight self This pattern is doubly asymmetric) one5handed and one5sided. J:#s , self, ... = does sel(s, . does sel( triple. double pass; tramline<. J2 does a C5count on doubles. J2 starts with 2 clubs in = and starts with 7 clubs9 3lowJ8asts 3P333P... passing tramline doubles. !=count J $=count9 3imilar to the 65club slow/fast, J: alternates <ariation) passes are floaty singles and J:#s 5 is a double. straight and crossing passes in 25count, J2 returns each pass to J:#s = . 2ll passes are doubles( the rhythm is staggered ;J2 starts A a beat late<.

<ariation9 J2 could pass triples and start at the same time. 7 club !=count J ).$+9 2ll passes are tramline( the fast person throws a pass and crossing self, then the same in the other direction. 2ll throws are hurried... <ariations9 try the other 65club slow/fast patterns with E by

2E

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replacing single passes with doubles.

7 clubs9 6G! Bltimates

This pattern is based on 6 sync :5count. The rest beats of the base pattern offer room to add a se$enth club which is passed diagonally to a$oid collisions. The $ersion below is way easier for the second passer( it is possible to change roles on the fly.

'G$ Bltimates

7 clubs9 Augmented Jim*s $=count

2 related idea is to use holds in Jim#s patterns to add e!tra clubs. This pattern is perhaps the most do5able) in a 65club Jim#s 25count, add a se$enth club which is passed on doubles between the hands where there is a hold. The e!tra throw occurs halfway between two %hurried' throws of the other hand, which staggers the rhythm)

"t may be easier, for those used to patterns in$ol$ing -)+.$/ throws, to throw the double simultaneously with the hurried single from the other hand. J:, who is crossing their singles, throws straight doubles, and J2 throws straight singles and crossing doubles. <ariation9 theoretically any Jim#s rhythm ;or rhythm with a long hold in one hand< can be augmented in this way, but this seems easiest) Jim#s ?5count would be augmented with a triple, which is $ery hard, and Jim#s :5count is already 7uite hard.

2F

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A clubs9 !=count -Bltimates/

"f both 8ugglers 8ust throw doubles, i.e. 0)p 1 )p2 there is a huge problem with collisions.

A clubs9 $=count

0'p % 1 'p %2

Theory would re7uest triples for F club 25count, the matching siteswap being #5p ?#. *ost passers use doubles because it is easier to throw doubles than triples, e$en if the rhythm is faster. 9n the other A ultimates. possible ;ersions hand, triples will be more spectacular and a good training for G club 2 doable solution ;but hard anyway< consists in ha$ing one 8uggler 25count. throwing $ery high ;triples<, and the other $ery low ;singles<. The 2ssuming you are throwing doubles, it will be the same as E clubs 25 8uggler who starts with singles has 5 clubs ;at least on the following count, the only difference being beginning at the same time with four scheme<. clubs each, and also it#s a little faster. F clubs ultimate, doable but hard $ersion ) 0'p 1 %p2

A clubs sync ronous 2 much easier solution is to ha$e a 8uggler throwing floating doubles The tric& is to ha$e your own self and your single pass thrown at the and the other one throwing floating singles, 8ust under the doubles. same time( both hands throw at the same time. Both 8ugglers starts with C clubs each. 9n doubles, it is li&e doing C clubs synchronous( here : hand throws F clubs ultimate, BeasierB $ersion) 0)&'p 1 %&'p2 crossing self doubles and the other passes, all at the same time. <ariation) for a symmetric pattern, throw F4 sel( J R4 pass ;both doubles<, then R4 sel( J F4 pass -)+p.)+/-)+.)+p/. "t also wor&s, though is harder, to ma&e the selfs non5crossing and the passes crossing ;though watch for collisions< -)p.)/-).)p/. Note ) "n the following, " show desynchroni@ed rhythms ;= , then $=count on singles) . , = ...<. 3ince in F ultimate you 8uggle C clubs separately on each side of the pattern ;red lines M orange lines on one side, blue lines M blac& lines on the other<, you can ha$e the matching synchroni@ed $ersion, with . and = throws at the same time, in which it#s easier to see what#s going on in the pattern ;e$en if it#s harder to achie$e<. 6ith a lot more practice, one can go from F clubs 25count triples to There is also a last $ersion, completely different from the pre$ious. "tdoubles, and then to singles, and bac&. consists in crossing e$ery pass ;. 5>. and = 5>= <( you#ll ha$e to be desynchroni@ed. The height of the passes is doubles# height, but A clubs %=count 06p % % 1 6p % % 2 you can also throw higher singles. 9b$iously it#s much harder with -asses are floaty triples, both 8ugglers throw straights. singles. F clubs, crossed ultimate ) 0)p 1 )p2

A clubs )=count

07p % % % 1 7p % % % 2

-asses are floaty triples, both 8ugglers throw straights and do their selfs really fast.

2G

R yt ms

A clubs9 3ymmetric 3ync ronous Patterns

Both passers HB3T be e!tremely steady with four clubs. /ach 8uggler starts with C clubs doubles ;in the same time<, then you throw a ;double< pass in synch. %=Count -P33/ 0)p)) 1 )p))2

A clubs9 %=count Popcorns 0'p % ) 1 'p % )2

2 little bit li&e E clubs popcorn, and also li&e '%) alone. The rhythm is pass. sel(. double. pass )

)=Count -PPP3/ 0 )p))) 1 )p))) 2

<ariations) pass the ?s, or the Cs. These are technically symmetric synchronous patterns li&e the abo$e, but with different siteswaps. Try ''$. 6%%. etc.

A clubs9 )=count Popcorn

6=count 0)p))))) 1 )p)))))2

0' % 'p % 1 ' % 'p %2

This rhythm comes directly from regular E clubs popcorn, but it is not so usual with eight clubs, though 7uite easy to manage. "n theory, each 8uggler throws) . triple self, = single self, . triple pass, = single self.

PP3 0 )p)p) 1 )p)p) 2

6hen you practice, you reali@e it#s easier to replace triples ;passes and selfs< with doubles ;as you would do with E clubs popcorn<. "t#s a little faster and lower, but not so ugly. 2 second C5count popcorn, this one in$ol$ing two passes, is 0' )p)p % 1 )p % ' )p2) triple, pass, pass, self, all passes are straight doubles. This popcorn is progressi$e.

C ocolate Ear -PP33/ 0 )p)p)) 1 )p)p)) 2

A clubs9 '=count Popcorn

' )&'p )&'p % %

Triple, pass, pass, self, self... something li&e that. J: crosses and J2 throws tramline, all passes are floaty doubles.

A clubs9 Hild Hadness

Top 8uggler crosses, bottom 8uggler throws tramlines. The full cycle is PP3 PP3c5 ;where 3c is a crossing self double<. This popcorn is progressi$e.

A clubs9 6=count -3;endborg/ Popcorn

'')p)p%%

Triple. triple. pass. pass. sel(. sel(. -asses are crossing doubles. +or two passers who can comfortably throw multiple!es in patterns, try 0 S)%T$%p 2. "t#s li&e a 65club ?5count, e!cept when a pass comes in it triggers a multiple! sel(Gdouble, and the self is collected for the ne!t multiple! in the other hand( meanwhile the pass is thrown bac& out from under the double. 2 faster but lower $ersion might in$ol$e self doubles and floaty single passes... let me &now if you try this.

?0

R yt ms

A clubs 9 Jon U 6ani 7=count Popcorn

aa66AO7

A clubs9 PP333

0 '&'p'&'p%%% 1 %%%'&'p'&'p2

Carning 9 cra#y r yt m t at will c allenge your p ysical and mental abilities This rhythm comes from a complicated $ariation of E5count E clubs popcorn in which you uses the C selfs to throw 5?C0. To get the F clubs $ersion, you #8ust# ha$e to replace 0#s by single floating passes ;?.5p<.

9ne person throws crossing triples, the other straights. 6ith C clubs each, J: starts with -333, J2 waits two beats before passing. *ore triples and selfs can be added, in pairs.

A clubs9 P3P333
" suggest triples and speed up the tempo. J2 starts with P333, J: starts with P3P : beat later( all passes are tramline.

ere is the pattern for J: ;for J2 you#ll ha$e to switch crossed and straight passes<) triple self, single self, double floating crossed pass, triple self, single self, double self o$er the same hand, single floating straight pass. J2 starts with a triple left hand self, immediately followed by a triple right hand self by J:. /ach 8uggler throws a6Oa6A7.

A clubs9 Compressed Hesopotamia

PPP5JPPP6

J: throws PPP5( J2 starts A a beat later and does PPP6( J: throws straights and J2 crosses. 2ll passes are floaty doubles ;)&'p<.

A clubs9 PP3

0)&'p )&'p % 1 % )&'p )&'p2 OO6

Things start to get really serious now. alf way between E clubs --3 and G clubs :5count. J: crosses, J2 goes straight. 2ll passes are floaty A clubs9 PPP5PJPPPP3 Ariel Bltra doubles. The easiest start probably has each 8uggler starting with C clubs. J: -asses are ;floaty< triples) J: crosses( J2 starts A a beat later and does ;starting . < -3, then --3. J2 does ;starting . < --3 A a beat throws straights. Iood luc&4 later.

2nother start is J:starts with 5 clubs ;? in . < throwing --3. J2 starts with ? clubs ;2 in . < and throws 3--.

<ariation? for those superstar passers( try %stealing' the selfs and @ips bac& and forth, as in E club -3--3/--Q-Q ;1ash ?<.

<ariation9 O7A "f that was still too easy, replace the first pass with a A clubs9 67AOa floaty single and the self with a double ;to the same hand<. J: Iood luc& with this one. The se7uence is sel(. sel( double. sel( throws straig t single. cross double. sel( double and J2 throws triple. (loaty single. (loaty double. J: starts with their sel( and J2 cross single. straig t double. sel( double ;all passes are floaty<. starts with 5 clubs and their floaty single. 9ne person throws crossing singles and straight doubles, the other does the other way around. <ariation9 O7AAA9 throw three self doubles in between the passes, to get a different PP333 pattern. a77) sel( triple. (loaty single. (loaty single) J: throws straights and starts with their triple, J2 throws crossing and starts with their second pass A a beat after J:.. O7O7AA9 Ta&e the sync --3 on doubles and shift the timing) J: throws floaty doubles ;)&'p/ and J2 starts late and throws floaty singles ;%&'p<. The selfs are self doubles.

O clubs
$=count -3 ower/9 use doubles or triples. !=count -Bltimates/) good luc&4 Popcorns) lifting from C into 5( '' )&'p )) may be easiest... unless you want to lift into 6JJ

?:

R yt ms

8un Mdeas wit R yt ms Creating New Patterns

:ames

+or a one5sided pattern, both 8ugglers add in a sel( somewhere to Juggle ? clubs each in time. *a&e a pass whene$er the count) ma&e the pattern switc sides ;though sometimes this is not possible, especially with ED clubs<. is di$isible by E, contains a E, or the digits add to E -7= up/ try e$erything le(t= anded. is a digit of pi Re(lect one side of the pattern) cross all passes that are normally is prime straight ;and $ice $ersa< and ma&e only one side of the pattern is composite ;not prime< left5handed. e.g. E club 25count turns to 0rossing 25count by reflecting one side. Patterns 8rom 4ell) pic& a number n coprime with the period of the base rhythm ;i.e. 5 for a ?5count<( both 8ugglers throw e$ery Kary the position) try side=by=side, back=to=back, one person nth throw as a double. stands in (ront of the other person( stand (ar apart and increase the height of passes ;or not<, stand $ery close toget er and throw Random '=club !=count) throw to either hand, or throw two at short non5spinning passes( one person stands on a chair, one once, mi! in @ips, throw the 2s with the other hand, et! ... person stands on a balcony abo$e the other... Random Jim*s) with two passers solid with any Jim#s pattern ;?5 Rotate the pattern) J:s . becomes their = , = becomes J2s count and C5count wor& best< start with the base pattern and then . , J2s . becomes = , J2s = becomes J:s . . +or start randomly passing to either hand. 9ne 8uggler is responsible e!ample, rotating 6 clubs :5count gi$es two separate ?5club for a$oiding collisions. patterns. Random 8eed) in a C5person line feed with :? clubs ;or n5person 2dding urries) ha$e one 8uggler switch hands so the pattern line with ?nD: clubs<, ++ passes doubles on 25count and starts re$ersed for them. 3ometimes the resulting pattern is randomly swings passes up and down the line. +eedees pass impossible but sometimes you 8ust get lots of urries&&. for bac& when ++#s pass is halfway to them. e!ample, PP3 urried ;hurries are Ps<) Random 6=clubs9 two solid passers 8uggle 6 clubs and then 8ust start passing randomly. That#s it44 Tip) 8uggle very slow! high throws gi$e you ;and the other person< more time, and multiple!es are useful to get out of 8ams ;though trouble for the other person<. There can be collision problems( one 8uggler must throw inside Kincent Bruel#s Random Passing R yt ms game) you start with and catch outside. all one colour of club ;say, white< e!cept for one different ;the BindicatorB, which J:, the BleaderB, starts with<. The indicator, when passed, indicates the recipient will then 8uggle one round of a prearranged count ;say, ?5count<( a white club indicates the BbaseB pattern ;say, C5count<. 3pice it up by adding two or more different coloured indicators.

Hi+ed obKects) who said you can only pass clubsJ 0lubs mi!ed with large balls is fun. +or patterns in which some ob8ects ne$er get passed ;?5count, --3< use a chainsaw, egg, rubber chic&en, etc.

Eattle Passing9 two 8ugglers do a 65club 25count. The %ser$er' throws as poorly as possible, within limits ;passes must be within the %@one of catchability', no more than ? spins, etc<( the %recei$er' must send bac& as perfect passes as possible. "f the recei$er sur$i$es 20 passes ;or :0, to ma&e it easier< without dropping they get a point. 3er$e alternates. Random %=count9 the two passers must be solid with Jim#s ?5 count. Hou do ?5count and pass randomly. Random %=count 8eed) re7uires one very solid feeder and two solid feedees. The feedees do a .andom ?5count and the feeder tries to &eep it all going 4

?2

8eeds

8eeds
+eeds are the most commonly seen ?5person pattern. 9ne 8uggler, the %feeder' ;++< alternately passes to two other 8ugglers, the %feedees' ;+: and +2<, who do not e!change passes between each other.Ienerally ++ should be the better passer of the three of you, though there are many feeds where the feedees ha$e as hard a 8ob as ++4

$=count 8eeds
+eeds where the feeder is 8uggling a 25count while the feedees are passing a C5count. O clubs 2ll the passes are made on singles. Both feedees are 8uggling a C5 count. 6hile +: is passing, +2 is ma&ing a . self. ++ is 8uggling a 25count and alternately feeds +: and +2. +: and +2 can throw any C5count syncopations ;doubles, triples, ...< e!cept they must be careful if they throw %late' throws, as they may collide with the other feedee#s passes. ++ can throw any 25count syncopations ;pro$ided he ma&es sure they arri$e to the right feedee< 2 good feeder can compensate for the errors made by 2 no$ice feedees.

!0 Clubs9 Nn singles This is similar to 8uggling E clubs 25count on floaty singles. The collision ris& is less important than with doubles.

!0 Club 3ync 3 ower 8eed This pattern is really ad$anced for ++. /ssentially, he does one side of F5clubs 25count in singles, passing a lofty single with the right hand while simultaneously throwing a same height single self from the left hand. Both feedees 8uggle a right5handed 25count pattern with throws as high as the feeder#s ;they should try to 8uggle as sloooow as possible ...<.

!0 clubs The :0 club feed isn#t much harder if the feeder is solid on E clubs 25count. 2ll passes are made on doubles. ++ starts with C clubs( both feedees with ? each. The feedees BreplyB to the passes of the feeder ) they wait to see that a pass is coming their way before answering. "t means that the pass from +: to ++ is thrown a beat after the pass from ++ to +:. There#s a ris& of collision between the passes from +2 to ++ and those from ++ to +: ;see diagram at the top<. To a$oid this, +2 must aim a bit outside, on the left of ++.

!! clubs The :: club feed isn#t too hard if both +: and +2 are familiar with the 7 clubs )=count pattern. Theory says that all passes should be made on triples but " suggest you use floaty doubles instead ;much easier<. ++ starts with C clubs, +2 with C, +: with ? ++ starts with a pass to +:, +: starts with 2 selfs, +2 starts with a pass ;the start is synchronous<.

??

8eeds

PP3 8eeds

-%=count 8eed/

Normal PP3 (eed The feeder is 8uggling a --3 while both feedees are 8uggling ?5 count. The second feedee starts with a left hand pass. B ) pass : ) self 2 ) pass ? ) self C ) pass B actions ) C ) pass 5 ) pass 6 ) self E ) pass ....

"nside

"nside

self

9utside

9utside

self

O Clubs PP4 8eed +eedees do ?5count as abo$e, feeder does -- ( passes are floaty singles ;?.5p<. The feeder throws straights and the feedees cross. 3tarting position) The feeder and feedee J: ha$e 2 clubs in the right hand and : in the left, feedee J? has 2 clubs in the left hand and : in the right. /ach feedee waits for the feeder#s pass to be thrown to him before replying by a pass.

<ariations9 ))! 8eed instead of ???( feeder 8uggles )p)p!, feedees 8uggle )p)! and ))p! ;all passes crossing doubles<. Transition into it from normal --3 feed by throwing early doubles. 2lso '%! 8eed which loo&s $ery nice as all the triples pea& at the same time( ++ throws their triples to +: and their singles to +2( +2 passes their singles and +: passes their triples. 2ll passes are tramline.. O clubs ))! PP3 (eed( ++ and +: start with crossing double passes( J2 with self double.

Leit *s PP3 8eed

This is an intense feed in which ++ does PP53 N yes, a @ip e$ery three beats ;twice as often as in *artin#s *adness<. /ach feedee does ?5count. +: always passes to the ++#s . , which means that the passes alternate between straight and diagonal. +2 always passes to ++#s = . "n the original $ersion, +: is the right feedee seen from the feeder#s point of $iew. But you can also try the other way round.

Position c ange ! = le(t (eedee "f you are the left feedee ;B in this case< and if you lea$e your position 8ust after a right hand pass, you#ll be bac& on the other side with a left hand pass 5 beats later. 2 becomes the feeder ;see actions<.

2 good training pattern for the feeder is *ild *adness with synchronous change e$ery ? beats. This feed is similar to 0ompressed *adness.

!0 Clubs 8unky PP3 8eed

2 ) self : ) pass 2 ) self ? ) self C ) pass 5 ) pass /$erybody starts at the same time from the . . +: stands to the right of +2. ++ has C clubs and does) crossing double to +:, straig t single to +2, self, cross double ;+2<, straig t single ;+:<, sel(. 2ll the feedees# passes are straight and both start with a self before doing their ?5count se7uences. +: does) le(t single pass, sel(, sel(, rig t triple pass, sel(, sel(. +2 does) le(t triple pass, sel(, sel(, rig t single pass, sel(. sel(.

2 actions ) C ) pass 5 ) pass 6 ) self E ) pass ..... Position c ange $= rig t (eedee "f you are the right feedee ;2 in this case< and if you lea$e your position 8ust after a right hand pass, you#ll be bac& on the other side with a right hand pass C beats later. B becomes the feeder ;see actions<.

?C

8eeds

!=count 8eeds

Two=(isted 8eeds

+eeds where the feeder is passing on :5count ;ultimates< while both feedees 8uggle a 25count. Lsing ultimates for the feeder is a good way to go for large numbers of clubs. A=club :orilla "n this pattern, the feeder ;2< is 8uggling C clubs with B on the left and C clubs with 0 on the right. 2 starts with a club in each hand and the feedees start with ? clubs and initiate things by passing to 2 ;at different times, or at the same time to ma&e it more challenging<. -atterns of this type are called gorillas. <ariation9 ++ can feed either inside passes or outside passes ;or one hand inside, one hand outside<. The %.%.%=count is when ++ does ? rounds ;6 passes< of insides, then ? of outsides, then ? of insides, before finishing. The transitions between insides and outsides ;and $ice $ersa< for the feedees is 7uic& N they 8ust miss a self. O club !=count 8eed ++ passes to +: with his right and and to +2 with his left. +: and +2 are 8uggling a 25count. The main difficulty of this pattern comes from the fact that +2 passes with his left hand and recei$es with his right ;left5handed 25count<. 2ll passes are tramline. G clubs feed with the feeder on :5count)

Hangoes Though really a triangle pattern, this pattern belongs to the feeds section in spirit. ++ feeds a regular :5count feed with outside passes( with their inside hands, +: and +2 8uggle a cascade. "t is essentially a :5count triangle pattern in the position of a feed. <ariation -Mnside Hangoes/9 ha$e ++ feed the feedee#s inside hands, and +: and +2 8uggle a cascade with their outside hands. 3urprisingly collisions aren#t a problem. !0 clubs :orilla 5 clubs on each side of the pattern) 5 for +: and ++#s = ( 5 for +2 and ++#s . . The siteswap for each pass is %&'p so they will be easier to ma&e on floaty singles. +: might prefer passing with his right hand ;theoretically he should use his left<, in this case ++ 8ust needs to pass to his left hand.

The diagram shows a non5synchronous $ersion( for a sync ;ersion, ++ needs to ma&e their passes from both hands at the same time. <ariation9 for the async $ersion, ++ can cross their passes) i.e. ;referring to the diagram< 2#s = passes with 0 and . passes with B. Async ronous !0=club !=count (eeds) in this series of feeds ++ does !=count while +: does P33 and +2 does PP3. 0889 )p$)p$%p! 1 8!9 0 )p!)p$)p$ 1 %%p% 1 %%)p 1 8$9 %%p%p 2 %p%%p 2 0 %p!%p$%p$ 1 )p%% 1 %)p)p 2

<ariation9 throw more than once to each feedee before switching. +or two throws to each feedee, feedees do PP33 -C ocolate Ear 8eed/. 6issociated O clubs -T e 3c i#oid Han/ 3ee the diagram for the F5club gorilla abo$e) in the G5club $ersion, the feeder ;2< is 8uggling C clubs with B on the left and 5 clubs with 0 on the right. 2 starts with 2 clubs in each hand, B with 2 in the . and one in the = , 0 with : in each hand. B and 0 must start a bit after their first incoming pass from 2. 2 must disassociate their = from their . as their . will maintain a faster rhythm. 2n !!=club dissociated (eed can be done as well( 5 clubs on one side of the pattern, 6 on the other. -assing doubles is pretty much re7uired.

0 )p!%p$%p$ 1 %%p% 1 %)p)p 2

0 )p!%p$)p$ 1 %%p% 1 %p)p% 2

0 %p$)p!%p$ 1 %%%p 1 )p%%p 2

<ariations9 shift doubles/singles e!changes by A a beat so that ++ and feedees e!change floaty singles. 9ne or both feedees can be shifted A a beat.

?5

8eeds
!0 clubs9 8eeding 8ren#y This is the +rost +ren@y with the --3 person split into two feedees. +: and +2 are doing P33, ++ is doing PP4 ;-- hold<. ++ starts with four clubs with -3 then -- ..., +: and +2 pass bac& before the first incoming pass arri$es( all passes are tramline doubles. +or e!tra fren@y, try it on ;floaty< singles.

Hi+ed Count 8eeds

ere are a few feeds in$ol$ing switching ;rapidly< between different counts. -robably the simplest is) Parker )=% 8eed ++ switches between C5count and ?5count feed -P3P3PP3/ and the feedees switch between C5count and ?5count. Thus, +: does P333 P33, and +2 does 33P3 3P3( the feed switches sides which is nice.

!! clubs Two=8isted 8eed Just li&e with G clubs, the passes are all tramline. 9nly the height and the spin is modified( the passes here should be made on doubles but it#s perfectly possible to 8uggle the pattern on singles too. +aster of course, but somehow easier. 2gain +2 passes with their = . ++ and +2 start with four clubs and a pass( ++ is always throwing insides ;though try outsides too<.

Rotating Parker 8eed -Tango 8eed/ 0hange roles after each )=%, and the first pass by the new feeder is to the old feeder. )=%=$ 8eed +2 8ust does ?5count, starting with : self. +: does : round each of 25count, C5count, ?5count, and repeats. ++ does PPP3 P3 PP3 PPP3 P3 PP3, alternating passes between recei$ers. )=$=% 8eed +: does 25count, ?5count, C5count. +2 does a self and then repeats doing 25count, C5count, and ?5count. ++ does PPPP3 P3 P3 PPPP3 P3 P3, alternating passes between recei$ers.

!$ clubs 3ame idea as :0 clubs but you need 6 clubs on each side of the pattern ;left and right hand sides of the feeder<. Lsing doubles sounds li&e the best solution. +: starts at the same time as ++#s first pass to him, +2 does the same, one beat later. The diagram shows a little staggering but the feedees will easily get bac& into the right tempo( the feeder has enough problems to deal with.

2s with :0 clubs, a synchroni@ed $ersion of this feed is possible.

?6

8eeds

3ync !0=club 8eed

ere is a strange 3J." feed. ++, starting with C, does 2 synch passes to +:( +2 starts with C and passes 2 synch passes to ++ after a beat. /ach feedee, upon recei$ing 2 passes, throws 2 synch selfs and then passes them bac&. 2ll passes are straights.

!0=club 3imul 8eed Iood if the feeder is comfortable with C clubs synchronous. +: and +2 do a )=count, one of them lefthanded ;or not, if you wish<. ++ starts with C and sends two passes to the feedees, who start simultaneously with passes. ++ then throws a set of sync sel( doubles( repeat the cycle. 2ll passes are singles.

<ariation9 turn it into an async pattern by staggering the initial passes. This pattern can be thought of as a 25stage popcorn for the feedees ;lifting from 2 into C and then dropping to 2<. There is also a $ery fast :25club $ersion in which ++ sends two pairs of passes to each feedee( the feedee throws a pair of self doubles and then two pairs of passes bac&.

,ote that this is gorilla feed ;though it doesn#t feel li&e it<. Theory dictates that ++#s self throws are triples, or some of the passes are doubles ;or floaty singles<, but it seems to wor& as the $ersion abo$e, which is a slow5fast. O club 3plit Hoose ere, before ++ throws the simul they ha$e to receive a simul ;lumisJ<, by catching two throws at once. The feedees are doing P3P3P3 op ;or replace the self hop by self crossing double, or slow single<. ++ starts with the simul ;straight passes< followed by C outside passes. +: ;to ++#s left< starts with F4 pass sel( op cross sel( pass sel(, +2 does pass sel( pass sel( cross sel( op. +: tends to bear the brunt of &eeping the pattern in time.

3imul 8eeds
2 simul is when the feeder passes to both feedees simultaneously( generally one of the passes is hurried. .emember) bac&wards arrows in the diagrams are when the feeder has an empty hand after throwing the simul. )=Count 3imul 8eed +: passes to ++#s . , +2 to the = . 9n the pass beat ++ hurries two passes out to ma&e room for the two coming in. "n practise it is easier for ++ to ma&e only two ;floaty< sel$es ;%&'s<... %=Count 3imul 8eed J: passes to ++#s . , J2 to the = . 9n the pass beat ++ hurries two passes out to ma&e room for the two coming in. <ariations9 most feed rhythms can be done as simul feeds( try ?5 count for the feedees. Nt ers) 3ee the =0* C,? and *oc& *oose under asymmetrical rhythms for another simul feed( also :05club :5count / ?5count slow fast.

O club Raccoon 8eed ++#s se7uence is inside simul. R4 tramline. inside simul. F4 tramline. 2ll of ++#s passes go to the feedees# inside hands, i.e. the lefthand person#s = and the righthand person#s . . The lefthand feedee ;from ++#s perspecti$e< does P3P333 righthanded, and the other person does P3P333 lefthanded, starting with their second pass. The se7uence of passes loo&s li&e this)

?E

8eeds

Popcorn 8eeds 8eedees in popcorn

8eeder in %=count. (eedees in 6=count popcorn :0 clubs

8eeder in )=count. (eedees in A=count popcorn '''! :0 clubs

8eeder and (eedees in popcorn

8eeder in %=count popcorn . (eedees in 6=count popcorn 8eeder in PP3. (eedees in %=count popcorn :0 clubs :0 clubs

:: clubs) 2ll passes are floaty doubles. :: clubs) 2ll passes are doubles.

8eeder in $=count. (eedees in )=count popcorn :0 clubs

8eeder in )=count popcorn . (eedees in A=count popcorn '''! :: clubs) 2ll passes are doubles.

:: clubs) 2ll passes are doubles.

:2 clubs) 2ll passes are triples, or try floaty doubles.

?F

8eeds

Ja3oN*s Countdown
6arm up by 8uggling it with G clubs. +: does P33P 3PP3 while +2 starts four beats later thus doing 3PP3 P33P. ++ does :5count starting with two inside passes then going into the se7uence which is (our outside passes, (our inside passes etc. This is a nice pattern and can be e!tended to the ,5feed, etc. "n these cases only the two 8ugglers on the end do the countdown 5 all the others are feeding. Ja3oN*s countdown9 !! clubs a$e the two feedees do the easy end of the 0openhagen 0ountdown ;that is, straight double passes and no @ips<. +: starts with C clubs and does -33- 3--3. +2 has ? clubs and starts at the same time as +: doing 3--3 -33-. Both start with the right hand. ++ starts at the same time as the feedees but from the left hand and he does :5count. e does one inside pass before going into the real se7uence which is four outside passes ;starting from the right< followed by four inside passes ;also starting right, of course<. 2ll the passes are normal ;not floaty< straight doubles as this pattern is synchronous.

Tec no(eeds
These rhythms are some $ery interesting slow5fasts with ++ in a special :5count.

. pass 5 = @ip

. pass

= pass 5 . @ip

= pass

"n both patterns ;F and :0 club<, +2 ;B< starts with 2 clubs in each hand, and won#t do the first 2 @ips. A club Tec no(eed The feedees do a $ery ;$ery $ery< slow :5count. They should try to throw at the $ery last moment to ma&e it easier for the feeder. +: ;2< does straight passes, +2 ;0< does crossing passes. +: M ++ start with a club in each hand.

Ja3oN*s countdown9 !$ clubs "n the :25club $ersion all the passes are floaty doubles and +2 ;this time e7uipped with C clubs< starts with a = pass half a beat before the feeder and a whole beat before +:. ++ and +: both start with the right hand. +2 starts one throw earlier in the throwing se7uence thus doing P3PP3 before going into the 0openhagen 0ountdown se7uence. To get this to wor& ++ will be crossing and the feedees doing straight passes ;as in the diagram<, but it can also be done with ++ going straight, and the feedees doing crossing passes.

!0 clubs Tec no(eed ++ does the same thing as in the F clubs $ersion. 2s in the F clubs $ersion, +: does straight passes, +2 does crossing passes. They each start with 2 clubs in the right hand and : in the left.

?G

8eeds

3low=8ast 8eeds
"n these feeds the feeder and feedees are 8uggling different rhythms. Typically the feedees should ad8ust their speed as the feeder#s 8ob is harder. A clubs9 88 !=count J 8eedees in )=count The bac&wards arrows 8ust mean the feeder#s hand remains empty for a beat after the pass. This feed can be stretched into a straight line with the feeder in the middle, throwing under the arm, behind the bac&, etc.

Alan*s Anguis
Theses rhythms are slow5fasts with both feeder and feedees on :5 count. Therefore, the feedees ha$e to 8uggle slowly. Alan*s Anguis . A clubs The feeder#s se7uence is ) diagonal, diagonal, tramline, tramline or 5 to say it differently 5 outside, outside, inside, inside. +or both feedees it#s relati$ely easy ( each is always aiming toward the same hand ;in order to ha$e C clubs on each side<. Alan*s Anguis . O clubs

O clubs9 88 !=count J 8eedees %=count /ach feedee passes to the same hand always.

O clubs9 88 $=count J 8eedees %=count

Alan*s Anguis . !0 clubs

O clubs9 88 PP3 J 8eedees )=count

!0 clubs9 8eeder !=count J 8eedees in %=count ;a gorilla pattern< +eeder alternates throwing to = and . hands of the feedees. +eeder throws floaty singles and feedees doubles, or the other way around. <ariation) a nice simul feed results if the feeder starts with C clubs and throws both initial passes at the same time. !0 clubs9 8eeder !=count J 8eedees in PP3 +eedee throws floaty singles to R4 R4 F4 F4 of each feedee ;out of phase, i.e. RRFF and RFFR<, feedees throw sel( single double& This feed is a gorilla ;the two hal$es are separate, each feedee feeds ++#s hand on their side<.

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8eeds

Hartin*s Hadness

The original %cra@y' feed.

PP5 ;s %=count
2 slower $ersion of the +redness ;below<. 9n floaty singles, ++ throws straights in the se7uence pass pass #ip( the feedees throw crossing floaty singles in a P33 se7uence . Both feedees start A a beat after ++, +: starts with a pass and +2 starts with sel( pass.

This is what happens when you feed 2 people doing Jim#s ?5count. ++ is doing *ild *adness with diagonal passes, the first two are e"tremes ;in that they go e!tremely diagonal, e.g. from your . to the left5hand feedee#s . < and then tramline ;which aren#t, but they feel li&e it because they go straight down the middle<. The full se7uence is e+treme e+treme sel( tramline tramline #ip sel( tramline tramline sel( e+treme e+treme #ip sel(, where the @ips are hurried. The feedees are 8uggling Jim#s ?5count on straight passes.

T e 8redness
2n e!panded $ersion of 0ompact *adness by adding some straights for the feeder. ++ does cross cross #ip straig t straig t ;tramline outsides< cross cross #ip straig t straig t ;tramline insides<. +eedees do a hurried 25count alternating crossing and straight passes) +: ;recipient of ++#s first pass< does cross - urry/ sel( straig t sel( while +2 does sel( cross - urry/ sel( straig t( and both repeat from the other hand.

Hartin*s Hildness +or a ;slightly< easier $ersion, the *ildness is the same e!cept ++ does tramline passes and the feedees do diagonal passes.

<ariation9 Communicable Hadness is when you switch feedees e$ery 6 beats.

Hartin*s Psyc osis

"f the feeder throws hurried passes instead of @ips, the -sychosis results. The feedees can 8ust pretend they are doing a .andom ?5 count( where$er a pass arri$es they 8ust throw it bac& as a tramline N though if ++ is doing their 8ob correctly each feeder should pass three times in a row from the same hand before switching. ++ always throws crosses( the se7uence of hands they throw from ;ignoring selfs< is RF. RF. FF. FR. FR. RR, thus ++ is doing PP3 P- urry/P3 PP- urry/3.

Compact Hadness
+eedees are 8uggling a 25count Compressed Hildness -RRFF/( ++ 8uggles PP5( all passes are diagonal. The feedees get hurried sel$es and the feeder is ... well, $ery hurried. ++ does the se7uence cross cross #ip cross cross #ip( the @ips change direction each time. /$eryone starts from the same hand.

8ire
ere the feedees are doing 0hocolate Bar ;PP33<, throwing tramline passes and starting left5handed, and ++ is doing Lltimate5 @ip ;P5< starting right5handed, with crossing passes 5 i.e. e$ery pass is accompanied by a @ip, with one club 8ust @ipping bac& and forth between ++#s hands. /$eryone starts with 2 in their = . ++ may find it easier with 2 clubs and lea$e out the @ipped club. 2t beats 5 and :C the %psychosis' occurs, which is 2 passes in a row from the same hand. Hartin*s Neurosis is li&e the -sychosis e!cept the feeder passes straights and the feedees diagonals. The Hob Psyc osis and Neurosis is the respecti$e e!tensions to feeding ? people, the feeder is on :5count.

C:

8eeds

3uns ine 3eries inspired by *artin#s *adness

"n most of these patterns two or more 8ugglers do @ips, and in many cases, ++ 8uggles :5count with a @ip. "n all the following feeds, +: is on the right from ++#s point of $iew.

3 attered 3uns ine

2 3unshine relati$e without ;phew< @ips or hurries. %=CountJ6ouble %=Count 8eed 9ne feedee does PP3, the other does P33. The feeder passes two out of three passes to the --3 feedee. +or 3hattered 3unshine, +: and +2 simply change roles in the ?5 count/double ?5count feed after e$ery ? throws. Thus, +: does PP3P33, +2 does 33P3PP.

3cattered 3uns ine

++ does :5count with a @ip. +: ;top< does *ild *adness, ;PP53PP3/. +2 does a modified Jim#s ?5count in which passes alternate between straight and diagonal. 9ne way to $isuali@e this pattern is to start with *ild *adness between ++ and +:, and then add +2 in place of ++#s self throw. To train the feedees for this pattern) +: can be trained $ia *ild *adness , +2 can be trained $ia a modified Jim#s ?5count in which passes alternate between straight and diagonal. <ariation) this feed can be e!tended easily by adding 8ugglers to each end. +or e!ample, if a Jim#s ?5count feedee is added to +:#s end, then +: turns into a 3cattered 3unshine feeder ;that is, :5count with a @ip<. 2dding a ?5count feedee to +2#s end causes +2 to turn into a *artin#s *adness feeder. =i&ewise, it is possible to add a PP3 feedee to +2#s end, which will cause +2 to perform :5count.

3 attered 3cattered 3uns ine

<ery 3cattered 3uns ine

2ll 8ugglers do @ips e$ery si! beats. This pattern is an elegant marriage of the 3hattered and 3cattered 3unshine feeds. ++ does :5 count with a @ip. +:#s pattern is PP3P33, throwing straig t passes. +2#s pattern is 33P3PP, and throws diagonal passes. <ariation) feedees throw straig ts, and ++ throws diagonals& ++ ;top< does :5count with a @ip e$ery si! beats. The feedees on the left and right ends, +: and +?, do standard Jim#s ?5count with straight passes. +2, the middle feedee, does a modified Jim#s ?5 count alternating straig t and diagonal passes. 9ne way to $isuali@e this pattern is to ta&e the *artin#s *adness feed and insert a third feedee in place of ++#s self.

3plattered 3uns ine

2ll 8ugglers do @ips. ++ does :5count with a @ip e$ery si! beats, and throws diagonal passes. +: and +2 each do PP33 with a @ip, and throw straight passes to the feeder. 2n interesting feature of this pattern is the irregular @ip period of the feedees, which toggles between four and eight beats.

C2

8eeds

8olly 8eed
2 feeding $ersion of Brendan#s +olly. ++ does a :5count with no @ips, feedees do a hurried 25count. ++ does cross cross straig t straig t( feedees do straig t sel( cross sel( ;+2 starts with the second self<.

C ynot ;s& '=count popcorn :0 clubs( ++ does 6hynot ;EEF62<, feedees do 55count popcorn)

<ariation9 in the 8ull 8olly 8eed, repeat the se7uence again e!cept the feedees change roles. Thus ++ continues with the same se7uence, but starting from the other feeder ;i.e. the Cth and 5th passes go to the same feedee<( +: does the full se7uence straig t sel( cross sel( sel( straig t sel( cross, +2 does the se7uence sel( straig t sel( cross straig t sel( cross sel(& Iot itJ "n the diagram abo$e, alternate reading the top and the bottom line for the feedee#s roles.

!0 Club PP3 8eeds

These are asymmetric feeds deri$ed from splitting one side of the E5club --3 pattern into two feedees. +eeder is always on PP3 and feedees on P33. 8eeder passing on doubles9 probably the easiest of the lot.

Jim*s )=Count 8eed

The feeder does) . pass, ;hurry< . self, = pass, . self, = pass, . self, = pass, P ;hurry< = pass, ;hurry< = self, . pass, = self, . pass, = self, . pass, P ;hurry< . pass, ;hurry< . self. 2t the P the feeder#s pass is sent off a bit early to the feedee. 2ll of the feeders# passes are straights. The feedees ;B M 0< are 8uggling Jim#s C5count on diagonal passes( e$eryone starts from the . . 8eedees passing on doubles 8eeder passing on -(loaty/ singles9 feedees start A a beat after ++.

C ynot 8eeds
+eedees are doing 6hy,ot ;EEF62<, the feeder is doing PPPP5. +eedees could also do ,ot6hy. 8eedees passing on singles9 an asynchronous pattern.

++ passes straights in the se7uence F. R. #ip. F. R, feedees cross. ere is a $ersion with the feedees doing *aybe ;E2EF6<) 6isconnected PP3 (eed9 ++ and +2 start together, +: A beat later)

++ passes straights in the order R. R. #ip. F. F( the feedees cross.

C?

8eeds
Ceird PP3 (eed

Asymmetric 8eeds
*any feeds can be modified so that the feedees are doing different things( the feeder will then be doing an asymmetrical pattern. !=Count 8eeds +: does P33, +2 does 3PP. +eeder does inside outside outside. outside inside inside.

4ardcore PP3 (eed) feedees pass triples, ++ passes double single& 9ne feedee does ---3, the other does -333. The feeder passes three out of four passes to the BbusyB feedee.

*any ;ariations can be created by changing one feedee#s duration of passes and altering the feeder#s passes accordingly. 3ome possibilities ;++ passes to +: first<) 88 %p%&'p. 8! )p. 8$ )&'p( 88 )p )&'p. 8! %p. 8$ %&'p( 88 %p )&'p. 8! %p. 8$ )&'p( 88 %p )&'p. 8! )p. 8$ %&'p( 88)p %&'p. 8! %p 8$ )&'p. ++ can dictate whether they throw crossing or straights and feedees ad8ust accordingly.

*ost of the --3 feeds for :0D clubs are asymmetric feeds. FCH -).%/ 8eed J: ;on top< does a ?5count, the other a C5count. 2t beat :2 the feeder must throw 2 passes at once ;one is hurried<. 9ne of the feedees ;here J:< must ma&e a crossing throw e$ery :2 beats so the feeder can catch 2 at once.

!! Clubs PP3 8eed

2ll passes are floaty doubles( feedees start A a beat after ++.

Hock Hoose 8eed 2 nice symmetric simul pattern for the feeder, but it turns out to be rather asymmetric for the feedees in weird ways( one of them has a slightly weird se7uence, the other has a very weird se7uence.

+eeder does) inside. inside. inside. inside. simul=to=le(ts. outside. outside. outside. outside. simul=to=rig ts. +: does) . straig t. F sel(. R straig t. F sel(. R straig t. F straig t. R sel(. F straig t. R sel(. F diag. +2 ;weirder< does) R sel(. F straig t. R sel(. F diag. R diag. F sel(. R straig t. F sel(. R diag. F straig t.

CC

%=person Patterns

%=person Patterns
These include patterns other than feeds, which are such a common pattern that the pre$ious section is entirely de$oted to them.

Triangle -%/
This is the classical triangle pattern, showing a rhythm with passes made from the right hand. Lsing such a rhythm, you can do outside passes ;as in the diagram< or inside passes ;a pass from 2#s right hand to 0#s left<, or you can alternate. %=count may be the best rhythm for this pattern and the most comfortable ;for 2) right hand passes to B, left hand passes to 0<. But you can choose any rhythm ;!=count, PP3, PP3P3...<. -laying with PP3 and alternating inside and outside passes is great fun. PP3 Patterns9 Eermuda Triangle 2ll three 8ugglers pass) outside outside sel( inside inside sel(& <ariation9 outside inside sel( inside outside sel(&

4o;ey*s Nig tmare PP3 Nut o( P ase9 The idea is that e$eryone passes to e$ery other hand 2) outside outside sel( inside inside sel( in the pattern in the cycle of 6 throws.. B) inside sel( outside outside sel( inside 2) inside. inside. outside. outside. sel(. sel(. 0) sel( inside inside sel( outside outside B) sel(. outside. inside. sel(. outside. inside. 0) outside. sel(. sel(. inside. inside. outside& !! clubs $=count 0)&%p %2 -ass the two e!tra clubs around as floaty doubles( 2 and 0 start at the same time and B starts A a beat later.

Hild Hadness Triangle) !0 clubs )=count 0 )&%p %%% 2 /$eryone is doing *ild *adness and alternating who they pass to. -ass the e!tra club around as a 2 does straig t sel( cross cross floaty double. /ach person starts #ip sel( cross? starting with . . when the incoming club is halfway B does cross straig t #ip sel( to them. cross cross #ip sel(( starting with = . 0 does sel( straig t straig t sel( straig t cross #ip, starting with = . Hou can change the se7uence of cross/straight throws by starting in different hands ;e.g. e$eryone start with . ,...<. Try both inside and outside passes.

!0 club Popcorns) each 8uggler gets 2 e!tra selfs in the base pattern if passes are a bit lower than usual. The E club 65count popcorn 5?Cp??? becomes an F5count) '%%&%p%%%%% or ))%&%p%%%%%. .eally low throws only allow one e!tra self) '%)p%%% or ))%p%%%. There are three e!tra selfs if passes are higher) 5?Cp??? becomes '%)&'p%%%%%%, and then '%%&6p%%%%%%%. 2lso ))p%%%%& ))%p%%%) pattern repeats from = side. ))%&%p%%%%% )))&'%%%%%%) pattern repeats from = side.

!! club Popcorns)( each 8uggler gets e!tra time in the lifted pattern( how much time depends on the height of passes. Try ))%p, )))&%p%%, )))&%p%%. 'p%% ;T33<, ))))'p%%%% is li&e a 25person popcorn e!cept the throws are triples. "f two passes ;into each 8uggler and out< are allowed, try) '%&6p%&6p%% , '%p%p, ''%p%p%%. !$ clubs9 $=count passing triples -'p%/ wor&s. Iood luc& on more comple! patterns...

C5

%=person Patterns

Triangle !0 club %=counts

%=count singlesJdoubles ;Msoceles %=count on doubles) Triangle/) B and 0 do singles to each other, passes to and from 2 are doubles ;crossing from B and 0, straights from 2<) 8renc %=count ;P36<. This difficult rhythm is e$en harder in a triangle4 2ll passes are straight singles.

<ariation9 one person can do singles, the other two floaty doubles. !0 clubs PP3) each 8uggler passes to the same person) /ach 8uggler does single double sel(( 2 does single single sel(. B does single straight singles and crossing doubles. double sel(. 0 does double sel( double. 2 does double double sel(, B does single single sel(, 0 does sel( single double.

!0 clubs PP3) passing to different people) 2 does single double sel(, B does double single sel(, 0 does sel( single double. 2 does single single self, B does single self double, 0 does double double self. 2 does single single sel(. B does double double sel(. 0 does sel( single double.

!0 club async ronous PP39 /ach 8uggler passes to the same person) 2 and 0 start A a beat after B. B does (loaty single. (loaty single. sel( to 2( 2 does single double sel( to 0( 0 does (loaty single. sel(. (loaty single to B.

!0 club %=count ;s $=countJ)=count9 PP3 popcorn) /ach person does )%p%p, all passes 2 does ?5count on crossing passes, alternating to 0 and B, B and 0 do P3P333 alternating to are singles to the same person. each other and to 2.

!0 club %=count ;s $=%=)=% count9 2 passes B,B,0,0 in %=count. B does P33P333P33P3 to 0,0,2,2, and 0 does P33P3P33P333 to 2,2,B,B. Both B and 0 wait for their first incoming pass to start.

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%=person Patterns

Triangle !=counts
O=club !=counts9 /!periment with throwing in different directions. Iood patterns) outsideJoutsideJinsideJinside, all outsides, all insides. NutsideJinside is nice( all the clubs mo$e in the same direction around the circle. !0 clubs sync ronous !=counts) /ach 8uggler throws a double e$ery ? passes. The se7uence for 2 is double The two singles go to the same -E/ single -C/ single -E/, B and 0 person and the double to the other pass to the other 2 similarly( all one) passes go to the same person.

2 and 0 pass straig t 2 passes singles, B passes double singles and B passes double single, 0 passes single crossing doubles, all single double. passes go to the same person.

Vuantum !=count9 with a normal G5club Bltimates in a circle9 A clubs) :5count on outside throws, one person 2n asynchronous pattern) 2 passes delays their first pass, forcing them and singles to 0( 0 passes floaty singles to B, one other to do simuls# B passes floaty singles to 2( all passes are crossing. Try to ma&e all passes the same height. <ariation9 throw simultaneously for a synchronous pattern.

!0 clubs)

2 :05club asynchronous pattern where each 8uggler alternates who they pass to)

2 :05club asynchronous pattern where 8ugglers pass to the others in a 2/: ratio) 2 passes to one person, : to the other, etc.

2 and 0 pass straights, B passes crossing passes and starts A a beat late, so all passes to and from B must be floaty ;%&'p<. 2 passes to 0B0B, 0 passes to B2B2, and B passes to 0202.

2gain B crosses and the other two throw straights( so all passes to and from B must be floaty ;%&'p<. 2 passes to 00B00B, 0 passes to BB2BB2, and B passes to 202202.

CE

%=person Patterns
Triangle $ -%/) 2 does )=count, B does 3PPP, 0 does $=count.

Triangle % -%/) alf of the Triangle 2) 2 does C5count, B M 0 do 25count ;or 2 and :5count, respecti$ely<)

ere it#s similar, but you swap roles e$ery 2 counts ;change of feedee<.

Triangle )& 2 does PP3 with B, B does PP3 (eed to 2 and 0, 0 does %=count with 2. 9n the ne!t round passes go the same places but with the other hand. <ariation9 after e$ery 6 throws ;or ?44< switch roles, 2 becomes 0, B becomes 2, 0 becomes B. ... and then a self beat.

3imultaneous Triangle -%/

2 triangle in which the 8ugglers ta&e it in turn to throw simuls 5 two simultaneous throws at once, as outsides. There are lots of hurries.

+irst pass)

3econd pass)

Third pass)

The three rows in the casual diagram correspond to the three 8ugglers in 006 order. This pattern is in ?5count but other rhythms would wor&, you 8ust ha$e to figure out where to throw to. 9dd5period rhythms tend to wor& better as you get fewer hurries.

CF

%=person Patterns

Pulsar -%/
Jugglers ta&e turns being feeder.

:. 2 passes .ight5=eft ;figures : M 2< 2. 0 passes =eft5.ight ;figures ? M C< ?. B passes .ight5=eft ;figures 5 M 6< C. 2 passes =eft5.ight ;figures E M F< 5. 0 passes .ight5=eft ;figures G M :0< 6. B passes =eft5.ight ;figures :: M :2< 2fter a feeder does .ight5left, the ne!t does =eft5.ight and $ice5$ersa. 6hen feeding, each 8uggler might call out which they#re doing ;.ight, =eft< to ma&e the pattern easier. 3ee also the C5person -ulsar.

Fines -%/

-6ropback Fine/

B faces 2 and sends passes bac& o$er his shoulder to 0. 2ll passes are singles ;0 has a long pass<. B#s passes should come in as close to the center as possible ;li&e a tomahaw&< after ma&ing two turns ;in theory, it#s a single, but in practice, do what you will<. There are also $ariants in which the club is thrown under the left arm, behind the bac&, or between the legs ;alberts< instead of o$er the shoulder.

3ee also C5person lines. R yt ms9 Lsually done in C5count or 25count, but ?5count or other rhythms such as popcorn are also interesting. =ines are probably the best way to go for high numbers with ? people, since there are no collision issues and the sitelines are all good. !0 clubs in $=count) 2s B is doing doubles, we can consider there is enough room for a tenth club without $arying the height of one pass ;it it#s too fast then ha$e 0 doing doubles< B begins with C clubs and throws the first double to 0( 0 starts a beat later, as if passing E clubs 2 starts 8ust slightly after 0 since the pass from 0 is a long single. !! clubs in $=count9 0 now throws doubles B and 0 start together with C clubs each, but 0 can try to anticipate slightly on the start. 2 starts a beat later with ? clubs. !$ clubs in $=count9 2, B and 0 throw doubles ;being able to pass F in 25count will help< 2ll ? 8ugglers start at the same time but 2 can start 8ust slightly after. 2 should pay attention that his doubles to B are short enough, since B will struggle more with too long passes. <ariation) do the line as a feed) that is, 2 passes alternately to B and 0, who do not e!change with each other. "t may be easier to do doubles to 0.

CG

%=person Patterns
Combining a Fine and 8eed) 2 feed can be turned into a line, and bac& to a feed, by ha$ing one feedee mo$e behind the other. A9 C E E E C C E9 + A C A + A C9 A + A + A E <ariation) try this with :0 clubs. 2lso see 1ropbac& =ine +eeds ;CD<. <ariations with double5returns) 1ouble returns can help handling the gap created by B#s double pass ;dropbac&<. 6ouble=returns in t e middle 6ouble=returns at t e back 2 throws doubles in C5count 2 throws singles in C5count B still throws doubles dropbac&s but in a 25count with 2 B throws doubles dropbac&s in C5count holds ;% )p $ $<. 0 throws doubles but in a 25count with 2 holds ;% )p $ $<. 0 throws singles in C5count 0 starts first, then 2 and B a beat later. B starts first, then 2 and 0 a beat later.

Pirouette B can ma&e a half5pirouette, thus changing the direction of the line. B can do this by turning under a self double if they ha$e at least 2 selfs in the middle of the pattern. <ariation9 2 more tric&y way of doing it, in a C5count) loo&ing at the diagram at the top, 2, at any moment, can throw a triple to 0 ;in a 25count<. B immediately sends a crossing left5handed double to 2 and turns around 8ust in time to recei$e 0#s pass. 2s you can see, B has little time to react, so preferably, 2 should gi$e a warning when he decides to throw the triple. "n a C5count line, B can also turn while 8uggling ;during the ? selfs< without warning.

<ariation9 a ?5person $ariation on the "r$ine -inwheel has B doing C5count and turning after e$ery pass( 2 and 0 pass with B and pass triples with each other on 25count.

3 amrock -%/

5 clubs between ? people. This pattern is strange because all passes are either @aps ;short pass with A a spin, or $&'p< or handacrosses ;!p<. Hou need to stand close enough to hand a club between your outside hands. 2 starts with ? clubs, 2 in their . , and B and 0 each start with a club in their . . The club starting in 0#s . is the %satellite' ;labelled s in the diagrams<( it is handed around the outside of the pattern ;preferably o$er each person#s head<. "t can be a different colour for e!tra effect. 2 passes a %@ap' to 0 now has the satellite 2#s third @ap is to B#s B must do a self to 2t this point e$eryone has B#s = while 0 passes gripped by the bulb in their = . recei$e the @ap in the mo$ed one step forward in the the satellite o$er their = , and 2 @aps their pre$ious step. 0 hands cycle( B is the new 2, 0 is the head to their = . second pass to 0#s . . the satellite to 2#s . . new B, and 2 is the new 0. .epeat until tired44 <ariations9 pass the satellite under your leg, behind the bac&, etc.

Hou#ll notice that when you are B you ha$e a long time with 8ust one club in your . ( use the opportunity to flourish it 4 <ariation9 there is a C5person $ersion with 2 satellites. "#m not sure how it wor&s...

50

%=person Patterns

Runarounds -%/
.unarounds are passing patterns where a 8uggler gets rid of all their clubs and ta&es up another position where they will start 8uggling again by recei$ing clubs from their partners. T e basic maneu;er9 0onsider the diagram to the left) 2 and B ha$e ? clubs each and 0 has none. 2 M B are passing together in 25count until B decides to throw all his passes to 0. ,ow, after ? passes 2 no longer has clubs, so B M 0 are left passing. 2 can now mo$e ne!t to B and wait until 0 decides to pass with him ;2s in the beginning between 0 and B<. "t is possible to perform the maneu$er described here without anyone stopping. To achie$e this, we must not pass to the person from whom we recei$ed our clubs. B starts passing directly with 0. 2fter ? passes 0 will be ready to throw to 2, who no longer has any clubs, and who will ha$e 7uic&ly mo$ed ne!t to B. <ariations9 there are many different positions that can be ta&en by the 8ugglers when they mo$e( adding more clubs ( or adding different rhythms ;descriptions here are gi$en for a 25count<. 3ee 3hooting 3tar ;C< to add more 8ugglers. Jugglers* Ho;ement9 there are three main possibilities for where the 8ugglers place go when they mo$e) The 8uggler mo$es to place themsel$es to the left of the 8uggler facing them without crossing through the other two 8ugglers# pattern.

le(t -pentagon/

rig t -line/

The 8ugglers must go to the right of the 8uggler facing them. Therefore they must be ready to cross the pattern 8ust after they throw their last pass. They must cross the pattern perpendicularly to the pattern. There is a ris& of collision which can be a$oided if the person who has 8ust mo$ed throws his last pass a little higher than necessary ;0 here<. The same thing as pre$iously, but if 8ugglers don#t mo$e as far as pre$iously, they can stay in a circle. 2ll that needs to change is that the person ne!t to the one who has mo$ed, ta&es that person#s place. 2s abo$e, the same thing for applies for collisions.

rig t -pentagon/

R yt ms and numbers o( clubs 9 6 clubs) The mo$ing 8uggler has 2 beats ;his hands are empty after his last pass< to ta&e up his new position. Therefore there is a lot of time, and it is not necessary to run or anticipate the mo$e. 7 singles9 The third 8uggler ;0< starts with one club ;instead of none<. e are thus ready to throw his first club at the same time as the person who is about to mo$e throws his last ;2<. There are two possibilities) 2 ;and the others will do the same when their turn comes< only throws 2 passes to B. e then arri$es at his new position with the last club. e still has 2 beats to mo$e, which gi$es him the opportunity for a flourish, thumb5 twirl etc... while he mo$es. 2 throws his ? clubs to B. Oeeping in mind that he throws B his first club at the same time that he gets rid of his last, it is essential to anticipate the mo$e. 2fter his second throw, 2 should approach B and throw him his last pass while mo$ing to catch the one thrown by 0. The feeling is e!actly the same as with 6 clubs e!cept that the base rhythm is a E5club 25count. 6e can therefore add an eighth club as we did when going from B6B to BE singlesB.

7 doubles

5:

%=person Patterns

Eruno*s Nig tmare -%/

This is a rotating feed in which one 8uggler mo$es through the middle of the pattern. "magine that each 8uggler represents one ball in a giant ?5ball cascade.

The diagrams show B#s mo$ement, passing through the pattern to the other side. The feeder#s position then changes from 0 to 2. "t#s the feeder ;0 in this case< who counts ;if there is a need to count< the 6 passes it ta&es to change positions. 2s soon as 0 ma&es the si!th pass, it#s his turn to begin mo$ing to the other side, passing in C5count ;e$ery other<. 2 is left as feeder, ;switching to 25count< and counts his first pass at the same time as 0#s si!th. B does three passes while mo$ing) the first from the starting point ;facing the current feeder<, the second while crossing through the middle of the other two 8ugglers, and the third beside the feeder ;which is also his last pass as feeder<. 1uring B#s mo$ement, 2 should also mo$e slightly ;see figures 2, ?, and C<, otherwise B might get &noc&ed in the head. R yt ms9 C5count ;e$ery other< and 25count ;solids< as in a normal feed. %=count Eruno*s Nig tmare -%/ ,ow the feeder is in ?5count. "t#s slower, and there is one less pass to ma&e when changing places. "n the regular $ersion, the change in positions ta&es three passes( in the ?5count $ersion, the last pass is omitted. *ore specifically, after the pass is made from the middle ;B in fig. ?<, the mo$ing 8uggler should continue mo$ing to the other side while turning around ;fig. C<, preparing to ma&e his pass to the ne!t feeder 6 counts later ;fig. 5<.

R yt ms9 Three5count ;walt@< and 65count ;one person passing with the right hand, the other with the left<. The table below illustrates a full cycle) ;corresponding with the diagrams abo$e<. !st rotation $nd rotation %rd rotation )t rotation A E 65count = 65count . ?5count 65count . 65count . ?5count 65count . 65count = ?5count

C ?5count 65count = 65count = <ariation9 There is also a PP3 $ersion of Bruno#s ,ightmare.

Turbo -%/
Turbo is somewhat li&e Bruno#s nightmare but it uses fewer steps to change posts, ma&ing it significantly harder. The 8uggler who mo$es ;2 in drawing 2< must begin turning right away to prepare for the ne!t pass ;drawing C<.

R yt ms 9 25count for the feeder and C5count for the feedees ;the problem is &nowing when to start feeding and when to stop<. <ariation9 a :05club turbo can be done. 0 starts with :0 clubs and throws a triple to B. B throws triples to 0 until they are not the feeder anymore. The idea is that the current feeder throws triples, and the person not about to be the feeder also throws triples.

52

%=person Patterns

Tornado -%/

6hat we want here is to ha$e 2 and B turning around each other. The feeling for starting the pattern ;diagram : for B and 5 for 2< is similar to the one in Bruno#s nightmare. The feeder should try his best to anticipate the mo$ements of the feedees. .R yt ms9 C5count for 2MB, 25count for 0 <ariations9 Try also ans Tornado, so that e$erybody gets to mo$e. 3hould be doable with 0 on a ?5count.

4ans Tornado -%/

This is a tornado in which the feeder also spins, but in the re$erse direction compared to the feedees. "n the diagrams, the direction is different from the tornado.

R yt ms) any, " thin&... 4ans Tornado -Mn;ersed/9 .e$erse the direction 2 M B rotate, as well as 0 ;it#s different because of the . passes<.

Eeer Passing -%/

Beer passing is nothing more than a special runaround. 6hat happens here is, we put down one club ;or more< and replace it with a glass of beer ;or anything else if you#re not into beer or alcohol<. The purpose is then to drin& one ;or more< gulp when you ha$e the glass. Hou need C, 5 or 6 clubs ;depending on how difficult you want it to be, and how drun& you already are< and a glass of beer ;the yellow disc in the diagrams below<. " gi$e some detailed e!planation for 6 clubs, but the process really is the same with fewer clubs. 2 M B start with ? clubs each on a 25count. 0 has the glass in his right hand ;and can start drin&ing<. 6ith 5 clubs, B only has 2 clubs and thus doesn#t ma&e this first pass. 2 M B are doing their = self. 0 catches B#s first pass, and &eeps the glass in his . . B catches 2#s pass. 2 doesn#t catch anything, he now only has 2 clubs. 2 M B pass. 0 can now gi$e the glass to 2 ;" did not say throw<.

B M 0 are doing a = self. To free his . , 0 must now ha$e gi$en the glass to 2.

2 M B pass. This is 2#s last pass. e can start to drin&, but he also has to mo$e to B#s side.

B M 0 are doing a = self. 0 now has ? clubs ;unless you Bac& to the beginning, started with less than 6<. 2 is now mo$ing and drin&ing at the but the roles are same time if he can manage that. This is also the moment where different. a fourth can come and replace the empty glass with a full one.

5?

)=person Patterns

)=person Patterns
These patterns are for C ;or more, in some cases< participants, with indications as to how to generali@e them to larger numbers.

Farge 8eeds -)G/

These are feeds with ? or more 8ugglers as feedees.

The first ? passes in a normal feed with the feeder 8uggling a 25count) +or more feedees, e$eryone 8ust lines up across from 1.

+eeder on 25count
Normal (eed -3weep (eed/ 1 feeds the clubs from left to right then from right to left, i.e. 0, B, 2, B, 0, B, 2... 2 M 0 are 8uggling an F5count and B a C5count. ,ote that it#s also possible for 1 to ma&e his passes in front of him while 2, B, 0 are mo$ing laterally on the line ;all at the same time< to recei$e their clubs. 2ll 8ugglers not on the ends will get twice as many passes as the two ends, unless ++ passes twice in a row to the ends. 8eed wit carriage return -Typewriter (eed/ 6ith a normal feed, 2 and 0 can get the impression of not passing often enough. "n this $ersion, 2, B and 0 are all passing a 65count. 1 now feeds the clubs from left to right only ;0, B, 2, 0, B, 2...<. 6hen the feeder reaches the end of the line ;2< he turns bac& to face the first feedee ;carriage return<. "f you want a more dynamic $ersion, try the speed5wea$e. Adding some more passes 6ith any of the two $ersions abo$e, 1 and 2 ;for e!ample< can agree to ma&e an additional pass. 6hen he#s about to pass with 2, 1 will ma&e his right hand pass ;normal< followed immediately ;instead of the self< by a left hand pass. The rhythm 5 for the typewriter $ariation 5 is now ---3-3 for 1 and --3333 for 2. "t#s a nice way to add difficulty for the 8ugglers who feel at ease with the pattern while &eeping it simple for the others. "f all ;2, B and 0< want to pass this way, 1 will find himself 8uggling ultimate ;see :5count feeds< as in the Bfeed 2B $ariation. 3imul 8eed The feeder is actually on a C5count for this one, but passes simuls. 1 passes two clubs at once e$ery C counts, and the pre$ious self to the simul is then hurried. 1 passes 2DB, s, s, s, BD0, s, s, s, etc. 2, B and 0 alternate passing C5count with F5count) P 333 P 333 3333. 2 passes to 1#s . , 0 passes to 1#s = , and B must alternate which hand of 1 they pass to. 1 always passes to left hands. To ma&e it less boring for the feedees, try the 3imul 3peed 6ea$e. Circle 8eeds 6ith enough feedees ;around F for a competent feeder on 25count< the feedees can arrange themsel$es into a circle around ++. 6ith fewer feedees, or more feeders in the centre, the feeders can rotate faster and the feedees can themsel$es rotate around the feeders. 3ee the patterns 0atherine 6heel and Ball Bearing. 6ith C on the inside and C on the outside, both rotating, feeders can ma&e e$ery pass to a new feedee.

!%G Clubs
7=club Passing 8eed This feed is based on the :0 clubs 25count feed. Hou 8ust need to add an e!tra club ;and only one, e$en if there#s more 8ugglers on the line<. The feeder passes on the same rhythm as in the E clubs 25count for 2 people and can choose to feed whoe$er he wants. e doesn#t e$en need to decide beforehand the order of the passes because the 8ugglers in front of him always ha$e the time ;one beat< to react and pass a club bac& when they see a double coming their way. Popcorn Fine 8eed The feeder does a 25count typewriter feed along the line, and feedees do E5club popcorns out of phase with each other. The feedees must wait until a pass is incoming and then lift into C clubs and pass bac&.

5C

)=person Patterns

8eeder on !=count
)=person 8eed ! The right and left hands are feeding in the same direction and two consecuti$e passes can#t be sent to the same person.

Cit out carriage return9

Cit

carriage return9

E U6 C

C5count ;-333< left5handed 25count ;-3<

6alt@ ;-33< This classical feed is also &nown as the Brban Terror 8eed&

)=person 8eed $ The right and left hands are feeding together the same 8uggler in front of the feeder. /ach = pass is sent to the person who recei$ed the pre$ious . pass.

Cit out carriage return9

Cit

carriage return9

EU6 C

--333333 ;F5count with an e!tra pass on the second beat< 0hocolate bar ;--33<

--3333 ;0hocolate bar if there#s only 2 of them in front of the feeder<

Crossing (eed The right and left hand are feeding in different directions.

R yt m9 B M 1 do -33 -3333, 0 does --33 ;0hocolate Bar<. <ariations9 in general, any se7uence of . = e!changes can be agreed upon and 8uggled( any time the feeder and a feedee are both doing a self can be replaced with two passes. These feeds can be easily e!panded to more feedees( it is probably easiest for the feedees to memori@e their se7uences of passes rather than try to anticipate them while 8uggling. Hesopotamia Three feedees, all doing C5count( the outside pair .5handed, the middle one =5handed. The feedee does a :5count typewriter followed by a @ip) RFR5. 4al(=compressed Hesopotamia) the three feedees can be compressed into two ;or one) see the E5club pattern 0ompressed *esopotamia< by stepping up the number of passes one of them ma&es. C yNot 8eed) the different 6hy,ot feeds can be e!tended by ha$ing all of the feeders doing EEEE2 ;PPPP5<. Hartin*s Hadness) the different $ersions of *artin#s *adness can be e!tended by ha$ing all of the feeders do the feed part( all of the feeders on one side will be doing the *ildness ;straight passes< and the others the *adness ;crossing passes<.

55

)=person Patterns

N= or C=8eeds
These are feeds in which there are multiple feeders, but each feeder only feeds e!actly two other people. Hou can use the traditional 65feed positions for these patterns, but all of them can also be done with the 8ugglers arranged as in the diagram on the right. 2ll of these feeds can be arbitrarily e!tended by adding more people at either end. Traditional C=(eed The feeders alternating which person opposite them they pass to) the two end people are feedees and e$eryone else is a normal feeder. R yt ms9 almost any of the ?5person feeds can be done in such a pattern. C=(eed wit %=count and $=count

R yt ms9 2 M B) 25count ;left hand throws for B< 0, 1, / ) ?5count C=(eed wit %=count and PP33

R yt ms9 A U E 9 c ocolate bar -PP33/ C (eed wit PP3 and !=count

C. 6. E 9 %=count -P33/

R yt ms9 2 M B ) :5count ;ultimate< 0,1 M / ) --3 C=(eed wit PP3 and miscellanous r yt ms

R yt ms9 A U E 9 PP3. C 9 3PP33P -3P=P3/. 6 9 3P33P3 -33P/. E 9 P33PP3 - arder to remember/

56

)=person Patterns
6ouble typewriter (eed 2 and B both do a =5>. typewriter feed out of sync with each other.

<ariation) try --3 or :5count for the feedees. Fodi Fow=down 2 65feed pattern with period C, and then the cycle repeats on the other side.

R yt ms9 2 M B) ---3-3-3, 0 M /) -3-33--3, 1) -333.

!%G Clubs
2dding a fourth ;or fifth4< feedee to a standard :05club feed to ma&e an , or 6 doesn#t wor& in 7uite the usual way( the e!tra feedee has to do %)p$$ ;double return<, or ;more interestingly< popcorn) )))p%.

3@uare -)/ +our 8ugglers stand at the corner of a bo! and each person passes with at least 2 others.
9rdinary s7uare patterns are generali@ations of triangles) each person passes with their neighbours on either side. Thus most triangle patterns can be done in a s7uare if each 8uggler ignores the person across from them. R yt ms) Lltimates, --3, Bermuda Triangle wor& well. 3ee Triangle ;?< for more $ariations.

T e Cross -)/
R yt ms9 /$erything depends upon timing in this one. The four 8ugglers all pass with the same rhythm, but this can be done in se$eral different ways, the only goal being to a$oid collisions in the middle. "n the classic ;ersion, e$eryone does C5count( while 2MB pass, /M+ throw right5handed selfs ;fig. :< and $ice5$ersa. 3econd option) e$eryone doing 25count( while 2MB pass, /M+ throw left5handed selfs. T ird option) 0hoose any rhythm. /$eryone passes at the same time and as if by some miracle, it can wor&) 3ee the diagram) 9bser$e the clubs as they pass through the middle. "t helps a lot if each opposite pair passes a bit to the outside. !) clubs9 6hen this wor&s it#s a huge deal, and one may well wonder why. 2MB and /M+ do E clubs in doubles. To a$oid collisions, each must be sure that he ma&es each of his throws 8ust after the 8uggler to his right. "f 2 starts first, + follows half a beat later, then B, and then /. <ariation) do C5count on triple passes. "f 2 starts with a triple ;to B<, + starts ne!t, on 2#s = self, with a triple to /. This $ariation is easier as there is less collision potential.

5E

)=person Patterns

3piderweb -)/ This pattern combines the 37uare and the 0ross.
6ith !' clubs9 the four of you stand in a s7uare and do a !) club cross by doing C5count on triples. "nstead of your . self throws, howe$er, you throw a R4 double to the person to your right ;the person who threw the triple following you<. Thus each person is doing Triple across. sel(. double to t e side. sel(, out of sync. E and 8 do F4 sel(s. E passes A and E do F4 sel(s. E passes a double and A a triple9 a double and 8 a triple9

Etc& The start is the same as for a :C club cross on C5count triples) if 2 starts, the ne!t triple comes from + and 2 passes their doubles to +( simultaneously with 2#s first throw, B throws a double to /. <ariation9 to ma&e the doubles inside throws, switch the position of / and +.

8east -)G/

Eoston Circle. Clock 2 feast is any pattern in which e$ery 8uggler passes with e$ery 8uggler around the circle, including themsel$es, e$eryone going in the same direction ;usually cloc&wise, for some reason<. 2 feast can be done with ? or more 8ugglers but is usually seen with at least C. The se7uence of passes for the s7uare is as follows) ere is the diagram for four participants) 2 and 1 start with selfs. A s B 1 0 E C 6 0 B s 2 1 0 s s 1 2

2 B

"f there is an odd number of participants, 8ust one person has to start with a self. R yt ms9 pretty much any rhythm. <ariation -8east and 8amine/9 change directions after e$ery four passes ;or three passes, or fi$e passes, or n5: passes<.

3el(less 8east -)G/

Complete 8eed 2 feast in which e$ery 8uggler passes with e$ery other 8uggler ;but not themsel$es<. Lnli&e in a regular feast, you are usually not passing to the person you are recei$ing from, thus it is a little harder) each 8uggler first passes to the person to their left, and proceeds around the circle. 2lso, sometimes passes cross in the middle, thus the timing needs to be accurate. /ach person is essentially doing a sweep feed of all the others. ere is the pattern for four) A B 0 1 E C 6 0 1 2 1 2 B 2 B 0

R yt ms9 pretty much any rhythm. <ariations) +eed bac& in the opposite direction so each person is doing a sweep feed . and =( thus for C, add in a second across pass. !%' 3weep -)/ /ach person sweeps . and = in a 55count pattern, passing on beats :, ?, and 5 and repeating going bac&. The se7uence is thus le(t sel( across sel( rig t rig t sel( across le(t before repeating. <ariation) this generali@es to an odd5count sweep for any number of passers( for 5, a !%'7 sweep, for 6, a !%'7O sweep, etc. <eteran*s 3tar is a 55person sweep feed on ?5count, starting with a . pass to the second person to your right. 3peed 3tar is the same thing e!cept on :5count ;44<.

5F

)=person Patterns
Aidan*s 8easts These are a type of selfless feasts in which the two opposing pairs ;20 and B1< 8uggle different counts so that their crossing passes don#t collide in the middle ;note that this shouldn#t be a problem if e$eryone is $ery good about &eeping to time<. /ach 8uggler passes se$eral times across the middle, one pass to each e!treme ;right and left<. <ariations9 for each pattern, at the end of a cycle each opposing pair switches their pattern to the other. A and C9 )=count? E and 69 %=count. 3ince each beat is shown, an s stands for a self. B and 1 pass to each other ? times, 2 and 0 pass to each other twice. A E C 6 1 0 B 2 s s s s s s s s s 1 s B 0 s 2 s s s s s s 1 s B s s s s 0 s 2 s s 1 s B s s s s s s s s B 2 1 0 s s s s s s s s s 1 s B 0 s 2 s s s s s s 1 s B s s s s 0 s 2 s s 1 s B s s s s s s s s

A and C9 $=count? E and 69 %=count& B and 1 pass to each other once, 2 and 0 pass to each other twice. A E C 6 1 s 0 B s s 0 s s s 1 B 0 s 2 s s s s s B 2 1 0 s s s s 0 s 2 s s s 0 s s s 2 s

A and C9 %=count? E and 69 $=count wJ triples. ere B and 1 a$oid collisions by throwing triples to each other. TT means a triple pass to T and h means a hold. A E C 6 1 0 B 2 s 0 s T1 s 2 s TB s h s h 0 h h s s s B 2 1 0 s s s s T0 1 T2 B h s h s h 1 h B s s s s

1 s B s

2 s

2 s

2 s

A and C9 $=count? E and 69 PP3& B and 1 pass to each other twice, 2 and 0 once. A E C 6 1 s B s 0 s 1 B B 2 1 0 s s s s B 2 1 0 s s 0 2 s s 1 s B s

A and C9 $=count? E and 69 PP3& This $ersion is a typewriter) = , middle, . but not returning through the middle again. A E C 6 1 0 B 2 s s 0 s 1 B B 2 1 0 s s s s 1 s B s

0 1 s 2 B s

1 s B s

1 0 s B 2 s

2 s

2 s

Rus and Rest -)/ This is a feast $ariation in which e!tra passes are thrown in. The cycle goes across rig t across sel( le(t sel(. A E C 6 0 s 2 s 1 0 B 2 0 s 2 s s 1 s B B 2 1 0 s 1 s B

Eermuda Vuadrangle -)/ This is a bo! pattern where each 8uggler does PPP3 in a feast fashion, but the feast proceeds by means of clubs going in triangles. Haya 2 longer $ersion. A E C 6 B 0 2 s 0 s 1 2 1 2 s B s 1 B 0 A E C 6 1 0 B 2 s s 1 0 B 2 s s 0 1 2 B s s 1 0 B 2 s s

5G

)=person Patterns

%=count Accommodation -)/

/ach 8uggler passes to two others. 2 does a ? count, B does --3, 0 does 25count right5handed, 1 does 25count left5handed. A E C 6 <ariation9 slow things down by adding in e!tra selfs, if you must, so e$eryone 8uggles ;shudder< one5sided. Jim*s %=count Accomodation) cross throws so that 2 is doing Jim#s ?5count( 0 and 1 will be doing Jim#s 25count, and B will be doing ... some sort of *adness pattern. 0 s 2 s s 1 s B s 0 B s 1 s s 2 s 0 B s s 1 s B

Alternating Triangles -)/

Though the layout is for a bo!, it is doable ;and possibly easier< if 1 and 0 face 2 and do dropbac&s to B, in which case this is two merged three5person lines. B and 1 can do dropbac&s or 8ust $ery wide angle passes. 2 ;feeder< does 25count feed to B and 1. 0 ;recei$er< passes 25count to 2. B and 1 do a C5count, passing dropbac&s to 0. <ariations9 different rhythms wor& as long as 2 and 0 pass twice as often ;:5count $s 25count, --3 $s ?5count, etc<. A E C 6 B 0 2 s s s s s 1 s 2 0 s s s s

<ariation) e$ery four counts 2 and B switch roles ;and thus 1 and 0 switch who they are passing to<. This is clearly easier to do if 1 and 0 are not doing dropbac&s. !%=club Mnterlocking Triangles9 B, instead of doing a self, throws a triple across to 1, then when 1 is doing their self, they throw the triple bac&. Rotate t e 8eed ;2#s position< so that e$eryone gets to do it. The full :65count pass cycle is shown( in each bloc& of four passes a different person is the feeder. 8eeder9 A A E C 6 B 0 2 s s s s s 1 s 2 0 s s s s E s 0 1 B s s s s 1 2 s B s s s s C 0 s 1 2 s s s s 0 2 B s s s s s 6 B 1 s 2 s s s s s 1 B 0 s s s s

<ariation9 do both switches of the feeder and rotate the feeders position. Tough44

PP3 Cross 8eed -)/ -Two on Two. 6ouble %=count. Jamp/

/ach 8uggler is doing a --3 feed with the two people facing them. 6hile 2M0 do PP3, BM1 do P3P.

<ariations9 augment the passes so that e$ery other pass is straight. The throws are no longer PP3 but it#s conceptually easier to follow. This can wor& in ultimates or 25count ;though you sometimes don#t pass when you#re supposed to<. <ariation9 e$eryone does *artin#s *ildness) 2 and 1 do diagonal passes ;. to ., = to =< and B and 0 straights ;or $ice $ersa<.

60

)=person Patterns

Trape#e -)/
The Trape@e sol$es the interesting 7uestion of how to ha$e C people all feeding while a$oiding collisions when the clubs cross. ,ormally, if e$eryone#s passes are dead on time, step 2 wor&s without a hitch. 9therwise, it may be necessary to play with the distances ;such as increasing the distance between 2 and B<. R yt ms9 25count or C5count <ariation9 9ther interesting solutions include forming a s7uare and putting two people ;2M0 or BM1< on chairs or to play with precision in timing in a true cross. !%G clubs9 with :C clubs, each person passes triples in a C5count with one person and singles in a C5count with the other person on the opposite side. Thin& of this as two sets of E club C5count triples, but replace all right sel$es with passes e!changed with the person on the other side who is in phase with you. Hou can do this with either the triples or the singles all thrown corner to corner and the others thrown to the person straight in front of you. ,ote that in this pattern, both the people on the opposite site from you pass to you at the same time e$ery time, one with a single and one with a triple.

6ynamic Trape#e -)/

2 mo$ing $ersion of trape@e.

This in$ol$es mo$ing forwards or bac&wards e$ery other pass. Thus, 8ugglers always find themsel$es in the trape@e formation to ma&e crossing passes, thus a$oiding collisions. /ach person mo$es immediately after each crossing pass so as to be in position for the ne!t.

Fines -)G/
These are 8ust some possible positions for C 8ugglers standing in a line. 3ome of them may not be interesting on their own. owe$er, they can be used as a transition between 2 others. Hou can try ;using a few half5pirouettes for the 8ugglers in the middle< to go from each position to the others. These two go together. The principle is the same as in the cross . 2 and 1 can do their passes in doubles, and can e$en use E clubs. These are augmented $ersions of the classic dropbac& line with ? 8ugglers. <ariations9 boundless $ariations e!ist once 5 or more 8ugglers are in$ol$ed. 3ee =ong =ines ;6< for a few more ideas. 6ropback Fine 8eeds The concept is simple) arrange two or more lines with at least 2 8ugglers each, and the front person of each line is merged to be the feeder. 6ith the minimum of C people, one of the lines can consist of only one person. The diagram shows a dropbac& line feed for 5, with a 25count feed. <ariation9 2 can do a double ?5count feed with B0 and 1/ doing %=count.

6:

)=person Patterns

T e W -)/

-Nogle/ Cit !$ clubs9 R yt ms9 any. Jim*s %=count <ariations +irst pass is right hand crossing, second pass is right hand tramline, third pass is left hand crossing, fourth pass is left hand tramline. 1 and 0 do crossing passes, so e$eryone ends up doing Jim#s ? count. There are two possibilities with this. 9ne is that you pass all your right hand passes to one person and all the lefts to another. Then some passes will be e!changes. The other possibility is that you alternate who you pass to. <ariation9 alternate rounds of a standard H with dropbac&, or re$erse dropbac&, patterns ;below<.

Cit !) clubs This wor&s e!actly li&e a E5club 25count pattern with a staggered start) 2 8ugglers ;here 0 and 1< starting first, followed a A a beat later by 2 and B. /$eryone can do doubles, or 8ust 0 and 1 ;with 2 and B continuing in singles<. 3lings ot9 a :C5club pattern in which 2 and B feed 0 and 1, and $ice $ersa. B and 1 start with C( all passes to and from 1 are triples. The pattern for passes is) A) 0, 1, E) 1, 0, C and 6) 2, B. Popcorn W !' clubs9 /$ery 8uggler does )=count popcorn -)))p% /) 0 ) ) )p % 1 ) )p % ) 1 )p % ) ) 1 % ) ) )p 2. The first 8uggler starts with their pass, and it cascades the passes around the H. !6 clubs C clubs per person. /$eryone starts at the same time and passes doubles.

Two 4arbour W -)/

0 throws dropbac&s to 1, who passes alternately to 2 and B. 0 and 1 8uggle a 25count while 2 and B do : round of C5count and :5round of 25count. A E C 6 1 0 B 2 0 s 1 2 0 1 2 B s 0 1 B

"n order to reduce collisions, it helps if 1 mo$es to either side so that the passes clear 0#s head. R yt ms9 a 55count can be used to wor& both hands e7ually. 2 65count $s ?5count would also wor&.

6ropback W -)/
0 throws dropbac&s to 1.

2 ?5count dropbac&. Re;erse <ariation9 0 throws dropbac&s to the two corner positions.

R yt ms9 2ny count will wor&, though in a count with e$en period all the passes will be from one side.

62

)=person Patterns

W$L -)/
"n this pattern B is the corner of two simultaneous triangles. B can either throw dropbac&s to 2, or B can face 2 and recei$e drop5forwards from 0 and 1. B starts with C and throws 2 simultaneous passes, 2 starts with 2. 0 and 1 8uggle a right5handed and left5handed 25count to B. <ariation) stagger the start so that B and 2 are doing a normal :5count.

Rotating W -)/ -Nogle Eoogie/

2s in the static $ersion, each 8uggler always throws to the same person and recei$es from the same person ;but those are two different people<. /ach 8uggler must be e!actly in the right position each time while mo$ing in an ;imaginary< circle. "t#s important to $isuali@e and anticipate where one should be passing and where incoming passes will come in. R yt ms9 C5count ;e$ery other< or 65count at first if it#s too fast. Hou can also mo$e only on e$ery 2 passes ;or ?, or C...<. <ariation9 3low Nogle Eoogie) 2lternate H formations with a standard bo!) 2 and B turn U turn, then 0 and B pass and 2 and 1 as in a standard bo!( then mo$e to the second position by ha$ing 0 and 1 turn( repeat. <ariation9 find four other 8ugglers and do a Twinned .otating H. ... etc.

Bnicycle -)/
2 is the seat, B the for&, and 0 and 1 ma&e the wheel with the circular path they follow. -asses from B to 2 are bac&drops. R yt ms9 ?5count <ariation) 2long the same lines, see the two5seated unicycle ;6 8ugglers<.

6art -)/
1arts are 8ust :25club H patterns on Lltimates ;:5count<. 3ince the bac& person ;2< has no selfs they can stand $ery close to B, which ma&es it easier for 0 and 1. They can also be done in sync ultimates or async. R yt m9 :5count ;ultimates<.

6?

)=person Patterns

3peed Cea;e -)/

-Cea;e/ "n this pattern, there is one static feeder, and ? mo$ing feedees who are mo$ing as if they were balls in a ? ball cascade ;a figure F<.

The feedees are always mo$ing. They can ma&e a $ery short pause each time they#re throwing ;and recei$ing< a club, i.e. each time they#re in the center or on the outside ;where B M 1 are in diagram :<. 9ne always mo$es bac&ward when on the outside after passing. 6hen in the center, you mo$e forward and to the side ;and you#d better hurry because somebody is waiting to pass behind you<. The feeder passes Rig t=Center=Fe(t=Center=Rig t=Center=Fe(t... e should try to anticipate his fellow 8ugglers# mo$ements ;i.e. short on the center, and long on the outside<. R yt ms9 6ith the classical version, the feedees are 8uggling a 65count, which gi$e them plenty of time to mo$e ;and to pic& up should they need it<, the feeder is doing 25count. !% clubs9 in rhythms with the feeder doing C5count ;see Twister 6ea$e, with an e!tra feeder<, the feeder can start with C clubs and throw triples, as in E club C5count. The feeder must anticipate the feedee#s locations( the feedees return a triple as normal. !=count 3peed Cea;e) if the feeder 8ust tries to feed :5count in the same rhythm problems will occur. 9ne solution is to pass twice in succession to each feedee. 3plit !=count 3peed Cea;e9 a more interesting solution is for the feeder to pass middle middle le(t rig t middle middle rig t le(t. The feedees do the se7uence PP3 P33 P33 P33333, or :5count, 25count, ?5count, ?5count, 65count. The PP3 happens as they are mo$ing forward through the middle, the 65count is as they are mo$ing around behind approaching the middle. 3iteswaps ;see Iandini#s 3iteswap 6ea$es ;5D< for more ideas<. "f the feeder ;2< only passes to the ouside positions, then the three feedees ;B,0,1< can, instead of mo$ing in a regular cascade ;%%%...<, do other ?5ob8ect siteswaps) for e!ample ))!, '%!, )$%. 3imul 3peed Cea;e This is a mo$ing $ersion of the 3imul +eed. 2 passes simuls on a C5count ;e$ery C counts, they pass two clubs at once( one of the passes is hurried<. 2 alternates passing to the centre and left, and centre and right. The wea$ers alternate C5count and F5count, i.e. P 333 P 333 3333. 6hen they are on the outside positions, the feedees pass to the hand that is near to them, and when they are going through the middle, the feedees pass to the hand in the direction they are going ;e.g. in the fourth figure, B would pass to 2#s . <. 2 always passes to = s. <ariations9 Easy version with fewer passes: "n this slim $ersion, the feeder only passes to the center. The feedees &eep mo$ing as in the classical $ersion, but they only pass when in the center position. /rase the passes in diagrams :, ? and 5 and replace them with selfs. R yt ms9 "n the easy $ersion with passes only to and from the middle ;see speed5wea$e<, feeder in C5count and feedees in :25count. "n a hectic $ersion, feeder in :5count and feedees in ?5count. 2lso try Boo&ends ;PP3P3< for the feeder. 2lso see) 1resser 1rawer 6ea$e, Iandini 3iteswap 6ea$es, 6ea$e with 2 feeders ;*r. "nside *r. 9utside 6ea$e<, 55person 6ea$e, "nterlaced 3peed wea$e.

6resser 6rawer Cea;e -)/

=i&e the classical 6ea$e, but in this pattern, the ? feedees all ha$e their own lines on which they#re going to mo$e. ,ot ha$ing to mo$e on a small figure F shape ma&es it easier for them ;but not for the feeder who has to $ary the length of the passes<.

R yt ms9 "n the usual $ersion, the feeder is doing a 25count and the feedees are doing a 65count. "n an easy $ersion with passes only to and from the middle ;see 3peed 6ea$e<, feeder in C5count and feedees in :25count. "n a hectic $ersion, feeder in :5count and feedees in ?5count. <ariation) after the feedees return to their initial positions, switch to a 3peed 6ea$e, and then bac& again.

6C

)=person Patterns

)=Person Triangles -)/

Triangle $9

These patterns are e!pansions of the ?5person $ersions., formed by adding a Cth person into the middle. R yt ms9 2 ) $=count B ) 33 P3 P3 P3 0 ) $=count 1 ) )=count

Triangle %9 R yt ms9 2 B and 09 $=count 1) )=count

T e Rotator -)/
This is a centered triangle with 1 turning around in order to face the others in turn.

<ariation) don#t do the BtriangleB passes and ha$e 1 turn faster to pass with each person in turn.

Tre(oil -)/

2 sort of triangle5within5a5triangle pattern.

2 and B start at the corners of a triangle and 0 and 1 start at midpoints. 6hene$er you are at a corner, you pass with the other person at a

corner and whene$er you are at a midpoint, you pass with the other 8uggler at a midpoint. 2fter a pass you mo$e to another position unless you ha$e 8ust arri$ed at a corner. R yt m9 65count. 2 and B pass, and 0 0 mo$es to the 2 and 1 pass, and 0 B continues around 2 is finally in the B lea$es the circle and 1. unoccupied corner and B. the inside while 2 middle. 2 passes while 1 8oins it. and 1 and B shift. and 0 shift. with B and 0 with 1.

The cycle repeats from the last position, e$eryone has mo$ed around a spot. <ariation9 this pattern is similar to the 0lo$er, which has a cycle of F passes.

65

)=person Patterns

)=person Pulsar -)/

2n e!pansion of the -ulsar.

This is a two count feed with the feed changing e$ery two passes. The ne!t feeder is to the =/+T of the pre$ious one.

2 is the first feeder and passes ., *iddle.

B passes = and then ..

0 passes *iddle, =.

1 passes ., *iddle. 2 passes =, .. opefully you can see how the pattern continues from here...

B passes *iddle, =.

Tarim*s Runaway -)/

This one is 7uite tric&y ;Tarim called it .unaway because when as&ed to try it out, people usually choose to run away<. " would strongly ad$ise you to first try the two static patterns on which this pattern is based) the --3 cross feed, and the ultimate line feed.

Bltimate line (eed9

Transition !9 2fter a right hand pass, 1 catches the incoming pass and mo$es to the ne!t position, ready for --3 with a . start and starting outside, self, inside, inside...

PP3 cross Transition $9 2 mo$es after a . pass to B. Before that, he has ta&en care to say BnowB to 0 on their pre$ious . pass ;so that 0 goes bac& to ?5count<. 2 goes to his new position with a . pass to 1 C beats later. 1, who has seen 2 mo$ing, starts passing to him instead of doing selfs( he now is doing :5count. Bltimate line (eed9 ,ow you are bac& to the beginning, with different roles) 1 is the new feeder.

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)=person Patterns

6ouble Rotation -)/

-3@uare 6ance. Hinuet/ "n general, you pass to the 8uggler across from you, change place with your neighbour beside you, ma&e another across pass, turn G0 degrees, and start again.

...etc R yt ms9 C5count ;e$ery other<. "t#s also possible to do a 65count while changing positions.

Note) alternate going behind and in front when you change places.

<ariation9 T e Canderer9 3ort of a reduced $ersion) one 8uggler ;6< mo$es around the circle, passing with the ne!t person anti5 cloc&wise around the circle before trading places with them. 3ee also the 65person 6anderer.

... and then we are bac& at the start, e!cept that e$eryone has mo$ed one place around the circle. To continue, 2 or 0 becomes the ne!t wanderer and then you start up again. R yt ms) C5count, or e$en ?5count if you are fast4 65count for a nice gentle $ersion or 8ust do 65count while you are changing positions.

Larama#o; 3 u((le -)/

This pattern feels similar to the 1ouble .otation.

/ach pair of passers rotates around each other and passes with the other pair. R yt ms9 C5count, a ?5count or e$en 25count would be faster but could be done. /ach person gets a self instead of a pass as they mo$e around the bac&. The outside pairs pass. /$eryone mo$es 06 U of the 2 and 1 pass. /$eryone mo$es 06 again, and way around the circle. the cycle continues.

<ariation) when e$eryone is in a line ;third diagram<, e$eryone can pass as in a =ine pattern ;B with 1, and 2 with 0<. <ariation9 if only one side rotates at a time, you can mo$e into and out of H formations.

Rotation -)/
;blue passes are optional<
"f you do the blue passes, either aim to a$oid collisions, or do all blue passes as doubles& "f the two circles rotate in opposite directions, you get the Oaramo@o$ 3huffle. R yt ms9 C5count in both cases ;it can be done in 65count to simplify things in the $ersion without the blue passes<. Jugglers gone mad may try other, faster rhythms.

6E

)=person Patterns

Een#ene Ring -)/

The ben@ene ring is in fact a double unicycle without the seats. R yt ms9 ?5count ;walt@<) 2 M B ha$e only 2 selfs for mo$ing or turning ;but the diagrams show a C5 count<. Try a slower rhythm ;C5count or 55count< if the ?5 count pro$es too hard.

Larama#o;s* 8eed -)/

2 rotating feed. The start is a standard sweep feed with 1 ;feeder< in 25count. 1 passes to 2, B, 0, B, 2, etc( B is in C5count( 2 and 0 in 65count.

2s soon as he has recei$ed 1#s pass, 2 mo$es 7uic&ly across, ne!t to 1, while the latter, upon seeing 2 mo$e, ma&es his last pass with B ;who then goes into F5count<.

2 replaces 1 as post and passes with 0 ;who should ha$e already ad8usted to the change and will then go into C5count< and 1 mo$es 7uic&ly across ne!t to 0 for the ne!t pass.

2 now passes with 1, and the configuration is once again li&e the first step. 6hile all this is happening, B, not ha$ing much to do, has time to do a few tric&s. "f you want more Oarama@o$ patterns, try the Oarama@o$ rotating feed ;5 8ugglers<. <ariation9 El NiXo -)/ This is a similar feed e!cept the feeds trade sides.. The diagrams show both hand passes but to do the entire thing without any selfs re7uires speed and precision.

,ow the feeder has switched sides to B.

...etc.

2fter the last step the configuration is the same as at the beginning e!cept e$eryone has mo$ed 2 places 006.

6F

)=person Patterns

3 ooting 3tar -)/

This pattern is a star from which a 8uggler has been remo$ed. Hou should be familiar with the star ;5< before trying this. 0 will starts with no clubs( all the others get ? clubs. *eanwhile, B does not recei$e any passes from the others, so when ? passes ha$e been made, he won#t ha$e any clubs left. 2t that moment, 0 will ha$e ? clubs, and will be about to throw a club in the hole. B now has to go through the pattern and be ready to catch 0#s pass ;see diagrams<. 9nce B is there, you start again from the beginning, but B now has 0#s role and 1 has B#s. ,ow, there are a few different ways to cross the pattern ;running and hoping you won#t get hit by a club is one of them<) here is another one that wor&s on a 25count) B only does 2 passes in diagram :. Before ma&ing his third pass, B steps in the middle of the pattern so that 2#s pass will tra$el 8ust behind his nec& ;diagram 2<. e now has to turn to be ready to catch 0#s first pass ;diagram ?< while 1#s pass to 2 flies behind his bac&. By mo$ing bac&ward, he reaches his new position and can breathe again ;diagram C<.

3ee also the other runarounds. +or a bigger $ersion, see 3hooting 3tar for 5D. <ariation9 B starts with : ;or 2< clubs, then 1 runs when he has : ;or 2< clubs, etc. *uch faster4 R yt ms and number o( clubs9 The abo$e $ersion uses a 25count and G clubs. But you can also play with the rhythm ;between 2 and C5count< and on the number of clubs ;you can add : or 2 clubs55though " don#t &now e!actly how55with the C5count<. The more clubs, the faster it gets.

Pistons -)/
Two more diagrams would show the rest of the complete cycle. /ach pair ;21, and B0< mo$e in the same direction around a s7uare, mo$ing from corner to corner after each pass. -asses are made alternately to each of the two passers in the opposite s7uare. Easier <ariation9 "f 2 and 1 rotate in the opposite direction ;mirroring B and 0< then each person always passes to the same recei$er. R yt m any, " thin&. Try -istons ;6<, or -rism for larger numbers.

6G

)=person Patterns

Row Row Row Wour Eoat -)/

+our 8ugglers stand in a s7uare facing in, and sing. The pattern is in the form of a canon ;or round< 5 there are four $erses, and each person starts with a different $erse, so e$eryone gets to sing e$ery part, at a different time to each other. The song is the traditional $ow% $ow% $ow &our 'oat. To start, one 8uggler starts at Kerse : and e$ery other 8uggler should be singing the $erse immediately 2+T/. the 8uggler on their ."I T. Eeat9 ! $ % ) ' 6 7 A 4and9 R F R F R F R F Kerse : 3ing9 .ow, row, row your boat Pass9 across self self across Kerse 2 3ing9 Ient5 ly down the stream PP. Pass9 self left left self Kerse ? 3ing9 *erri5 ly, merri5 ly, merri5 ly, merri5 ly, Pass9 across right right across Kerse C 3ing9 =ife is but a dream PP Pass9 self self self self PP "t is easy to forget the e!tra beats in Kerse 2 and Kerse C as there is nothing to sing here. The pattern could be done without singing, but it is actually easier to &eep count by singing along and associating the passes with certain words. +ailing to sing is not in &eeping with the pattern, and is frowned upon in polite circles. <ariation) :5count ;i.e. Kerse ? is ultimate instead of 25count<. <ariation9 for a 0anadian $ersion, sing %+rere Jac7ues' ;+rench or /nglish lyrics<) the passes follow the same rhythm.

3 i(ty 8erret -)/

3hifty +erret builds on the sweep feed and the bo! in order to create a dynamic pattern.

ere are the details of the pattern for 8ust the first two parts) 5 in the first one, 2M0 pass first, then BM1 pass and start mo$ing to position 2. 5 2M0 pass again ;between position : and 2<. 5 2, after his passes to 0, becomes feeder in a 25count and feed 1, 0 M B once. 5 2 comes bac& to a C5count after a last pass to 0 ;between position 2 and ?<. 2 and 0 pass again after this, as B and 1 are mo$ing.

2 and 0 pass again after this.

2 and 0 pass again after this.

2 and 0 pass again.

B and 1 pass as 2 and 0 are mo$ing.

B and 1 pass again.

B and 1 pass again.

B and 1 pass again.

Jugglers alternate in fact between 25count, C5count and F5count. But it#s easier to try watch what#s happening and pass accordingly than to remember the whole counting cycle.

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)=person Patterns

T ree=Fea( Clo;er -)/

The idea of a clo$er is to ha$e a 8uggler on each leaf and one in the middle. The mo$ement pattern ;see diagram< loo&s li&e a clo$er. The middle 8uggler &eeps trading places with a leaf. R yt ms9 you will need a self or two to turn around as you go into and out of the middle, since 2 will pass with 1, 0, 1 and then B on their way into and out of the middle. 3o ?5count or abo$e should wor&.

2fter these F passes, the outside ? 8ugglers ha$e mo$ed around : leaf 5 after 2C passes e$eryone returns to the starting position. <ariations9 change who passes to whom as you mo$e in and out( 2 could pass to B in the third step. 2lso, three people could pass in a triangle in e$ery other step, for e!ample 201 on the second step, B01 on the fourth step, etc. 8our=lea( Clo;er9 add a fourth leaf and fifth 8uggler, the passing se7uence is similar) e$ery other pass starting from the first does not in$ol$e the center 8uggler ;the two outside pairs pass<, on the 2nd, Cth, etc passes .the center 8uggler passes with the person they are facing.

Ho;eable 8east -)G/

2 mo$ing $ariation of the feast.

/ach 8uggler passes to all the others in turn, including themsel$es. The 8ugglers start in 2 lines facing each other and pass to the person opposite them. Thus no matter how many people 8oin in, there are no aw&ward long passes. These diagrams for :0 8ugglers should gi$e you a good idea of the pattern, e$en if they don#t show a full cycle. 2fter each pass, e$eryone mo$es : step to the left, so their ne!t pass will be with a new partner ;the person ne!t to their last partner<. "n the diagrams, JE passes with JC, then J?, then J2, ... 2fter passing at the left end of each line ;J5 and J:0 in diagram :<, a 8uggler has E beats to change sides) ? selfs, a pass to himself ;4< and ? more selfs. 3ome people might prefer to gather their clubs and start again on the other side. 2dding 8ugglers to the pattern is fairly simple) you 8ust 8oin the end of a line.

R yt ms9 C5count or 25count is common, but anything possible in a feast wor&s, which is pretty much anything. 65count is slow and easy. "f you ha$e an odd number of 8ugglers, then there will always be somebody changing lines) for e!ample for G 8ugglers)

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)=person Patterns

3kinny Ho;ing 8east -)G/

The principle is similar to the *o$eable +east e!cept the lines are close together to allow the passers to wal& forward instead of sideways. 2lso it allows an important $ariation, the 3lalom. The pattern is the same as the *o$eable +east e!cept that the lines mo$e forwards instead of sideways, and thus the passes are 8ust a bit to the side. The lines must &eep close together for this to wor& well. 6hen each 8uggler reaches the end of the line, they ma&e a self pass while turning into the other line. R yt ms9 65count wor&s well, C5count is a bit hurried. "t is easy to add people on to the end of either side, in fact you can 8ust wal& up and 8oin in the line with no difficulties. 3lalom This is a nice $ariation adding more mo$ement to the 3&inny *o$ing +east. 2fter each pass each 8uggler changes lines( you change places in front of the person you 8ust passed with. The start is li&e the 3&inny *o$ing +east. 2fter the pass e$eryone changes lines to the opposite side. Be careful at this point that you &eep the two lines close together.

,ow e$eryone passes with the opposite line again. 0 and +, since they are on the ends of their lines, ha$e no one to pass with and so they do a self. /$eryone changes lines again. 3ince 0 and + are at the ends, they do not change lines, but rather they mo$e forward in their own lines and turn around. +#s ne!t pass will be with /, and 0 with B. R yt ms9 65count( C5count is possible but then you are mo$ing pretty 7uic&ly and it really feels li&e %slaloming'.

E2

'G =person Patterns

'G =person Patterns

These patterns are generally presented in increasing order of the number of participants, though since many of these patterns can ha$e $ariable numbers of participants this order is necessarily 7uite fluid.

3tar -'/

-Pentagon. Pentagram/ The diagram ;here passing with the right hand with the same rhythm< lays out what a star loo&s li&e. The timing of the passes is important, otherwise there#s a ris& of collisions between B#s passes and 2#s ;or 0#s< for e!ample. ,ote that each 8uggler could pass to either the person to their immediate right or two to the right ;as in the figure<) passing to their immediate right is 7uite difficult.

<ariation) The star concept becomes interesting starting with 5 8ugglers but more can be added) with an e$en number, you get 9$erlapping Triangles ;for 6< or two dis8oint patterns o$erlapping( with an odd number e$eryone passes to person across from them to the right. To ma&e it more collision5prone, try passing ;right5handed< to the person across from you on the left ;i.e. 2 passes to 1, who passes to B, etc<. 3ee 3hooting 3tar for a dangerous $ersion with C people. 3ee 9$erlapping Triangles and ,onagon for 65 and G5person stars. R yt ms9 Lm, all of them ;" thin&( in the end it depends on whether you can a$oid collisions<. ?5count is nice, :5count is $ery nice) wor& up to it with all the %in5between' rhythms) --333, 0hocolate Bar ;--33<, --3. !6=$0 clubs9 with more clubs, one or more 8ugglers must start with C and start early, and passes should be doubles ;singles is harder to a$oid collisions as it is faster<. Ienerally if the others 8ust wait until they ha$e an incoming club to pass, the rhythm will sort itself out. !A clubs) 0, 1, and / start with C and e$eryone starts in the order /, 0 M 1, B M 2, though in reality that rhythm is slightly fudged. $0 clubs9 e$eryone starts with C and starts simultaneously, 8ust passing an F club 25count. <ariation9 put another 8uggler in the centre and ha$e them participate in some way) ta&eouts, dropbac&s, etc. The centre 8uggler can rotate, recei$ing a pass from whoe$er they are facing and pass a dropbac& to the person behind them. 3tar (or 7 ,ote that each person can pass to either the first, second or the third person to their right) i.e. 2 can pass to either I, + or /. 6hen passing to / ;as shown<, the passes are longer but collisions are less li&ely with I or +#s pattern( when passing to + the pass is shorter but the pass is more li&ely to hit I#s pattern. R yt ms9 any in which you can ma&e the passes long enough. <ariations9 see 3hooting 3tar for 5D for a very dangerous pattern.

3tar 8ruit -'/

Topologically, the 3tar +ruit is a compressed :5count 3tar with two re$ersed polarity passes. 9n the first pass, 2 and 0 ma&e . passes and the others ma&e = passes. 2 ma&es a . pass to 0#s = .

This pattern is li&e a :5count 6 feed with a twist) the outside pair of feedees, here 2 and 0, e!change passes between their outside hands ;2#s . and 0#s = <.

9n the second ;and subse7uent passes<, e$eryone returns the first passes to where they came from)

E?

'G =person Patterns

6ouble 8eed -'/

-Apollo. Augmented 8eed/

R yt ms9 2 in 25count, 5B, 0, 1 M / are in C5count. To ma&e left hands participate, try %=count9 2 does --3, e$eryone else does -33. Try this $ariation) 8ust replace the middle diagram with 2 and 0 passing = ed) 5 2 in :5count ;ultimate< 50 in left5handed 25count 5B, 1, M / in right5handed 25count <ariation) 2 on ultimates ;:5count<, 0 does --3 with 2, and B, 1, and / do ?5count. 2 passes to 0,0,B,0,0,1. This is nice because / can stand closer to 2 as / always passes outside of 2 ;. to the right, = to the left<. <ariation) 2 does ultimates ;passes to B,0,1,B,0,1<, 0 is on ?5count, B, 1, / on --3. E+tra club9 add a club ;on a rhythm with 2 in 25count<. 2 starts with C clubs( /, B, M 1 start one count later, and 0 starts one beat after 2#s second pass ;which is coming to him<. / is unchanged. <ariation) / and 0 can e!change triples passes on /#s self and 0#s self.

Nogles U Llingons -'=7/

6ouble Nogle 2dd a 8uggler ; < and 1 passes dropbac&s to them.

2 few $ariations on the H ;9ogle< in which :, 2 or ? 8ugglers can be added to the pattern. Llingon wit s ield Llingon -Nogle wit wings/ ;Llingon wit (ull s ield if you add the blue passes<

N;erlapping Ws -6/ This pattern consists of two Hs merged side5by5side. The passes from 2 to / alternate which pattern they are in. 2 and / do PP3( B, 0, 1, and + do %=count, with B and 1 starting with sel( pass& <ariation9 for a faster $ersion, 2 and / do :5count and the others do a 25count, so one H is all left5handed.

Pyramids -6G/

Kiewed from the side, the clubs ma&e a pyramid in the air. 2 and B start things off by passing a low, fast, 6 club $=count. 0 and 1 do 7 clubs $=count so that their pattern clears the lower one. / and + then do a 7 club )=count on triples to pass o$er the other patterns. 2nyone else showing up can then pass o$ertop) see how high you can get. The ne!t pair could do E clubs on a slow C5count on 7uad spins... or perhaps F. Then someone lies on the ground in the middle and ta&es a picture4

EC

'G =person Patterns

W Lnot -6/

Three different H patterns stac&ed on top of each other. ,ow we#re getting serious. /$eryone stands li&e this) +irst, 21/+ pass in a standard H. Then 2B0+, then B01/, then 21/+, then 2B0+, then B01/ before the cycle repeats. /ach 8uggler is doing PP3 ;or $ariants thereof, with e!tra selfs thrown in<. A9 E9 C9 69 E9 89 / s s 2 + 1 0 2 + s s B s / 1 B 0 s 1 s s + 2 / B + 2 s s 0 s 1 / 0 B s

<ariations) real /insteins can find 6 different H patterns here, which you could cycle between.

3 ooting 3tar -'G/

2 generali@ation of the C5person 3hooting 3tar. There are two BholesB in the E5pointed star, represented by gray circles in the diagrams. /$eryone e!cept / starts with ? clubs and passes as in the first figure( once 2 runs out of clubs ;after ? passes<, they mo$e to their right to occupy the $acant space, and / starts passing to them ;see second figure<. 2fter ? more passes , B will run out of clubs and mo$e to their right and start recei$ing from 2 again, etc etc. +or one full cycle all of the 8ugglers will slowly wor& their way around the entire star by one position in order. "t is difficult to &eep trac& of the correct positions so it may be helpful to mar& out a E5 pointed star on the floor to &eep things neat. ... etc. R yt ms9 any in which you can ma&e long and precise enough passes.

<ariation9 try it with 6 people, only missing one person out of the E. Then it ta&es a long time to do a complete cycle. <ariation9 / starts with : ;or 2< clubs, then 2 runs when he has : ;or 2< clubs, etc. *uch faster4 <ariations9 all of the 3tar for E $ariations ha$e 3hooting 3tar $ersions, which you deduce easily by forming the pattern ;minus one or more 8ugglers<, and seeing who runs out of clubs and when. 2 nice $ersion is passing two to the right with 5 people( this is li&e the C5 person 3hooting 3tar as you ha$e to run across the pattern when you run out of clubs. <ariations9 3hooting 3tars are good ways of ma&ing larger and larger circles while missing more and more 8ugglers( while the practical limits of the 3tar top out at about E or G, a 3hooting 3tar can be done with, say, an ::5pointed star and E passers.

E5

'G =person Patterns

Fong Fines -6G/ These are a few of the common larger =ine patterns ;that do not in$ol$e 1ropbac&s<.
3erial Fine) for (n 8ugglers, e$eryone simultaneously e!changes passes with the person n places away( e.g for 6 people, the first and fourth e!change, second and fifth, and third and si!th. The $isual effect is lo$ely as all the passes tra$el in the same direction at once. 2s more people participate, the passes in$ol$ed get longer. R yt ms9 for anything o$er C people, 7 club )=count ;on triples< wor&s well and loo&s great. 2 slightly different arrangement wor&s well as it can be arbitrarily e!tended without lengthening the passes. 0 and 1 stand bac&5to5bac& and pass to their partners outside. The $isual effect is the same as the 3erial =ine but this is generally easier. R yt ms9 again, 7 club )=count wor&s well. To e+tend the 0hain, the ne!t pair ;I and < will ha$e I standing bac&5to5bac& with /, and on the other side of +, etc. Joining Fines9 by adding a feeder at one or both ends, or ha$ing complementary people recei$ing from one line and passing to the other, lines can be 8oined in many ways. e.g# This is a four5person dropbac& line attached to a ?5person line by ha$ing the two front people ;2 and /< recei$e from one line and pass to the other. <ariations9 try triangles, 8oining lines in 6 and , shapes, etc. T e C ain

Mnside=outside Triangles -6G/

This pattern combines dropbac& lines with triangles. <ariations9 "f the basic pattern is a C count, it is possible to pass separately in the 2 triangles ; inside and outside< on the beat of the self. To enlarge this concept, it is also possible theoretically to add as many triangles as we want, as shown in the diagram on the right.

Mnside=outside 3@uares -AG/

B, 1, +, and are throwing dropbac&s to the outside persons. 2dd more people in fours by adding in more lines between the inside and outside ;see "nside5outside Triangles, abo$e<. <ariations9 "f the basic pattern is a C count, it is possible to pass separately in the 2 triangles ; inside and outside< on the beat of the self. 6ropback 3@uare9 the four inner persons can stand e!actly halfway between the outside people( this is 8ust a s7uare with four 1ropbac& =ines on the sides. Rotating 6ropback 3@uare9 on the self beats, B,1,+ and wal& U turn around their inner circle to mo$e to the ne!t position. Hou will want to do 6=count at least for this.

E6

'G =person Patterns

Mr;ine Pinw eel -'/

The picture can#t particularly do it 8ustice( what is happening here is that 2 and / are alternating passing triples to each other and passing singles to the inner circle) B, 0 and 1 are doing a 65count and wal&ing around in a tight circle, alternating passing to 2 and /. Thus 2 is feeding, alternating passing to / and whoe$er is in front of them in the middle, and similarly for /. <ariations) put more ;or fewer< people into the middle and ma&e the middle people ha$e a longer ;or shorter< count ;F5countJ<.

Mnterlocking Triangles -6/

Two or more triangles can be combined in $arious ways. ere are some of the simplest. Argyled Triangles9 Argyled 3ock9 2 and 1 face each other and pass double ?5count ;PP3< alternating /$eryone passes double ?5count ;PP3<. passing with each other and the other people. B,0,/,+ do ?5count, A B 1 s 0 1 s alternating with each other and 2 and 1. E 0 0 s 2 0 s A B 1 s 0 1 s C 2 B s B B s E 0 s s 2 s s 6 s 2 / s / + C 2 s s B s s E s + + s + 1 6 s 2 / s 2 + 8 s / 1 s / / E s s + s s 1 8 s s 1 s s /

N;erlapping Triangles -6/

Jugglers in either triangle do not e!change with the other. "n patterns of this type( any triangle pattern can be used as long as collisions can be a$oided. R yt ms9 try any triangle pattern for GD clubs in either triangle, and try ha$ing different patterns in each triangle.

6iamond -6/
A E C 6 E 8 / + 1 0 2 B 1 s s 2 s s B 2 / + 0 1 1 s s 2 s s

R yt ms9 any, " thin&.

EE

'G =person Patterns

:andini*s 3iteswap Cea;es -)G/

Hou should be familiar with 6ea$es before trying this. The principle is to use a feeder that will represent the brain of a giant 8uggler. The balls are represented by other 8ugglers ;the feedees< who go bac& and forth between 2 positions ;the Ts on the diagrams< where they pass with the feeder( these positions are the giant 8uggler#s hands. 6e#re also going to use a bit of siteswap theory. The feeder passes alternately to both positions ;and usually in a 25count<. 2 feedee will be either in one of the hands, or 7ueuing behind if there is already someone there. 6hen a feedee is in the hand, the feeder ;at the same time as the pass is made< will yell to him a number ;corresponding to a siteswap throw<. The feedee then mo$es according to this number ;let#s call it n< and we ha$e) the number of right hand selfs before the ne!t pass S n5: $9 if n is e$en, the feedee will 7ueue again for the same position ;hand< if n is odd, the feedee will change hands. The diagrams show what a feedee should do when the feeder says :, 2 or ?) "n general, the feeder will choose a wor&ing siteswap se7uence, and the feedees in front of him will arrange themsel$es to start correctly ;compare with how many balls in each hand you need for the true pattern<, and off you go4 The feeder can choose to change the siteswap se7uence at any moment since he#s saying the numbers out loud. ere is an e!ample for 5?C ;C feedees since it#s a C ob8ect pattern<) %9 !9

Larama#o;s* Rotating 8eed -'G/

/ach 8uggler in turn becomes post in a line feed, and in fact only ma&es one sweep through the line, after which the last feedee becomes the feeder. To allow the formation to turn, the 8ugglers should form a circle rather than a true line.

"n the diagrams, 2 is the post at the beginning. e feeds the other C in order, and the feeder changes with 2#s pass with / ;at the end of the line<. /$eryone then repositions themsel$es ;cf. diagrams C and 5< and / continues as post. The ne!t feeder will be 1, etc. R yt ms9 the classical $ersion is 25count for the post and C5count for the others, now it#s up to you to use your imagination. <ariations9 Try this with a smaller or greater number of 8ugglers. 3ee Oarama@o$#s +eed for C.

Cea;e wit Two 8eeders -'/ -Hr& Mnside Hr& Nutside Cea;e/
Hou 8ust ta&e the speed5wea$e, but you gi$e the feeder position to 2 people ;2 M /< who are then doing a C5count. / ma&es the outside passes, while 2 passes to the 8uggler in the middle position. Hou can also try it with / standing on 2#s shoulders, or behind 2.

Twister Cea;e9 put the second feeder on the other side of the wea$ers ;opposite 2<. Then B,0, and 1 turn around ;:F0V< while they rotate and pass to / from the same position.

EF

'G =person Patterns

'.).'.!0 Trape#oid -'/

2 line feed in which the line constantly rotates.

2 ;the feeder< does PP3 to the positions /, 1, self, 0, B, self ;= to ., from 2#s perspecti$e<. The feedees do '=count, )=count, '=count as they wal& across from = to ., and then :05count as they mo$e around the bac&. 2#s first pass is to / who then starts their :05count and mo$es to B#s position. 1#s first pass starts their second 55count, 0 starts with their C5count, and B their 55count ;note that either / and B or 0 and 1 start with = passes<. <ariation) / mo$es around behind 2 to B#s position.

6ouble Cea;e -6/

Two wea$es face each other( each opposing pair of 8ugglers passes only with each other. The standard wea$e pattern has 8ugglers mo$ing forwards in the middle and bac&wards at the outside. Cross Corner9 switch the positions of 1 and +, so that the pairs 21 and 0+ are passing long diagonal passes. E@uidistant9 1/+ do a re$erse wea$e, mo$ing forwards on the outside and bac&wards on the inside, so that pairs remain the same distance from each other at all times. Async ronous 6ouble Cea;e9 A E C 6 E 8 1 s s 2 s s s / s s B s s s + s s 0 6resser 6rawers9 wea$ers mo$e in lines parallel to each other( see 1resser 1rawer 6ea$e for an indication of how the wea$ers mo$e. 3ide 3witc ing9 after 2 and 1 pass at the end, they switch sides, and similarly the other pairs. 3ync ronous9 each pair of opposing 8ugglers passes e$ery C ;or ?, 2...< beats, basically whene$er e$erybody is aligned. -ositions 2 and B switch while / and + switch, and then positions B and 0 switch while 1 and / switch. 3iteswap Cea;es9 instead of mo$ing in a regular cascade ;%%%...<, each trio of wea$ers can do other ?5 ob8ect siteswaps) for e!ample ))!, '%!, )$%. ;see Iandini#s 3iteswap 6ea$es<

<ariations -7G/9 add a feeder on one side ;or both< and con$ert the wea$e on that side to a Twister 6ea$e.

8i;e Person Cea;e -6/

The standard 6ea$e pattern is generali@ed to ha$e fi$e wea$ers. ere is the starting pattern and mo$ement)

This is the 205step se7uence of mo$ement) the s7uare indicates where the pass goes to +. ,ote that + is ma&ing a sweep feed, feeding bac& and forth along the line. /ach feedee starts mo$ing right after they ha$e passed.

EG

'G =person Patterns

T e Elast -7/

This pattern is a 55person wea$e with two feeders.

The table shows . passes with a C5count timing, so the fi$e wea$ers are doing an F5count.

3trange Attractor -'/

ere is a wea$e5li&e pattern with a feeder on either side( not only that, the wea$ers pass with each other as they mo$e4 ,otice that, unli&e a regular wea$e, the feeders pass twice in a row with each feeder.

2nd the cycle repeats symmetrically from here...

E+tended Ws and 6arts -6G/

The C5person patterns Hs and 1arts can be e!tended arbitrarily as long as you ha$e an e$en number of participants. E+tended W) R yt m9 any E+tended 6art) R yt m9 :5count, async or sync

F0

'G =person Patterns

Een#ene Ring -6G/

Two 8ugglers feed e$eryone else in the central BringB) for e$ery two e!tra 8ugglers in the central ring, each person ma&es an e!tra pass to each feeder before cycling around the circle to face the ne!t feeder. / and + are feeding BtypewriterB style to the positions in front of them) left, middle right, left, middle, right, etc ;there are as many positions in front of the feeders as AD2 the number of 8ugglers in the middle) C positions for 6 feedees, etc<. +eeders ;/ and +< are 8uggling $=count while feedees are on a )=count. <ariation9 3piral Cea;e -6G/9 "nstead of following a simple loop pattern, the central 8ugglers mo$e in a wea$e pattern. 3ee the picture for mo$ement pattern( the passing se7uence can be deduced from the se7uence for the Ben@ene .ing) each feedee alternates which feeder they pass to. This is similar to the Twister 6ea$e.

Twister 3andwic -O/

1, / and + are doing a Twister 6ea$e and the outside two feeders ha$e been replaced by two separate wea$es. To help you remember who you pass to, 8ust pass to the person directly across from you ;$ertically in the picture<. 2 and " are passing at the same time, as are 0 and I, and and B. 2nd good luc&4 <ariation -!$G/9 add more twister wea$es in the centre.

Cea;ing Fines -O/

This insane pattern in$ol$es combining 1rop5bac& =ines with 6ea$es) each 8uggler is ta&ing part in a line with the two people in the same column, and a wea$e with the people in the same row. 2, B and 0 face downwards, the rest upwards. The wea$es occur sideways and 1, /, and + are passing dropbac&s to I,. , ". R yt m9 /$eryone passes a 65count to gi$e lots of time to mo$e between positions. <ariations -!0G/) "#m sure you can figure out cra@y ways to add a feeder ;in front of 2,B,0< or e!tra wea$es ;to ma&e longer dropbac& lines<.

Nonagon -O/
This pattern is 8ust three 9$erlapping Triangles. 2ll passers must be $ery accurate to a$oid hitting other people#s patterns. -asses will need to be 7uite long, doubles may be useful. R yt ms9 any 3tar or 9$erlapping Triangle rhythm will wor&, which is pretty much all of them( also try ha$ing different triangles do different rhythms.

F:

'G =person Patterns

4inges -7G/

inged patterns are feeds that are combined by one person ;the hinge< who ta&es part in both feeds The pictures show all of the passes in grey lines to indicate who is passing to who. To start) ha$e the hinge;s< initiate the feeds by passing to their left and then their right, and the feeds go outwards from there. 7=Person 4inge) 0 is the hinge and + and I are feeders doing a standard sweep feed. !0=Person 4inge ere 2 and 0 are the hinges, I, / and + are feeders. !$=Person 4inge The hinges are B, 1, O, and "( the four feeders are 2, /, and =.

Eall Eearing -6.A.G/

+irst pass)

Two 8ugglers stand inside a bo! and circle around inside it. Then / and + rotate U turn. 3econd pass) 2nd continue around the circle...

R yt ms) C5count, ?5count. 25count is probably a bit fast, especially since the long passes through the middle will ta&e a long time. To help ad8ust for this, / and + can ma&e two passes with 1 and B while 2 and 0 ma&e one pass ;or / and + ma&e three passses to 2 and 0#s two<. <ariation -A/9 ma&e the outer formation a he!agon. The middle two circle around passing with the 8ugglers facing them, and the other four pass in two lines, on either side of the middle pair. +irst pass) 3econd pass)

etc&

3tar o( 6a;id -6/

This is a self5less feast in which not e$eryone#s passes mo$e around in the same direction.

F2

'G =person Patterns

... and then the cycle repeats. To ad8ust for the long passes through the middle, at the stages where passes go through the middle the outside two pairs can do two ;or three< passes while the middle pair can do one ;or two<.

Torture C amber -'/

* ;for *asochist< stands in the middle of a C5person bo!. 0 and 1 do )=count. These should normally be the easiest positions, but they must be able to catch *#s potentially ha@ardous passes. 2,B, and * all do $= count. * faces 2 and B. -ositions 2 and B are a little harder. 2 should wait for a pass from 0 when throwing to B ;steps : and 2<) This ma&es a G0V angle. 2lso, they are doing 25count, ma&ing a feed without a carriage return ;cf. feeds<.

3ince * faces 2 and B, the passes to 0 and 1 are made blindly. /ither the two passes are made o$er the shoulder ;bac&drops<, or * can turn slightly and throw under his arm to 0 and o$er the shoulder to 1. <ariation9 Try ?5count) 0 and 1 do %=count, e$eryone else does PP3. Hou could try 25count/:5count too. "f you want to add more people, see Torture 0hamber for E.

Egg beater -'/

R yt ms9 25count for 2, 33P3 P33P for the others ;P3PP P3P3 for the others with the blue passes<. 4andle in t e Eatter9 with all passes the same, 2 instead stands below 0 and 1 on the diagram abo$e. 6ouble= andled Egg Eeater9 add an e!tra BhandleB ;feeder< in the opposite position to 2) in e$ery second diagram abo$e, when 2 passes, they pass to the near person instead of the far one, and the e!tra feeder passes to the far one in the same manner.

F?

'G =person Patterns

Ra#or -6/

3ome sort of confused 3trange 2ttractor5li&e pattern.

:.

2.

?.
R yt ms9 ?5count ;$ery hard<, C5count or 65count

C.

Eutter(ly Lnot -6/

R yt ms 9 C5count

Electrical Ra#or -6/

R yt ms9 ?5count ;$ery hard<, otherwise C or 65count Vuad Ra#or -A/9 ma&e four circles of two 8ugglers each, arranged in a s7uare. /ach person passes twice with the same person in the circle ad8acent on one side, and then twice with the same person ad8acent on the other side.

FC

'G =person Patterns

6ouble unicycle -6/

.ecommended that you are familiar with the Lnicycle ;C<.

The ben@ene ring for C can help you build up to this pattern, since it#s a double unicycle without the seats. B and + are throwing dropbac&s to the people behind them. R yt ms9 ?5count, perhaps 55count would be easier.

Hagermi+ -6/
"#$e ne$er tried this pattern, since "#m e$en not sure how it goes. -lease contact me if you &now. 9n the right is a representation of Bruno#s ,ightmare ;diagrams being slightly different than usual<. 2nd below is what " thin& would be *agermi!. "n some sense we ta&e 2 ad8acent $ersions of Bruno#s ,ightmare and mi! them together...

Bruno#s nightmare

4ourglass -6/

F5

'G =person Patterns

Pistons -6/
This is a nice generali@ation of the C5person pistons. The pattern repeats after the following two sets of passes, with each 8uggler mo$ed around in the positions. ... now 2 mo$es to 0#s position, etc.

Prism -6/

2nother $ariation of pistons. There are two triangles ;2B0 and 1/+< that rotate around and pass amongst each other..

<ariation9 2 8ugglers swap sides in the pattern e$ery ? passes by ha$ing the middle triangle of ? rotate. "magine the 8ugglers ha$e done the first 2 passes ;see the first 2 diagrams abo$e<. ,ow replace the third diagram abo$e by the first one on the left. The passes are the same, but the mo$ement that follows is going to be different ) 5 0, + and 1 are not going to mo$e 5 2, B, and / are going to swap position in the middle triangle, and 2M/ also ha$e to turn :F0V while mo$ing. 6hen this is done, 2 M / ha$e swapped sides, and the normal pattern resumes for ? more passes. "n this pattern, B ne$er changes sides.

F6

'G =person Patterns

3pinning Top -6/

2 turns in order to feed all the others alternati$ely. The 5 others alternate their passes between their 2 neighbours, e!cept of course when they#re passing to 2 ;the ne!t pass is then made to the right5hand neighbour<. R yt ms9 Hou can try it with a C5count or ?5count.

T e Canderer -6/

2 generali@ation of the C5person 6anderer pattern. 9ne person wanders around, passing with their neighbour and then swapping places with them. "f you &eep it together long enough for that person to complete their cycle, the ne!t person becomes the wanderer.

...etc.
The other 8ugglers, until it#s their turn to pass with 6, pass with their neighbours and then their opposite. R yt ms9 C5count, or ?5count.

Mt*s possible -6/

B and 0 can mo$e slightly between each pass as shown in the diagrams, in order to ease / M +#s tas&.

<ariation -E;en Fess Possible/9 Hou can add ? 8ugglers to the pattern by adding one in the middle, which will ma&e it easier for the first 6 ;? more since if you add somebody in the middle, then you need 2 more on the outside circle<.

9n the outside circle, you then ha$e 2 triangles ;20/ and B1+< that are doing a C5count with a gap between them. "f you ta&e each triangle indi$idually, it#s not possible ;due to the amount of stuff and 8ugglers in the middle< for the 8ugglers in one triangle to add passes among themsel$es instead of their selfs. But some early or late doubles could wor&J4J

FE

'G =person Patterns

Cat erine C eel -7/

9f the se$en 8ugglers, we ha$e three %=counters and four )=counters. Two of the C5counters pass left handed. There are two possible arrangements for the 8ugglers. "n the first the four counters start in a large s7uare with the ?5counters standing bac& to bac& in a triangle in the middle. 2 and / pass on the first beat, then the four counters stand still and the three counters wal& around anti 5 cloc&wise. <ersion !9 <ersion $9 The passing se7uence) A9 E9 C9 69 E9 89 :9 / s s s 2 s s s + s s s B s s s I s s s 0 s s s / 1 s s + s s s s 2 s s I s s s s B s s / s 0 s s s s s + s 1 s I s s s s s 2 s / s s B s s s s + s s 0 s s s s I s s 1

<ariation) both groups rotate in opposite directions. R yt ms9 many different rhythms are possible, try C5count/C5count, ?5count/?5count, or 25count/?5count if you wal& fast.

Torture C amber -7/

Ta&e the torture chamber for 5 and add 2 8ugglers to ma&e it E. These e!tra 2 8ugglers are going to do a simple C5count) / will pass with 0 and + will pass with 1. These passes, /50 and +51 will happen instead of 0 and 1 . selfs in the 558uggler $ersion.

"f / and + get bored ;since they#re only doing a C5count<, they can add another club to the pattern, and replace their . selfs with some triple passes to each other. Then it#s as if they#re 8uggling a E5club C5count in triples, but ma&ing passes to 0 and 1 instead of their . selfs ;in red in the abo$e diagram<. 2lso see more people in torture chambers.

Mnterlaced 3peed=wea;e -A/

That#s what it is, 2 speed5wea$es, one inside the other. 2, B M 0 are facing 1 and are doing a classical speed5wea$e. /, +, M I are facing and are doing a speed5wea$e but rotating in the opposite direction ;going bac&ward when at the center position<. "#$e not tried it yet, and to my &nowledge, no one has. "f this is possible, " thin& you#ll ha$e to 8uggle slowly in order to ma&e room for e$erybody in the figure F.

FF

'G =person Patterns

Twinned Rotating Ws -A/

This mi!es two rotating Hs into one giant pattern. Juggle this on a 55count, to gi$e you time to do the changes. /$eryone mo$es 006 between the four positions in their Hs.

6ouble Twister Cea;e -A/

This pattern comes from cloning the ? central wea$ers in the Twister 6ea$e, and ha$ing the two wea$es pass with each other. "t is easier than the "nterlaced 3peed 6ea$e. The 6 people in the middle do normal 6ea$es. 6hen they are at the positions of 0 or + they pass to their appropriate feeders, and when they are at the ends ;B D /, 1 D I< they pass to the other line. 5 This entails the wea$ers constantly turning around as they wea$e( watch out for collisions4

3uwon Clo;e -7/

2 simpler $ersion of The 0lo$e. The four feedees ;1,/,+,I< mo$e through a 0lo$er formation, e!cept instead of passing with each other they pass with three feeders ;2,B,0< who are fi!ed in position. 5 +eedees are on :6 count ;E . selfs between passes<, and pass to the feeder in front of them as they mo$e through the middle of the clo$er. 5 +eeders are on :2 count ;5 . selfs between passes<. To start, 1 and 2 pass as 1 mo$es through the middle. There is a . self, and then + mo$es into the middle and passes with 0, then I, and then /.

FG

'G =person Patterns

T e Clo;e -O/

3i! feedees mo$e through a 0lo$er formation, but instead of passing with each other they pass with three feeders. This pattern has three feeders ;2,B,0< who stay in the same place, and 6 %clo$ers' ;feedees< who wal& through the clo$er formation. The clo$ers do !0=count, alternating passing between the feeder to their right as they stand at the outside of the pattern, and the feeder to their front as they pass through the middle of the pattern. +eeders do a 6=count, alternating passing to the feedee to their left, and the feedee coming towards them through the middle.

5 To start, A ma&es their first pass to 6 as they come through the middle, then C will ma&e a pass to their left to E on the ne!t . throw beat, then 8 comes into the middle and passes to E on the ne!t . throw beat, then A ma&es a pass to their left to :, then C passes to 4 through the middle, etc. 5 "t helps to ha$e one person &eep count aloud by announcing the se7uence of passes) %2 and 0 and B and 2...'. 5 "t may help to ha$e the feeders stand on chairs to ma&e it easier for the feedees to find their way. Vuad Clo;e -!!/9 add an e!tra feeder, to ma&e a four5leaf clo$er, and one e!tra feedee.

Hore people in Torture C ambers -!0G/

The idea is to connect se$eral Torture chambers. The first techni7ue is to use one of the 8ugglers in a C counts ; 0 or 1 but here the pi$ot is 6JC who is actually only one person< as a lin& between two chambers in which he is participating simultaneously. This principle can then be continued ;lin&ing 6 to another chamber< until one circle is closed ; ? chambers may be enough with :2 $ery good 8ugglers<.

The other techni7ue is to align two chambers alongside each other. The passes are the same at e$ery moment in the two chambers. The two 8ugglers 6 and 6 are not then in C5counts anymore, but in 25 counts, ma&ing passes between each other instead of selfs. 6ith this techni7ue, you can align as many chambers as the number of 8ugglers allows since 0 can also be used as a lin&.

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'G =person Patterns

8un Mdeas and Passing :ames

"n any ?D person pattern, figure out how to change roles on the fly. /specially entertaining with ?5person feeds. Randomi#e -Jim*s/ t e Recei;ers9 "n any pattern in which there are ? clubs per person, if all passers are good with Jim#s ?5count and its relati$es, then it doesn#t matter which hand the passes arri$e to. /$eryone needs to watch for collisions, though. Mntersecting Patterns -generali#ing 8eeds/9 put two of the same ;or different4< patterns beside each other, with one or more people common to both. Then do both patterns and figure out what the people in common ha$e to do ;probably pass twice as often, for starters) it is easier if you arrange it so that they don#t ha$e to pass in both patterns at the same time4<. /$en more fun with mo$ing patterns. 2 ;possibly< easier $ersion is... 3 aring Patterns9 put two patterns side by side and figure out how 8ugglers can mo$e from one to the other ;i.e. swap with someone in the other pattern<. C aser) in a large circle, e$eryone starts with 2 clubs, e!cept 2 differently5coloured clubs ;the leader and chaser<. 3tart by passing the leader randomly followed by the chaser, continue passing them around randomly... add e!tra chasers for more fun. Hingling9 passers wander around randomly( a pass is only made when eye contact is made. "deally $erbal communication is disallowed( to ma&e it easier agree on a rhythm ;. ed C5count, 65count, etc<. Random Pattern :eneration9 :. stand in positions at random 2. discuss what tric&s you want to wor& on ;including drop5bac&, drop5forward, passes to side, etc.< and wor& them in. ?. assign passing lanes C. 2d8ust count or add / subtract tric&s ;or clubs< to ma&e it doable. Takeouts and Nt er Mnteractions) fi! a pattern and rhythm and then ha$e e!tra people figure out how to do ta&eouts and steals.

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