The concept of hurry was first developed by Martin Frost in an
excellent article of the Fall '97 issue of Juggler's World.
More recent treatments of the subject, with special emphasis on 3 count passing, were given by Isaac Orr in Juggle, 2000 and Wolfgang Westerboer in Kaskade, 2000.
Here, all 3 clubs are thrown at single height. Two clubs are always thrown to the same hand the remaining club crosses back and forth. The crossing club, although thrown at height 3 , is always rethrown after 2 beats, the non-crossing clubs however are thrown every 4 beats.
We feel that the traditional definition is a little bit unprecise, for instance the following pattern
is not a hurried pattern although it follows the hand pattern RRLL. Here, 3 clubs are juggled at height 5, on triples if you wish, but they are rethrown every 6 beats, making the pattern very relaxed indeed.
Moreover, one may encounter hurries even under the regular RL hand pattern,
that is: juggling 3 clubs in doubles in frenzy circus style. The clubs are thrown at height 4 but rethrown every 3 beats, i.e. 1 beat earlier than normal.
We will therefore adopt the following:
A hurry occurs whenever, skipping the dwell hold,
a club is rethrown 1 beat too early
Here, we develop a simple method to translate any hurried pattern in the familiar language of sync siteswap theory.
The method is based on the following simple observation: when
we watch someone doing a slow 3 clubs cascade, there is no way to decide whether
he is doing the async siteswap 3 with a high dwell ratio or the sync siteswap
(2 , 4x)(4x , 2).
Indeed, the ladder diagrams of 3 with a dwell ratio d > 0.5 , and (2 , 4x)(4x , 2) with a dwell ratio of 2d-1 are the same.
This simple observation holds for any juggling pattern, hurried
or unhurried. Given our assumption of a dwell ratio greater than 0.5 , any mhn
juggling pattern, hurried or unhurried, can be reinterpreted as a unhurried
sync siteswap juggling pattern.
Essentially it amounts to reinterpret all dwell holds - as short holds 1x , and to double the time scale.
For example, the 3 patterns above can be written in sync notation as:
|3x3*||sync: (2 , 4)(2 , 4x)(4 , 2)(4x , 2)|
|1x5||sync: (0 , 2)(2 , 8x)(2 , 0)(8x , 2)|
|4x*||sync: (0 , 6x)(6x , 0)|
This way to denote hurried patterns is useful to emulate hurried,
and other non-standard rhythm patterns such as 1x5 , on juggling simulation
You might need to adjust heights and/or number of spins to get a reasonable animation. Also the animated juggler will move his hands during the numerous 2 holds appearing in the sync representation
Hurried passing patterns can be written in sync notation as well (and therefore be animated), e.g. Mild Madness:
can be written in sync form as:
The following section proposes a lighter and more direct way to represent hurried patterns.
Starting from mhn notation, we now allow for the possibility to
throw one beat earlier than normaly implied by the throw (siteswap) sequence.
Following common usage, a hurried throw will be identified by a star: * .
To say that a throw of siteswap value s >= 2 leads to a hurried throw t*, means that the club will be rethrown with a throw value of t after only s-1 beats instead of s beats, i.e. skipping the usual dwell beat.
Not of much practical use, but in theory a fast handacross 1 can lead to a hurried throw as well: the club is then rethrown immediately.
The hurried patterns presented previously can be written as:
|3x3*||mhn*: (- , 3x)(1x , 3*)(3x , -)(3* , 1x)|
|4x*||mhn*: (0 , 4x*)(4x* , 0)|
|Mild Madness||mhn*: <(- , 3p)(3p , 2x*)(3* , -)(- , 3p)(3p , -)(- , 3) % ||
|(- , 3px )(3px , -)(- , 3)(3px , -)(2x* , 3px)(- , 3*) %>|
which is much more understandable at first glance than in the sync notation:
The sequence (- , 3x)(1x , 3*)(3x , -)(3* , 1x) clearly indicates what is going on in 3x3* : self R , followed by crossing R , then self L and crossing L , all in singles. The * on the crossing throws point out that the crossing throws are the difficult throws of the pattern. The short holds 1x are additional information that may or may not be used.
(0 , 4x*)(4x* , 0) is also quite clear: fast crossing doubles.
Finally, in Mild Madness, the sequence
Checking the validity of a hurried mhn* pattern is essentially
the same as for a regular mhn pattern: follow the numbers and make sure that
they define a valid permutation.
Now, however, when one traces the path of an object, one has to make sure at each rethrowing beat that the object has not already been rethrown one beat before as a hurried throw. With some practise it is not really difficult.
From a pure mathematical point of view, a hurried throw is equivalent to a normal throw combined with a throw one beat later that goes one beat in the past: * = -1x one beat later. This observation does not seem to be very useful except for the following:
The average rule still holds:
Count each hurried pointer * as an additional -1 throw, then the average of the throws over time, multiplied by the number of hands, must equal the number of clubs
Since mhn* and sync are analytical representations of the same patterns, it is possible to translate from one language to the other. The glossary goes as follows:
|s , s >= 3||2s-2 x if s odd ; 2s-2 if s even|
|sx , s >= 3||2s-2 if s odd ; 2s-2 x if s even|
The causal diagrams of the patterns, written in mhn* or sync are of course the same, up to the doubling of the time scale and to the representations of the various holds 2 , 1x , - which are anyway redundant and can be omitted if one wishes.
Whether a throw is hurried or not has no influence on its sync translation.
Translating back from sync to mhn is also possible, although the
three mhn "throws" - , 1x , 2 correspond to the same sync throw 2 . Precise
description is left to the reader :).
Anyway, the hurried throws are the throws that are immediately preceded by an empty hand or another throw from the same hand that is not a 1x .
Alternating two clubs singles in one hand
Throws are drawn in green for emphasis.
mhn*: (0 , 3x)(0 , 3x*)(0 , 3*)(0 , -)(- , 3)%
sync: (0 , 4)(0 , 4)(0 , 4x)(0 , 2)(2 , 4x)%
4 doubles/singles switch
mhn*: (4 , 4)(- , -)(4 , 4)(- , -)(3x , 3x)(3x* , 3x*)(3x* , 3x*)(4* , 4*)(- , -)
sync: (6 , 6)(2 , 2)(6 , 6)(2 , 2)(4 , 4)(4 , 4)(4 , 4)(6 , 6)(2 , 2)
1 up 2 up
Starting from the pattern 3x3* , the rest beats are suppressed and used for additional (hurried) selfs. This trick can be applied in many hurried passing patterns, e.g. Jim's 3 count.
mhn*: (3x* , 3x*)(0 , 3*)(3x* , 3x*)(3* , 0)
mhn*: (- , 3*)(2x , 3*)(3* , -)(3* , 2x)
A nice trick
mhn: (4 , 4)(1* , -)(0 , 4)(- , -)%
mhn: (4 , 4)(2x* , 0)(0 , 4*)(- , -)%
A 4 objects 4 count tennis
mhn*: (- , 4x)(4x , -)(4* , 1x)(- , 4) %
A nice 3 count trick
With the handacross behind the back
mhn*: <(3px* , 0) (4* , 4*) (2x* , 0) (0 , 3px*) (4* , 4*) (0
, 2x*) |
(- , 3p) (3 , -) (- , 3) (3p , -) (- , 3) (3 , -) >
sync: <(4p , 0) (6 , 6) (2x , 0) (0 , 4p) (6 , 6) (0 , 2x) |
(2 , 4px) (4x , 2) (2 , 4x) (4px , 2) (2 , 4x) (4x , 2) >
A PPS trick
J1 throws his second pass in advance as a straight double. Follow the colored causal paths to understand which hands throw to which.
mhn*: <(4p* , 3p) (0 , -) (- , 3) (3p , 4p*) (- , 0) (3 , -)
(- , 3p) (3p , -) (- , 3) (3p , -) (- , 3p) (3 , -)>
sync: <(6p , 4px) (0 , 2) (2 , 4x) (4px , 6p) (2 , 0) (4x , 2)
(2 , 4px) (4px , 2) (2 , 4x) (4px , 2) (2 , 4px) (4x , 2)>
J1 forces the rhythm to change without throwing doubles.
mhn*: <(- , 3p) (3p , -) (3p* , 3p) (0 , -) (3p , 3p) (3p* ,
-) (0 , 3p) (3p , -) |
(- , 3p) (3p , -) (- , 3p) (3p , 3p*) (- , -) (3p , 3p) (- , 3p*) (3p , -) >
sync: <(2 , 4px) (4px , 2) (4px , 4px) (0 , 2) (4px , 4px) (4px
, 2) (0 , 4px) (4px , 2) |
(2 , 4px) (4px , 2) (2 , 4px) (4px , 4px) (2 , 2) (4px , 4px) (2 , 4px) (4px , 2) >
mhn*: <(- , 3p) (3p , 2x*) (3p* , -) (- , 3p) % |
(- , 3px*) (3px , -) (- , 3px) (3px , 2x*) % >
sync: <(2 , 4px) (4px , 2x) (4px , 2) (2 , 4px) % |
(2 , 4p) (4p , 2) (2 , 4p) (4p , 2x) % >
0 sync shower!
See (0x,0x).txt for more on this nice pattern.
mhn: (1* , 1*)
Akward 1 shower
mhn: (1* , 2x*)
Fast 2 shower
mhn: (2x* , 2x*)