I would like to revisit timing and tempo as it relates to spey casting. A basic thought is that tempo is the speed of the cast and timing is when to start and stop the casting motion. I would think most of us agree that the overall casting motion should start slow and gradually speed up to a firm/complete stop. A post by Fly Tyer suggested timing includes the initiation of different elements within the casting motion. I have been thinking along the same lines. Using the switch cast as the bases for this discussion, let’s look at the elements or points of a switch cast: lift, pull back, sweep-up/circle-up to key position, launch/fire from key position, a point of push-pull/scissor and the stop. At each point of the cast there is an accent of power to change the rod tip direction or plane and thence the line momentum. This accent is the timing portion of the cast. These accents are critical to the rod tip movement and the development of a quality stroke. Each accent has a different amount of thrust applied and at a different point in the casting motion.
The tempo is a continuous, seamless and slightly increasing motion and the timing is the accents within that motion. Timing is very depended upon the tempo of the cast yet should not effect the tempo. Timing fits precisely into the tempo of a cast. If we look at music, tempo is the even beat (steady, slowing or increasing) of the music while the rhythm is the irregular motion above the beat that gives a tune its character. I’m thinking that timing and rhythm in spey casting are the same fellows. How this relates to casting is the tempo is the even motion from beginning to end and the timing (rhythm) is the small accent within the casting motion that give the cast its character. The difficulty is learning how much and when to apply accents/thrust in the casting motion.
My statement is: the tempo (slightly increasing) is absolutely critical in developing a quality cast and within the tempo lies accent points to change direction or plane of the rod tip. These accent points gives the cast it’s timing and should not effect the tempo of the cast.
Maybe I’m all wet with this theory but it seems to me there is some validity. Chime in and punch holes in this theory or give some support to this theory. Volume of spey casting knowledge, technique and style are yet to be discovered. The more I cast, the more I thought I knew. This spey journey is exciting and very addictive!
Only a student of spey casting, Klem
The tempo is a continuous, seamless and slightly increasing motion and the timing is the accents within that motion. Timing is very depended upon the tempo of the cast yet should not effect the tempo. Timing fits precisely into the tempo of a cast. If we look at music, tempo is the even beat (steady, slowing or increasing) of the music while the rhythm is the irregular motion above the beat that gives a tune its character. I’m thinking that timing and rhythm in spey casting are the same fellows. How this relates to casting is the tempo is the even motion from beginning to end and the timing (rhythm) is the small accent within the casting motion that give the cast its character. The difficulty is learning how much and when to apply accents/thrust in the casting motion.
My statement is: the tempo (slightly increasing) is absolutely critical in developing a quality cast and within the tempo lies accent points to change direction or plane of the rod tip. These accent points gives the cast it’s timing and should not effect the tempo of the cast.
Maybe I’m all wet with this theory but it seems to me there is some validity. Chime in and punch holes in this theory or give some support to this theory. Volume of spey casting knowledge, technique and style are yet to be discovered. The more I cast, the more I thought I knew. This spey journey is exciting and very addictive!
Only a student of spey casting, Klem