This is a fascinating topic and one which could bring some benefits if the firm insights are applied to the execution of moves in magic. It has the potential to completely change your execution of sleight of hand.
Basic and natural rhythm is the heartbeat (at resting speed). This in average is about 70–72 bpm. People tend to feel comfortable when feeling or experiencing that rhythm. The first rhythm the foetus senses is the mother’s heartbeat. We continue to feel well with that rhythm for the rest of our being.
I don’t want to go into the scientific details and research that is available and has gone into this but offer an experiment for you. So you can find out whether it changes the impact and effect on the audience.
Take a move you can do and record yourself doing it a couple of time. Then forget about this. Keep the record.
Get a metronome (or app) and set it to 72 bpm. Now, with the metronome, start practising your move, e.g. a simple coin vanish (coin is apparently placed in one hand, but retained in the other). Divide the actions of the vanish into small bits, but do every single action to a beat from the metronome. Don’t worry now if the whole thing looks “hacked”. The fluency and smoothness will come later. Now repeat that move with the metronome over and over. Until you start to get “a feel” for the tempo and rhythm.
After a certain time, your movements will blend together, and it will be a smooth performance — but (and that is the important thing) in this particular tempo (72 bpm).
Again, record the move, now in 72 bpm, and compare the results. Can you see the difference (that your spectators will see, as well)?
This concept can be applied to many moves in magic:
The Elmsley Count (or in fact every false count)
Cups and Balls Sequences
Loads, Steals and Ditches
and many more.
I know it is boring in the beginning, but soon you will experience some fun and challenges which keep it interesting.
The goal is to “install” that heartbeat rhythm into the execution of your sleights and even routines.
You will be amazed at how difficult it is for the spectators to spot a secret action, if it is hidden in this rhythm, and if you don’t break the rhythm whilst doing the secret action.