x
x,y
x-y,z
x,(y)z
x,(y*)z
(x*)y
x,y*
x [y]
x[y]
x.y,z
xTy
xTT
x)y
x))y
&
()
)
))
, (comma)
. (period)
/
=
0
1
2
3
4
5
6
a
ab
ac
ad
arrange
b
ba
base
base off
bc
bd
Box
c
Caroline
cpkick
cross
cross over
d
Display Position
e
f
flat catch
h
hh
Half box
i
inner pull
j
jj
kick
kick line
L
l
L base
Lv base
m
mouth
mouth service
N
Normal Position
o
old
Open
p
palace
palace 0
palace 2
paris
paris 2
paris ba
pearl
q
R
repeat
s
snake
SPR
T
table assist
target line
tkick
tkickp
TT
u
v base
x
xx
x base
x paris
A string without a destination represents only a string, and instructs you to release the named string.
Example:
1 (release thumb loops)
R0 (release right wrist loop)
mizz12, et. al.
Fly the string y to x. The method of moving the string is left up to you.
Example:
1,5b (fly 5b to 1, i.e. 1 picks up 5b)
mizz4, et. al.
Fly the string z to x and y.
Example:
1-5,s (pick up the string with 1 and 5)
mizz7, et. al.
"Under Path" code. Fly z to x, moving under y. Note that y can be a (space-delimited) list of strings. You should fly z over any string not explicitly mentioned in y. The path is read right to left (imagining the string moving rightward through the path toward the destination).
Example:
1,(2b)5a (fly 5a to 1, by going under only 2b and over all other intervening strings)
1,(2b 3b 4b)5a (5a under 4b, over 4a, under 3b, over 3a, etc. to 1)
See also &.
mizz21, et. al.
"Over Path" code. Fly z to x, explicitly moving over y. This can work in conjuction with Under Path codes; just put an asterisk after every element of the path that should be explicitly over. This is often used for indicating that a string should fly over, around, under a particular string.
Example:
1,(5b*)1a (1a should fly over all strings, including 5b, then under 5b and return to 1)
mizz29, et. al.
"Over Path" release. As with the normal release code, it's missing a destination, and thus implies that the target string should be released. Specifically, this says that y must be released by moving over x. This is one way to notate a traditional Navajo maneuver (see N for the Mizz code Navajo maneuver).
Example:
(*1h)1l (release lower thumb string over upper thumb string)
mizz68, et. al.
The asterisk at the end of the source string (y) indicates an orientation switch. "Over" and "under" become reversed, as if the hands were being held in Display Position, and the figure is operated on "from below". This can be used to simplify the description of otherwise complex maneuvers (for instance, in "The Crab", where much of the figure is made while looking at the "bottom" of the figure).
Example:
R1,(5.6b)p* (the R palmar string moves under 5.6b to 1, as if the figure were held upside-down)
Names an intermediate figure. After performing the instructions x, you have on your fingers the figure y.
Example:
...
5,1b
1-5,2 [X Gate] (after this step you'll have X Gate)
5
...
mizz18, et. al.
Iteration. Says that x should be performed n times. Note that there must be no space between the action and the square bracket; otherwise, you get the "named figure" syntax (see above).
Example:
2ab[2] (rotate index figure two half turns)
mizz38, et. al.
Pinch code. This says that x and y should pinch z between them. This also usually implies that the fingers should return to their normal position, but if y is 6, then z is being held to the palm. In other cases, this says that the string z should fly to x at the end of the move.
Example:
3.2,1a (3 and 2 pinch 1a and rotate up, holding 1a on 3)
2.3,5b (2 and 3 pinch 5b and rotate up, holding 5b on 2)
4.6,1b (4 bends down and holds 1b against the palm)
An aggregator instruction. This is used to group several different strings together, indicating that they should be treated as a single string during the current step.
Example:
1,(2ah&2blj&5aj)5b (treat the three strings as a single string, instead of dictating a string-by-string flight)
This can also be used to specify that multiple strings should be released simultaneously.
Example:
L1&L5 (release both L1 and L5, simultaneously)
list2211, mizzlist25, et. al.
Used to indicate an explicit path for the string to follow as it flies. The path consists of a space-separated list of other strings. See under path code and over path code.
Used to insert a note into a mizz code stream. This can be used to clarify some point or otherwise annotate the figure.
Example:
L1 kick(=L1ba[2]) (this note says the L1 kick is identical in this case to a rotation)
Used to indicate step numbers in a figure printed all on one line.
Example:
(0)base (1)1,5a (2)5,1b (a one-line encoding of a mizz figure)
mizz15, et. al.
The "blanket" instruction. It tells you to first remove the destination loops and hold them, then fly the target string to the destination, and then restore the original loops on top, like a blanket.
Example:
5),1bi (remove 5, fly 1bi to 5, and restore original 5 loops to 5)
The blanket instruction can also be used to notate the releasing of a loop under another loop (similar to an over-path release). This is called a "blanket release".
Example:
2h)2l (remove 2h, release 2l, and then replace 2h)
mizz85, mizzlist22, et. al.
The "blanket exchange" instruction. It is used in the form x))y, and means that x should be released to a temporary location (e.g., picked up by the opposite hand), y is then flown to x, and finally x old is flown to y.
Example:
1))2 (remove 1, fly 2 to 1, then fly 1 old to 2)
mizzlist213, mizzlist215, et. al.
The comma separates the destination from the string that is to be flown. The destination comes first, and the string last.
Example:
1,5a (fly 5a to 1)
mizz4, et. al.
The opposite hand. This is never used by itself, but rather as a suffix to a location indicating that it refers to the opposite hand from the destination.
Example:
R2,p/ (opposite palmar string moves to right index finger)
mizz13, et. al.
Used to indicate a length equivalence between two separate loops of string.
Example:
1,s1
5,s2 (s2=s1) (both s1 and s2 must be the same length)
mizz94, et. al.
Used to indicate an equivalence between one string and another, such as when a string has been moved. You can use this to indicate that the new string used to be known by some other name.
Example:
1,s1
5),1bi (=pa) (1bi is the same as pa)
mizz85, et. al.
Numbers can also be used to indicate a position within a sequence of strings.
Example:
p1 (first string parallel to the palm)
d1 (first diagonal string on transverse thumb string)
s1 (first string loop, for multistring figures)
The same is true for 2, 3, etc.
The near, or radial, side (of a finger).
Example:
5a (near side of little finger)
This is typically used to refer to a string on the near side of a finger, but can also be used to name a destination.
mizz9, et. al.
Used as a modifier for a destination, indicating that the string should be caught in a way equivalent to a flat catch followed by a single ab rotation. In practice, this often equates to a "hook up" maneuver.
The final result is always that the flown string crosses in front of the destination finger before winding around behind it.
Example:
2ad,5a (2 hooks up 5a)
See also bd.
mizz55, mizzlist82, mizzlist83, et. al.
Indicates that the strings in the figure may need some manual arranging to achieve the desired configuration. This is typically used with SPR in the display of the figure.
Example:
SPR & arrange (extend and display the figure)
no specific reference, but used extensively in mizz code.
The far, or ulnar, side (of a finger).
Example:
1b (far side of thumb)
This is typically used to refer to a string on the far side of a finger, but can also be used to name a destination.
mizz9, et. al.
An opening configuration, better known as "Opening A".
In mizz code:
In ISFA notation:
mizz15, et. al.
Used as a modifier for a destination, indicating that the string should be caught in a way equivalent to a flat catch followed by a single ba rotation. In practice, this often equates to a "hook up" maneuver.
The final result is always that the flown string crosses in front of the destination finger before winding around behind it.
Example:
2bd,1b (2 hooks up 1b)
See also ad.
mizz55, mizzlist82, mizzlist83, et. al.
Indicates that the figure should be extended between transverse strings on index finger and thumb, with those fingers spread wide, and palms turned out. This differs from the traditional meaning of "Caroline Extension", also called the "Pindiki Extension", which refers to a specific maneuver, including the picking up of the transverse strings. The mizz "Caroline" extension is generally just separating the two transverse strings for display; in other words, only the extension, not the picking up of any strings.
Example:
...
10 2e,(2b)qu (on 1d-2d)
11 2.3h,2b
12 5
13 Caroline (simply spread index and thumb apart and turn palms out)
mizzlist5, et. al.
This is similar to tkick. However, there is really only a "5 cpkick" maneuver (you'll not see cpkick done with any other finger), and it nearly always immediately follows a "1 tkickp".
It assumes that the ring finger (4) is holding at least one string the palm, and has at least one 4b string as a result. (This is why it is generally used following a tkickp.) The "5 cpkick" otherwise works just like a "5 tkick", except it uses 4b as the target string.
See also kick, tkick, and tkickp.
Example:
L23ad,5a
L1 tkickp
L5 cpkick (same as "5 tkick", using the 4b string created by the previous step as the target string)
mizz56, et. al.
A "cross" is one of the "tiny figure names" defined in Mizz code, and which are used to describe the appearence of a figure in progress.
A "cross" is where to strings wrap around each, each exiting the intersection via the reflection of their entrance vector. E.g., they wrap half-way around each other.
A "horizontal cross" or "h-cross" is where the strings reflect on the x-axis.
A "vertical cross" or "v-cross" is where the strings reflect on the y-axis.
mizz67, et. al.
A "cross over" is one of the "tiny figure names" defined in Mizz code, and which are used to describe the appearence of a figure in progress.
The "cross over" is a simple crossing of strings, with no looping or twisting.
mizz67, et. al.
A string that is "down" (lower, or more proximal) relative to another. See also u.
Example:
qd (lower segment of a string looped around a palmar string)
mizz46, et. al.
A "diamond" string. As you move away from the hand, the diagonal upper walls of the diamonds are numbered "d1", "d2", etc., and the diagonal lower walls are numbered "d1d", "d2d", etc.
Example:
d1 (first upper diamond wall)
d2d (second lower diamond wall)
mizz101, et. al.
A hand position, fingers pointing away from you, palms facing each other. This is how the hands are usually held when a figure is being displayed.
mizz8, et. al.
An instruction code saying that the original loop(s) at the destination should be released before the new string lands on it.
Example:
1e,(5b*)1a (1a flies over and around 5b and back to 1, releasing the (old) 1 loop just before 1a lands)
Indicates specifically which player is acting in a multiplayer system. It is prefixed with a number, 1 for the first player, 2 for the second, and so forth.
Example:
0 base (1f=s1, 2f=s2, s1=s2) (player 1 has s1, player 2 has s2, and both perform base)
1 0T2x (1f first) (both players transfer index to other player's wrist, player one first)
2 1f s (player 1 releases all loops from both hands)
...
A "flat catch" is the default means of flying a string. Given some destination F, and a source string s, then F,s is a flat catch iff s does not pass in front (e.g. the "c" side) of F.
In most cases, your intuition will serve to correctly "catch" the flown string. Consider "L1,2b" from (e.g.) base: the L2b string will fly to the b side of L1, wrap around the d side, and emerge on the a side of L1. At no time does it pass the c side of L1; thus, it is a "flat catch".
Some catches are less intuitive. In particular, when one hand picks up a string on the other hand, or from the middle of the figure, it can require some attention to ensure you have a flat catch, instead of an ad or bd catch. Consider the case where, given base, you fly "L1h,1b/". If you pick up 1b/ from the near side with L1, 1b/ will fly to L1a, which passes in front of L1. (Imagine sitting on the tip of L1, looking at R1. 1b/ would appear to move from your left, to your right, passing across your line of sight.) The correct way to catch 1b/ by L1 in this case would be to land 1b/ at L1b, so that it moves in a straight line without passing in front of L1.
Pay attention to this convention whenever flying strings between hands; it is the key to correctly interpreting many mizz-coded figures!
As h, but used when there are more than two strings on a finger. The "hh" string is the third string from the bottom, h is the second from the bottom, and l is the bottommost string.
Example:
(1hh*)1h (release the middle string over the top string)
mizzlist279, et. al.
An "inner pull" is a method of extending a string figure that is framed by two parallel transverse strings that each run hand to hand. It is particularly useful in the diamond figures common in the Mizz code tutorials, although it can also be a handy way to quickly extend any figure that can be extended via Caroline extension or Murphy's Power Lift.
To execute an inner pull, the figure needs to be on your 1 and 5 fingers, with the transverse strings from from 1a to 1a, and 5b to 5b.
Then, with one hand, pull the "inner" strings (5a and 1b) of the opposite hand out from the hand a few inches. Pinch 1b between the knuckles of 2 and 3 (of the same hand), and 5a between 3 and 4, so the strings will not slip.
Do the same with the other hand.
Then, extend the figure with hands apart, in fists, possibly extending thumbs to gain a wider extension.
mizz54, et. al.
The segment of a string on the far side of an intersecting string. For instance, if 2a is intersected by a palmar string, the segment on the far side of the palmar string is 2aj.
Example:
2aj (segment of 2a on far side of intersecting string)
Note that "j" must always come last, after all other destination modifiers.
See also jj.
mizz15, mizzlist13, et. al.
The segment of a string on the far side of two intersecting strings (e.g. the third segment of a trisected string). For instance, if 2a is intersected by a palmar string, and another palm-parallel string (e.g. p1), the segment on the far side of the p1 string is 2ajj.
Example:
2ajj (third segment of 2a on far side of a third intersecting string)
Note that "jj" must always come last, after all other destination modifiers.
See also j.
list2182, et. al.
A named series of maneuvers used to "kick" one line (the "target" line) over another line (the "kick" line). There are, essentially, two kinds of kicks: there is "1 kick" (for use with strings on the thumb), and "5 kick" (for use on strings on the little finger). Concievably, there could also be "2 kick" and "4 kick", but those would be functionally equivalent to "1 kick" and "5 kick", respectively.
In either case, a "kick" proceeds essentially as follows. First, the outermost line on a finger is the "kick" line, and the second most outer line on the same finger is the "target" line. Then, 2 and 3 work together to pull the kick line under the target line, the original finger releases all loops, and the kick line is replaced on the original finger.
Specifically, "1 kick" is defined as follows, where the target line is often 1ai, but could be 1am or even 1b (if there is only one string at 1a). Remember, the target line is always the second most outer line, whatever that happens to be.
"5 kick" is defined similarly, where the target line is often 5bi, but could be 5bm or even 5a (if there is only one string at 5b).
In particular, note that "1 kick" uses 3.2 as the pinch code, and "5 kick" uses 2.3. See pinch codes for more info.
See also tkick, tkickp, and cpkick.
Example:
L1,5a
L5,1b
L1 kick (perform a "1 kick" maneuver on left hand only)
mizz54, et. al.
In the kick family of maneuvers, the "kick line" is the outermost string on a finger, and is the string that will be kept while all others on the finger are "kicked" (released) over the course of the maneuver. Compare this to the target line.
mizz54, et. al.
An opening configuration, identical to v base, but with chirality switched (e.g., left/right are swapped).
In mizz code:
James Murphy calls this opening "RDNA" (and gives a more straight-forward construction for it). I've taken the liberty of converting Murphy's instructions to mizz code, here, for consistency's sake:
mizz88, et. al.
This instruction is pretty self-explanatory: it simply means that the mouth or lips should be the destination or source string.
Example:
mouth, 1ao (the 1ao string flies to the mouth and is held there)
mizz27, et. al.
Used in a note to indicate that the move should be accomplished with the help of the mouth.
Example:
(1ah*)1al (by mouth service) (release the lower 1a over upper 1h using the mouth))
mizzlist13, et. al.
A "Navajo" maneuver. Note that a Mizz code Navajo maneuver differs from the traditional definition. Traditionally, a Navajo maneuver is simply the release of a lower string over an upper string. However, in Mizz code, it is always the release of the second-most-outer string (call it A) over the outermost string (call it B). If A is above B on a finger, then you first move B above A, before you then release A. In this particular case, a Mizz Navajo is actually similar to the tranditional "double Navajo" maneuver.
Example:
1N (Release second-most-outer 2 string over 1ao)
As you can see, the mizz "N" instruction is very specific. The more general Navajo maneuver should be indicated via an over-path release.
mizz68, mizzlist16, et. al.
A hand position, fingers upright, palms facing each other. This is how the hands are usually held between movements while a figure is being constructed.
mizz8, et. al.
Used to specify a prior name for a particular string. This is useful in cases where a string has recently moved, or where a loop is now under another loop, but might be best identified by it's previous name.
Example:
R5T5/
L5T5/ old (long way of saying R5TT)
mizz36, et. al.
A segment of a string that crosses (or is otherwise parallel to) the palm of a hand.
Example:
2.6,p (pinch the palmar string between index and palm)
If there are multiple strings parallel to the palm, these are differentiated by adding numbers, e.g. p1, p2, p3, and so forth:
2,p2/ (pick up the second string parallel to the opposite palm)
You may refer to a specific segment of the palmar string by indicating the finger it is front of. This is done by prefixing the p with the corresponding finger:
L2,2p/ (L2 picks up the palmar string of the opposite hand just below R2)
5p1j (The second segment of the first palmar string that passes in front of 5)
An opening configuration. It is a variation on base.
In mizz code:
In ISFA notation:
mizz89, et. al.
A "pearl" is one of the "tiny figure names" defined in Mizz code, and which are used to describe the appearence of a figure in progress.
A "pearl" is a string wraps once completely around another, forming a loop, while the other string does not wrap at all. This loop is called a "pearl".
mizz67, et. al.
When used as a suffix, R describes a particular move in which the string on the destination finger becomes a loop around the palmar string.
Given a destination finger x, xR means (in Mizz code):
Or, in ISFA notation:
Example:
...
5 5,1b
6 2R (x = 2)
...
Indicates that a range of previous instructions should be repeated verbatim.
Example:
repeat 3-5 (steps 3, 4, and 5 should be repeated)
mizz63, et. al.
The loop of string (taken as a whole).
Example:
1-5,s (place loop on thumbs and little fingers)
mizz3, et. al.
A "snake" is one of the "tiny figure names" defined in Mizz code, and which are used to describe the appearence of a figure in progress.
A "snake" is like a cross, except the two strings exit on the same vector they entered the intersection; they each wrap once completely around the other.
A "horizontal snake" or "h-snake" is a snake where the intersection is across the x-axis.
A "vertical snake" or "v-snake" is a snake where the intersection is across the y-axis.
A "long snake" is a snake where the strings wrap 1.5 times around each other, exiting (as with the cross) on the reflection of their entrance vector.
A "double snake" is a snake where the strings wrap fully twice around each other, exiting on the same vector as they entered.
mizz67, et. al.
"Spread". This instruction indicates that the hands should be spread apart, so that the figure may be extended. This is usually done as part of the display of the figure, but may be used during figure construction to indicate the strings should be pulled taut.
Example:
SPR & arrange (extend and display the figure)
no specific reference, but used extensively in mizz code.
This indicates a "tip-to-tip" transfer of a string. The source string comes after the T, and the destination comes before. In ISFA terms, the "source" string is removed by the "destination" finger, from above. Effectively, the source and destination fingers touch, tip-to-tip, and the string is moved along the "bridge" so formed.
See also TT.
Example:
1T3 (loop on 3 is transferred to 1, from above)
mizz34, et. al.
Suggests that the figure might be laid flat (on a table, or your lap) while the figure is arranged or otherwise manipulated.
mizz98, et. al.
In the kick family of maneuvers, the "target line" is some designated string that the kick line will be pulled out from under. How the target line is determined varies depending on the type of the kick maneuver; see kick, tkick, tkickp, and cpkick to see how each of them define the target line.
mizz54, et. al.
This is similar to kick, but in the case of tkick, the target line is specified explicitly in the step preceding the tkick. Also, the target line is automatically released from its finger(s) as part of the tkick.
See also kick, tkickp, and cpkick.
Example:
L23ad,5a (L23b is, implicitly, the target string)
L1 tkick (do a "1 kick" using L23b as the target string; L23 is implicitly released as part of the maneuver)
mizz55, et. al.
This is similar to tkick. However, there is really only a "1 tkickp" maneuver (you'll not see tkickp done with any other finger), and it is nearly always followed immediately by a "5 cpkick". The tkickp is different from tkick as follows:
Note step #2: the ring finger (4) bends down and holds the palmar 4 string and 1b strings against the palm, before the thumb is released. This is the primary difference between tkickp and tkick. It is also why this maneuver is always followed by a cpkick.
See also kick, tkick, and cpkick.
Example:
L23ad,5a (L23b is, implicitly, the target string)
L1 tkickp
L5 cpkick
mizz56, et. al.
This is an exchange of loops between the same finger on opposite hands. The string is first transferred to the destination finger from the finger on the opposite hand, and then the lower loop on the destination finger is transferred back to the finger on the opposite hand.
See also T.
Example:
R5TT (L5 loop is transferred to R5, then lower R5 to L5, over upper R5 loop)
mizz36, et. al.
Note that the TT syntax can also be given an explicit source string, in the case that the loops originate somewhere other than the "default" (same finger on opposite hand). The operation proceeds exactly the same, otherwise, with the given string flying first to the destination finger, and then doing the same operation with the other hand.
Example:
L2TT0/ (fly 0 loop to opposite 2, starting with R0 to L2)
An opening configuration, similar in aspect to base.
In mizz code:
James Murphy calls this opening "LDNA" (and gives a more straight-forward construction for it). I've taken the liberty of converting Murphy's instructions to mizz code, here, for consistency's sake:
mizz88, et. al.
This is the multiplayer analog of /. While / refers to the corresponding location on the other hand, x refers to the corresponding location on the hands of the other player.
Example:
0T2x (players transfer index loops distally to wrist of opposite player)
See also xx.
mizzlist38, et. al.
This is the same as x, but used in a 3+ player system to indicate the "other, other" player. Whereas "2x" would indicate the index of the other player, "2xx" would indicate the index of the third player (or, if the third player is acting, the second player).
See also x.
mizzlist38, et. al.
