This Trick Progression list or Trick Progression ladder is the best begleri tutorial and trick resource for a begleri beginner to an advanced slinger.
This list focuses on tricks and mechanics to learn that will improve your trick literacy. This will allow you to understand trick conversation, and be able to see and perform higher advanced tricks. By breaking tricks down to the foundational blocks, you'll be able to perform / practice almost any trick in the game.
Understand that the levels do not represent the difficulty of the tricks. Use the site to browse by difficulty. These levels are just a suggestion of an order to learn.
Click on a Ref link to view the trick page. This will open a new tab on mobile.
These are the fundamentals of Begleri. They are easy to want to skip past but it is important to remember that without these, none of the other moves will be possible. You will do these more than anything else without realizing it and mastering these will increase your fluidity and style.
Ref: Slips, Rebounds
These are the two tools that you will use to maintain momentum during play.
Slips are simply tucking the fingers in and allowing the set to do a full spin passing by your closed hand.
Rebounds are when the set is redirected by either the thumb or any other part of the hand or finger. The goal with practicing these is to get them smooth and of consistent speed. With rebounds particularly, you want to get to a point where you can redirect the set gently and without pain.
These are not moves themselves but they are the fundamental points that you will hold the beads between. For simplicity, we will refer to the hand and fingers as follows:
T - Thumb
1 - Index
2 - Middle
3 - Ring
4 - Pinky
P - Palm
Most grips will consist of holding a bead between two of these fingers either in what we will call "normal" or "fakie" position. Normal position has the beads held toward the inside of the palm, and fakie has the beads held toward the back side of the hand. Fakie notation is shown by an apostrophe (‘).
While almost any combination of two or three fingers listed above can be a grip, the most common grips are as follows:
T1 (Top), 12 (High), 23 (Mid), 34(Low)
You can get comfortable with these grips by holding one side of the set between these fingers and doing slips and rebounds. Using the thumb to pinch the bead to the palm and move the set between the grips is also a solid exercise (related: moonwalk).
This is when the set is spun around one or multiple fingers to either redirect the set or initiate the beginning of a move. Practice wrapping around the finger above and below the set in each grip, and then around the two fingers in each of the grips listed above. Experiment and play and see if you can find other fingers to wrap around from multiple grips.
This is the direction the beads are swinging in relation to your hand and body. The arrows in the images represent the direction the string swings. The most common planes are as follows:
Bike plane - the beads are spinning toward and away from your body, like the wheels on a bike, with your arm bent slightly at the elbow and wrist in line with the forearm, fingers tucked slightly to hold the set. This is the most versatile plane and therefore is most essential to understand.
Wall plane - all else the same above except the fingers out straight to allow the set to spin side to side, such that if you were up against a wall the beads would spin right up against it. This plane is useful for two handed play but is relatively uncommon in normal play.
Floor plane or "zero g" - all positions are the same as bike plane except you have the palm facing down or up. In this plane you rely on the momentum of the set to keep it in your hands, fighting against gravity instead of using gravity to help you.
Tilted plane - this is from the bike plane with the wrist tilted up enough so that the beads pass on the back of the hand as you sling. Think of the position your hand momentarily visits during a whirl. This is strictly for advanced moves.
When slinging, try to be conscious of keeping the string in-between your center palmar flexion creases on your fingers aka, between the two first joints. This is not law; but it helps with your control for performing tricks consistently.
Moreover, it may feel natural to sling with your fingers straight out (wall plane), but it’s better to learn with your fingers curled in front of you (bike plane). This will allow you to learn more advanced tricks easily and will become your preferred style.
There are an endless amount of "transfers" in Begleri. These are small moves that serve as ways to change grips and hands between larger moves. There are many variations and are hard to classify since they can be done in many different ways, depending on player style.
The most common distinctions are known as Grip Transfers: when you change grips with a move, and Hand transfers: when you change hands with a move. Around the world is known as one of the core combos to learn when beginning Begleri. It combos two repeatable grip transfers.
String length is something you'll want to keep in mind moving forward. Most moves can be done within a certain range relative to your hand, however as you progress and learn more moves some adjustment may be necessary.
The two most common lengths measurement styles are:
These are just common methods, but try lots of different lengths once you know and have mastered a good number of tricks and see which one fits your play.
Now that you've got a solid foundation of spinning and moving the set around in between all the fingers in your hand, you're ready to introduce some tricks to your flow. The most effective way to do this is to slowly introduce one move at a time to your foundational flow of slips and rebounds.
Being competent in all level two tricks makes you a fully well rounded slinger.
Ref: Index Roll, Middle Finger Roll, Pinky Roll, Infinite Finger Rolls, Ladder
Rolls, or single finger rolls, are one of the core Begleri tricks that you will do every time you pick up a set. These occur when you let go of the bead you are holding onto and the set spins around one finger and either climbs up or down a grip, or lands in the fakie variant of the grip you're in depending on how you choose to catch it. These take time to get the knack and they can be done on every finger.
Rolls can be heavily dependent on string length. It’s a common practice to perform a roll by wrapping the string then releasing, but if you want to land a roll no matter what length, it’s harder but better to learn by releasing so that the string rolls around your finger quickly with minimal wrapping. This technique ensures you will land a roll each time, but it’s hard to master.
Conclusion: String length changes the timing to catch the bead. To roll to fakie you might tighten the roll, and for standard rolls, try to keep them loose.
Weaves are the first introduction to the tilted plane motion. Think of a ninja twirling around a set of nunchucks in front of them, then learn to isolate your hand in front of you and have only your finger open and close to create the weaving motion with your set. You have the motion mastered when you can control the moving string in front and behind your hand without contact. Weaves lead onto many core full hand flow moves such as full whirls.
Ref: Piano Gap Transfer, Gap Transfer
There are multiple styles of gap transfers and variations, but the basic two are done with the fingers or thumbs. When performed with a thumb and finger, this is known as the piano. Gap transfers utilize tension to create momentum, thus they can be used to generate speed for combining into other tricks.
Ref: Half Cab
The half cab is one of the most important motions in Begleri. It is a grip change from standard to fakie, or vice versa. The half cab is used for positioning, and is part of many other tricks. It is also sometimes known as the “Pass”.
Ref: Rolling Stop Tutorial, Pendulum, Rolling Stops, Single Rolling Stop
A rolling stop is half a roll. Mastering rolling stops teaches you timing and control. Your bead touches must be light and hand bounces must be timed correctly.
Single fakie rolling stops add a lot of Flair to high level play (see single rolling stop).
Ref: Springs, Downwards Spring
A Spring is done by holding a bead in one grip and wrapping it around the finger of another before releasing the first captive bead. A smooth spring is when you do this all within one quick motion. Springs are great for changing grips and for beginning other tricks or aerials. There are many variations of springs which involve going up or down the hand with different names and styles. Learning the spring sets you up for learning bead rolls.
Ref: Hook transfer, Cliffhanger, Unhooked ladder, Backpedal
Hooks are a stylish and fun simple way to change grips. A Hook is considered more of a mechanic because many tricks involve hooking the bead over the fingers to perform. A hook transfer / cliffhanger teaches you timing and control to air pump the set over your fingers.
The unhook is an important trick to learn for later advanced tricks. It is when both beads are not captive within a grip, and the positioning of the string on your fingers is very important. Example, for an unhooked ladder you need the string perfectly centered, the string length on both sides should be equal length, while with a backpedal, while the string is unhooked on your thumb, you need one string longer than the other, or else the bead will fly away when executing the roll.
Ref: 3 Finger Mic Drop, Thumb Mic Drop, Finger Mic Drop
The mic drop is one of the pinnacle moves in the Begleri community. There are many variations and forms of the mic drop. The 3 finger and thumb and finger mic drops being the most common. There are two ways to perform the mic drop, you can time it perfectly to make it two fluid motions, or hold and release it using the tension built up. The mic drop is technically called a harpoon when it goes up a grip, but everyone refers to all forms of mic drops as mic drops, up, down or not changing grips (which is more common in higher level play).
Ref: Pop aerial, toss aerial
There's too much to say about aerials because you’re free to perform them in any which way you’d like. Most common at this level you’ll find tosses or pop aerials. Most tricks can be ended by popping a set into the air for an aerial. You can catch them however you’d like, like into a roll.
Introduction into many important concepts for linking into more advanced tricks.
Use of the supplied Reference links to see these concepts in action is reccomended.
Ref: Masseuse, Masseuse Tutorial
Is a thumb wrap that can easily flow into any grip and links into numerous tricks. Gives you time to reset.
Ref: Whirl Up, Whirl Down, Full Whirl Down
Flow trick. Can be used to reset and smoothly transition from high to low grips. Has a lot of utility because they can be done in multiple positions, and be broken down to combine into other tricks. They lead to learning later important moves such as zoot, drop whirls, and sonics.
Can be done in any plane.
A whirl is a combination of a weave and a half cab.
Ref: 3 Finger Roll, Backhand, Cliffhanger
A flip is a grip transfer where the set does a full rotation and switches captive beads.
This is a common setup for fakie low grip tricks like cliffhangers, drop whirls, pinky rolls, and even fakie tosses.
Even though a "3 finger roll" is not technically a roll, it is most commonly referenced as so, and is a trick you must learn
Ref: Beadrolls Tutorial, Beadrolls
Beadrolls are linked half cabs.
They can be done in any grip and any direction. They are key for keeping flow and can be used to transition into other tricks.
You do not need to hold the bead captive between your fingers, it can drop through
Ref: Fakie Mic Drops
This is the same as Mic Drops found above in level two, except now learn how to do them while the bead is in "Fakie" while in any grip, as you would with a Thumb Mic Drop.
Fakie Mic Drops can be linked into a lot of tricks and closers, look very stylish and gives you time to reset.
Same timing needed as in to perform the 3 finger mic drop
Thumb Mic drops can quickly and stylishly reposition you from standard to fakie grip, or even change directions. There are multiple ways to grab the set after the pop.
Ref: Caged Rebound, Fakie Caged Rebound, Caged Wrap, Exit Tricks
Very basic, but adds flair to more technical moves and gives you time to set up your next move.
Is a part of well known combo moves such as the groundhog and technical wraps.
Ref: Nope, Denial, Rock and Roll, Rupt, Rupt Down, Flicks
When you interrupt and redirect the momentum or energy of a swing. Important for flow mix ups and apart of many advanced trick setups
Ref: Lasso, Slingshot
This is your first introduction to slack type tricks. The slack is the protruding cord while you hold both beads at once. Think of a slack line, the joiner becomes the slack if it becomes the center point for the next trick. A Lasso creates that loop to allow you to stylishly grip change. A Slingshot is the hold you visit when you have the loop created and two beads captured within a grip.
Ref: Pinch Tech, Two Finger Pinch Rolls, Pinch Orbit
Pinching involves pressing the string or bead against your hand. Done with one finger for pinch rolls, or with the thumb for more advanced tricks like pinch butterfly and pinch orbit.
Pinch rolls introduce you to a new hold and flair for your flows. It is capturing the bead within the joints of your fingers, rather than within a grip. It's an extension for moves, commonly used to link into two finger rolls or wraps and springs.
These are the stylish tricks which generate a lot of interest within your flows. Many new tricks come out all the time, but you can be confident that knowing these will allow you to learn the new concepts a lot quicker.
Ref: Zoot, Backlash
Zoot is an important movement to know to be able to visually decipher it. A Zoot is a late half cab with a weave or a fast whirl.
Zoot is done by half cabbing up to fakie, and once your enter the titled plane, you half cab back to standard. Backlash continues that motion to drop into low grip fakie (If you started in mid grip).
Zoots look a lot more stylish than weaves and whirls, and a backlash allows you to get into a fakie low grip with an upwards directional slinging flow. Both these tricks can be used to reset and link into other tricks.
Ref: Irregular whirls, Irregular beadrolls, Tilted Flip
The tilted plane, or also known as irregular tricks, add a nice flair to your flow. They depend on momentum to perform and add an extra level to your standard tricks.
Ref: Neo-sonic, Drop whirl, Drop Wrap
Get you used to dropping or skipping a finger. Opens door to a ton of variations and a fun flow.
Ref: Curl, Scissors
Only difference between a curl and scissor is that a curl uses the thumb, and a scissor uses your finger to pull the slack through the gap in your fingers. Distinction between the names are not very important. This is an anti-flow trick because it allows you to pause for a moment, then reset your flow. It is an enjoyable tactile sensation as well. For many, this is considered the base / beginning of anti-flow tricks because it can extend into a combo of technical wraps, lassos, slingshots, and was birthed during the first surgance of anti-flow tricks.
Ref: Pinch butterfly, Pinch butterfly ladder, Wrap butterfly, Full Pinch butterfly
All butterfly techniques rely on finding the center of the string. From there it’s about feeling and momentum to pull off some of the most stylish tricks in Begleri.
Ref: Gap Catch, Fakie Toss, Direction Change
Most tension tricks can launch a set in the air. You can catch aerials directly into different tricks, so you can be creative with your own catches.
Ref: Chop, Floor stall
At last, adding a little style to how you end your combos is the mark of a true master. Really by this far you likely already have a favourite way to close your flow, so use your own imagination to create cool enders for your combos. Remember to always FINISH!