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Begleri Tricks
Your best source for Begleri

Trick Progression List

This list is in development. It will focus on tricks and mechanics to learn that will improve trick literacy. This'll allow you to understand trick conversation, and be able to see and perform higher advanced tricks. By breaking tricks down by 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...

Level One

These are the fundamentals of Begleri. These are easy to want to skip past but it's important to remember that without these, none of the other moves would be possible. You will do these more than anything else without realizing it and mastering these will increase your fluidity and style.

Slips and Rebounds

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 moves. For simplicity, we will refer to the 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 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.


String position

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 you hand, however as you progress and learn more moves some adjustment may be necessary.

The two most common lengths are, finger spread from pinky to index.

Spring from low, wrap twice with bead sticking out fakie.

These are just common, but try lots of different lengths once you know and have mastered a good number of tricks and see which one fits your play.


Level Two

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.



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. 



-Tilted plane motion 

-Control moving string in front and behind hand without contact

-leads to core full hand flow moves such as full whirls


Gap Transfers

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 another trick.

It is possible to do infinite gap transfers, or pianos, and ladder up and down your fingers while transferring in between.


Half Cab

-Used for positioning

-important trick for getting into fakie or fakie to standard

-is a part of many other tricks

-also known as a pass


Rolling stops 

Is half a roll 

Single fakie rolling stops add a lot of Flair to high level play 

Mastering rolling stop teaches you timing and control. Touches are light and hand bounces must be timed correctly 



-Wraps which change grips

-commonly used to begin another trick or aerial

-variations have forms of springs going upwards and downwards with different names and styles

-helps set you up for learning beadrolls 


Hooks and Unhooks

-Stylish gap transfers

-Teaches you positioning of string on fingers - example unhooked ladder needs string perfectly centered - backpedal needs one string longer than the other 

- hooks transfers need to time and control air pumps while not having too much of the string hook over fingers

- Reference: Unhooked ladder, Backpedal, Jerk Tutorial, Hooks


Mic Drops

-3 finger mic drop, normal mic drop

- understanding timing for releasing tension

- technically first called a harpoon when goes up a grip; but everyone refers to them all as mic drops

- Higher level mic drops would be ones which don’t change grips 


Basic Aerials


Level Three

Introduction into many important concepts for linking into more advanced tricks. 



Is a thumb wrap that can easily flow into any grip and links into numerous tricks. Gives you time to reset. 



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.

-Reference: Whirls, Full Whirls



A flip is a grip transfer where the set does a full rotation and switches captive beads.

This is a common setup up 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

References: 3 finger roll and backhand



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: musclebones tutorial and Beadrolls


Fakie mic drops

Can be linked into a lot of tricks and closers

Looks 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. 



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: Caged Wrap (needs to be filmed), Caged Rebound, Caged Air Pump (needs to be filmed) 


Interrupts and Interceptions

When you interrupt and redirect the momentum or energy of a swing. Important for flow mixups and apart of many advanced trick setups

Nope, denial, rock and roll, rupts, flicks, etc


Lassos and Slingshots

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. 



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. 

Reference: Pinch Tech, Two Finger Pinch Rolls, Pinch Orbit


Level Four

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. 


Zoots and 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. 

Irregular or Tilted

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. 

Reference: Irregular whirls, irregular beadrolls, grip transfers


Drop and sonics

Get you used to dropping or skipping a finger. Opens door to a ton of variations and a fun flow.  

Reference: Neo-sonic, drop whirl 


Curls and 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.  



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. 

Reference: Pinch butterfly,  Pinch butterfly ladder, Wrap butterfly


Aerial catches

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.

Reference: Toss, fakie toss, 360 launch


Finishers or Closers

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! 


Reference: Chop, Floor stall

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