Buleria
Among the flamenco rhythms, the Bulerias remains supreme as the favorite fiesta rhythm. It is highly complex rhythmically with many variations and a rich tapestry of guitar, dance, and song effects.
There are two main approaches to Bulerias - one in its interpretation as a rhythm in its own right, and the other is its use as a finale to many of the other dances (in which case it is interpreted much faster).
The Bulerias is performed in most keys easily available to the guitar; A and E Phrygian Modes, A and E Minor, and A and E major (although usually not in C major - it doesn't seem to have the required "punch"). Sometimes, for fun, guitarists will solo in F# or B Phrygian as well.
The structure of the cante was derived from that of Soleares, complete with cambio. The traditional verse form is called copla; however, many popular versions of Bulerias verses exist (called cuples).
The dancer uses a two compas (12 count) sequence called the desplante which is used to differentiate sections of her performance and to mark transitions between steps. The first compas has a traditional form, and is used as a signal; the second compas is where the creative stuff happens (pelizcos), and is where the dancer can express his/her choreographic originality.
Between coplas of the cante and steps of the dance, the guitarist has almost impossible freedom - he can play any number of 6/8 or 3/4 six count or 12 count measures of guitar rasgueado and falsetas. (Singers and dancers also have this freedom, of course; that is why Bulerias can always be accompanied with the preferred dobles palmas - since it gives everyone a six count reference.
There are two types of resolution phrases in Bulerias; the first is a six-count 3/4 measure on the tonic chord:
Basic Resolution Phrase
Jaleo (Chufla) Compas (3/8)
The second is used with the Jaleo (also sometimes called the Chufla) form of Bulerias. The structure of the Jaleo is actually a speeded up form of the 12-count 3/4 "question/answer" phrasing of the Soleares, and is written in 3/8:
The Jaleo cycles are always in multiples of two (2 x (3/8) = 6/8) for the dancer. The resolution phrase in Jaleo is the answer phrase (counts 10 - 12). (Since guitarists are not restricted to 12 counts, the answer phrase may come on 4 - 6 in a guitar falseta).
Transitions between the two types of cycles (6/8,3/4) and Jaleo will be discussed in the following sections on the desplante.
12- Count Bulerias Compas
The 12 count compas for Bulerias can be written in alternating measures of 6/8, 3/4 or in 4 measures of 3/8 (in the latter case, transition is on the pivot point of 10; transitions are discussed in the following two sections on the desplante):
Note that the second compas has been written in Jaleo form to emphasize its relation to Soleares and Alegrias. In the former case the 6-count resolution phrase is appropriate, in the latter the Jaleo resolution on count 10. (See the following two sections for transitions between the two types of phrasing). Compare the second compas to the 3/4 12 Count compas cycle discussed earlier.
The Desplante por Bulerias
The desplante is actually most easily written in 3/8 (following the chording compas), and is derived from the cambio of the Soleares (in fact, the dancer should try to coordinate his/her desplante with the cambio of the cante when interpreting the dance):
The first compas for the dancer is a call, or llamada, and is performed in similar ways, since it is a signal to the guitarist. The second compas is an opportunity for the dancer to perform pelizcos (individual creative compas), and can emphasize any of the Bulerias compas measures (for variations, study the discussion on transitions in the next section). The 12th count of the second compas is strongly emphasized, since it is usually the transition to a 6/8 six count compas cycle in the next section of the dance. (Compare the palmas in counts 7 through 10 in the second compas with the six-count resolution phrase for Bulerias).
Transition between Bulerias desplante and other compas cycles
A major source of confusion often is the transition between the Jaleo (and desplante) forms and the 6/8 and 3/4 forms (or combinations thereof). This is best explained of by thinking of the count 4 (or 10) as a "pivot point" (i.e., a single count of a resolution phrase).
Notes:
Remember, the foot taps on the even beats throughout when accompanying (here one of the 3/8 measures has been divided up to effect the transition).
If making the transition from the 6/8, 3/4 forms to the Jaleo or desplante, wait two counts (11,12) before entering the 1 count of the new cycle.
If making the transition to the 6/8 or 3/4 rhythms from the Jaleo or desplante, wait only one count (11) before emphasizing the 12 count of the new cycle.