What is the Bulerías cadence?

The Bulerías uses the progression IV – III – II – I in A flamenco. Chords: Dm – C – Bb – A.

What scale is used for Bulerías?

Bulerías uses A phrygian (A–Bb–C–D–E–F–G).

Bulerías

Soleá FamilyA Flamenco PhrygianKey sig.: D minor

Position: por medio

Capo / Transposer

Capo:

Guitar position: por medio | Sounding key: A

Compas — 3/4, 12 beats

Accent Variants

Pattern	Accents
Traditional (al 1)	123456789101112
Mixed (al 1)	123456789101112
Al 12	123456789101112
Al 12 (sparse)	123456789101112

This palo can start al 1 or al 12, each giving a different rhythmic feel.

Interactive Progression

Harmonic structure:

Do Re MiC D E

Harmony

OriginalPass Chords

ILa

IISi♭

ILa

BPM: 120

Triad Diagrams — La Bulerías (Guitar)

Display

FingerNoteDegree

Chord Voicings Closest Voicing

ILa

IISi♭

ILa

Resolutive cadence: Bb → A (II → I)

Harmonic Structures

Name	Chords	Degrees
al 1: I-II-I	A – Bb – A	I – II – I
al 1: I-II-III-II-I	A – Bb – C9 – Bb – A	I – II – III – II – I
al 12: I-VII-I	A9 – Gm7 – A7	I – VII – I
al 12: I-II-III-VII-I	A9 – Bb – C9 – Gm – A9	I – II – III – VII – I

Scale

A phrygian

ABbCDEFG

Related Scales

Flamenco Mode / Phrygian

Intervals: 1 b2 b3 4 5 b6 b7

The fundamental flamenco scale. Also called Dorico Griego (Greek Dorian, descending) or Phrygian (Gregorian). The 3rd is raised to G# when chord I needs to be Major.

Phrygian Dominant / Spanish Gypsy

Intervals: 1 b2 3 4 5 b6 b7

Phrygian with raised 3rd. The most characteristic sound when playing over the I chord in flamenco. Fifth mode of Harmonic Minor.

Whole Tone / Hexatonal

Intervals: 1 2 3 #4 #5 b7

Six-note scale of whole tones. Used by Albeniz and adopted in flamenco for impressionistic passages and augmented chord contexts.

Flamenco Mode Degrees (A)

Degree	Chord	Quality	Function
I	A	Major*	Secondary Tonic
II	Bb	Major	Resolutive
III	C	Major	Middle
IV	Dm	minor	Great Tonic
V	Edim	diminished	Diminished
VI	F	Major	Intermediate
VII	Gm	minor	Semi-resolutive

Cycle Start Variants

Bulerias can start "al 1" (traditional, from beat 1) or "al 12" (modern, from beat 12), each giving a fundamentally different rhythmic feel.

Structure Comparison

Variant	Chords	Degrees
al 1: I-II-I	A – Bb – A	I – II – I
al 1: I-II-III-II-I	A – Bb – C9 – Bb – A	I – II – III – II – I
al 12: I-VII-I	A9 – Gm7 – A7	I – VII – I
al 12: I-II-III-VII-I	A9 – Bb – C9 – Gm – A9	I – II – III – VII – I

Flamenco Formal Structure

Temple

The cantaor's vocal preparation before singing, using ayeos and characteristic syllables. Sets the pitch and emotional tone of the piece.

Falseta

A small guitar composition with complete musical meaning. Serves as introduction, interlude between verses, or standalone concert piece. The primary vehicle for guitar improvisation in flamenco.

Llamada

A signal to transition between sections. Contains identifying rhythmic and harmonic elements that communicate the upcoming change to other performers.

Letra (Verse)

The vocal verse sections, metrically fitted to the palo's rhythmic structure. The guitar accompanies with compas patterns and harmonic support.

Cierre (Close)

A short musical fragment to conclude llamadas, falsetas, or sections. Provides rhythmic and harmonic closure.

Remate

At least one additional compas after a llamada or falseta, giving a lively, emphatic character to the conclusion.

Escobilla (Dance Section)

The dance section featuring zapateado (footwork). Often features progressive acceleration. The guitar provides rhythmic compas support.