Entrada/Salida Entrance, often peformed to a guitar falseta or

to the singer’s entrance (salida) ti ri ti tran,

tran...
Llamada The dancer's call starting on count 1, indicating
that a new section is about to begin. This can
be a long sequence of footwork or just one or
two sets of compás (12 or 24 counts). This is
also the cue for the singer's entrance.
Letra The verse sung by the cantaor/a. This is
approximately 7 to 12 sets of compás long. The
dancer can extend the letra sections by adding
choreography at the end of the song. The
dancer can also cue for more letras by
completing the first letra with a finish - a
remate - and add an initiation cue - a llamada -
to cue the singer. by incl
First Escobilla The first extended footwork section. The dancer
displays virtuosic footwork here while the guitar
plays a standardized arpeggio pattern. The
singer doesn't usually sing during an escobilla.
This builds to a subída, two or more sets of
compás in which the dancer builds to a climax.
Silencio This is a traditional 6-12 compás falseta
performed by the guitarist. The music is slow
and in the parallel minor key. The dancer
interprets the music, usually in a lyrical rather
than percussive manner. The final compás
moves back to the major key and the original
tempo, leading to the castellana.
Castellana This is a combination footwork/remate section
that leads away from the silencio into an
escobilla. Usually 4 compás long, the singer
sings the traditional 'tiriti tran tran tran" or a
shortened verse. This generally ends with one
or more sets of compás for the remate. This
section is not always performed, but is often
included a completely traditional version of the
dance.
Second Escobilla/Seco This footwork section is often performed a palo
seco, where the guitar acts as a rhythm
instrument as the guitarist strums muted
strings. The dancer can establish the tempo
with palmas and traveling steps for two or more
compás, and will continue on to perform many
intricate footwork variations.
Third Escobilla The guitar returns with traditional escobilla
music while the dancer performs more intricate
footwork variations.
Cambio The traditional escobilla starts on count 1 of the
compás while the Bulerías de Ca'i, the closing

Bulerías de Ca'i
Salida/Cierre
Con mi niño/a passando
Cada vez que voy a Cádiz
Con mi niño/a passando
Todas las sirenas del puerto
Que salen de pronto tocando
Mi barca marinera
Tiene dos velas
Una me lleva cielo, Ay!
La otra a tu vela
section, starts on beat 12. In the cambio
section, the guitarist and dancer move the
accent structure to beat 12 to segue into the
bulerías.
Bulerías de Cádiz - Bulerías de Ca'i - is
performed as a finale/remate for the entire
dance. The singer sings the traditional bulerías
de Ca'i in a major key. This section transitions
into the salida/cierre with a desplante llamada -
a standardized 12 to 24 count pattern that is
the bridge/cue into Bulerías e Ca'i.
The dancer dances off stage to traditional
closing music. The dancer can also end on
stage, but will usually perform a long traveling
pattern leading to the closing cierre.
When I'm out walking with my girl/guy
Every time I go to Cadiz
All of the mermaids of the seaport
Suddenly emerge, dancing!
My ship has two sails
One takes me to heaven
the other envelopes you.