Reflecting its origin as a remate to the soleares, the underlying form of bulerías is simple. Bulerías cantes consist of three or four eight-syllable lines, and there is great flexibility in the way artists choose to treat those three or four lines. The singer may give one or two compáses to each line, or they can stretch them out, decorating each syllable with melismatic flourishes, or repeating them for rhythmic or emotional effect.

​The guitarist follows the singer’s phrasing, underscoring the implied harmony, adding falsetas and maintaining the rhythmic pulse. Performing without a singer, a guitarist will string together a series of falsetas in a way that may imitate the form of letras.

A dancer will usually dance while the letra is being sung, and also dance between letras. A dancer can also dance during short breaks within the letras (a respira for the singer; a remate for the dancer). A dancer will use transitional phrases, including palmas en contra tiempo, remates and llamadas, and desplante llamadas to move from one section of the dance to another, cueing the musicians at each transition.

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There are distinctive differences in dance styles for the bulerías depending on where and when the dance is performed. If it is a professional performance at a concert or theatrical show, the dancer will include 1 to 2 letras, add an escobilla, and perform an ornate traveling exit, the salida (also often called the cierre). If the dancer is performing bulerías at a flamenco party (juerga), small event, or with family and friends, the dance takes on a more personal touch that may or may not include all of the above named sections. See below for a more detailed description of each section of the dance.