Entrada – Entrance, often performed 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 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.

​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 in a completely traditional version of the dance.

​Seco – This footwork section is often performed a palo seco, where the guitar acts as a rhythm instrument as the guitarist strums muted strings, and palmistas perform strong palmas. 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 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.

​Buleria de C’ai – 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.

Salida – 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.