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1. Entrada/Salida 

   • The dancer’s entrance, usually performed to a guitarist’s falseta or rhythm music. Also often performed as the singer performs the temple/salida.

2. Llamada A cue for the singer 

   • Often percussive and marked by bold gestures, the llamada cues the singer to sing the first letra.

3. Letra

   • The dancer interprets the mood and rhythm of the singer’s letra, often using traditional steps, phrases and patterns. Most letras are approximately 7-8 sets of compás (sets of 12 count phrases).

4. Falseta

   • It isn’t standard practice, but a guitarist will often perform one of more falsetas for the dancer to interpret lyrically. This section usually occurs after a letra.

5. Subida, palmas, escobilla

   • The dancer will often use footwork or palmas to speed up the tempo (the subida), leading either into a fast, repetitive footwork sequence that leads into the escobilla.

6. Llamada, letra, subida, remate

   • The sequence of steps described above, from llamada through subida, is often repeated with a second letra building up to a remate (a finish/finishing moment). This pattern may be repeated for a third letra as well, again culminating in a remate.

7. Escobillas

   • Long sequences of footwork, accompanied on the guitar either playing a palo seco (dry) or performing a standardized arpeggio pattern.

8. Bulerías, Finale

   • A soleares performance will often close with a transition into a bulerías, a faster form with a related underlying compás. This may be brief, just long enough to get the dancer off stage, or as long or longer than the initial soleares. The dancer may also choose to transition to soléa por bulerías briefly, and then into bulerías.