There are two parts to a Fandangos de Huelva, including the estribillo, a rhythmic chordal refrain played on the guitar with or without singing, and the coplas. These two parts alternate, similar to the chorus and verse in a folk song: The compás for the Fandangos de Huelva is a six count pattern with accents on the third and fifth beats.

Each copla (verse) of the Fandangos de Huelva contains six sets of twelve counts, and dancers usually perform several verses of the song, or trade off performing a verse with another dancer. In a performance, the guitarist plays two or four sets of estribillos before each copla. The singer may also sing the estribillo before the first copla. When performed in the traditional, regional style, steps are characterized by beautiful leg gestures, flicks of the feet, jota steps and jumps, escuela bolera steps and patterns, a small amount of taconeo/zapateado, castanets, and a distinctive arched line in the back of the dancer – torcido – which produces a spiraling effect. The dance is also often performed aflamencada, in a flamenco style that includes footwork, flamenco marking steps and cues, and llamadas and remates that are similar to those found in Bulerías.

​The typical scenario for a traditional Fandangos de Huelva dance (performed by soloists or in groups) is as follows:

1. Entrance/entrada

   • Danced to a musical (with or without cante) estribillo

2. 1st copla

   • Each verse contains six sets of twelve count phrases, performed with or without castanets, and includes traditional regional or flamenco steps and phrases

3. Estribillo transition

   • Two to four sets of twelve count phrases are performed to the estribillo music, acting as transitions between the coplas (verses). These transitions allow dancers to enter or exit the stage.

4. Arrimaté

   • A traditional cierre (closing/ending) for cante and baile por Fandangos de Huelva