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Bulería (Spanish pronunciation:[buleˈɾia]; interchangeable with the plural,bulerías) is a fastflamenco rhythm made up of a 12 beat cycle with emphasis in two general forms as follows:
This may be thought of as a measure of6
8 followed by a measure of3
4 (known ashemiola).
For dancers, it is commonly viewed with a compas or bar of 6 counts as opposed to 12.
An interesting counting method has been used byPepe Romero, in his bookClassical Guitar Style and Technique, which is 2 measures of3
4 time followed by 3 measures of2
4 time. This puts the emphasis on the last beat of each measure:
When performed, thebulería always starts on beat twelve of thecompas, so the accented beat is heard first.
It is normally played at 195-240 beats per minute, most commonly in an A-phrygian mode (por medio) with a sharpened third to make A major the root chord. A typicalrasgueado pattern involves only the A and B♭ chords, weregolpes are used to accent the chords as follows:
Although professional players often intersperse other chords, in more traditional playing variations of chords from theAndalusian cadence are utilised and modern players, influenced by jazz may use a greater variety of chord patterns and variations.
It originated among theCalé Romani people ofJerez during the 19th century,[1] originally as a fast, upbeat ending tosoleares oralegrias. It is among the most popular and dramatic of the flamenco forms and often ends any flamenco gathering. The namebulerías comes from theSpanish wordburlar, meaning "to mock" orbullería, "racket, shouting, din". It is the style which permits the greatest freedom for improvisation, the metre playing a crucial role in this. Speed and agility are required and total control of rhythm as well as strength in the feet which are used in intricate tapping with toe, heel and the ball of the foot.
(See alsotap dance.)
When sung, thebulería has three or four octosyllabic lines. It is sometimes subdivided intobulerías al golpe andbulerías ligadas. The former is slower while the latter is frantic.
There are many styles of Buleria depending on the region of Spain from which it originated. For example: Buleria de Lebrija, Buleria de Jerez (possibly the most commonly used style), Buleria de Cadiz, Buleria de Utrera etc.
Other cantes, although Andalusian in a general sense, originated from Gypsy subculture and lack non-Gypsy counterparts; these would include siguiriyas, soleares, bulerias, and tonas
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