BULERIA FIERO ANALYSIS
Based on the Buleria dance which the distinctive 12/8 rhythm with following accents: 1 2 3 4 5 6 7 8 9 10 11 12
In a Flamenco ensemble it is convention to start the counting on the 12. Consequently, the actual heard
rhythmic emphasis is: 1 2 3 4 5 6 7 8 9 10 11 12, which is often “played” on palmas (the style of
Flamenco clapping where you can have many different tones and dynamics that can include a variety of
accents as needed) as well as instrumentally. The dance footwork will have counter rhythms to this
fundamental pattern, which is repeated throughout the dance, creating a somewhat hypnotic effect.
The Phrygian mode starting on E, sometimes with sharpened 3rd is a cornerstone of the piece: E F G (G#) A B C D . Along with the Buleria rhythm and Phryigan mode, another aspect of the dance form that is present in this
piece is the implied harmonies revolving around: Em – F – G with melodies based on these chords.
There are four sections:
Section A: Bars 1- 10
Introduces the Buleria rhythm in the opening 2 bars. The pattern used is a slight variation on the traditional
Buleria, with an accent on last beat of bar as well. This pattern continues while a countermelody plays in between the pulses, suggesting counterpoint. At Bar 8 the key changes to F Phrygian mode and develops the material further adding more embellishments to the basic motif and starting on an anacrusis, destabilising the predictability somewhat.
Section B: Bars 10-15
This section is virtuosic in nature and is the most technically demanding in the stratospheric register, especially
when played up to speed. This section symbolises the flurry of excitement and electricity as the dance gets
faster and more forceful. The underlying pulse created by the accented notes gets and more erratic and the
musical flurries more intense, finally ending with the extended technique flutter tonguing on fortissimo high E.
Section C – Bar 16-29
Section C marks a contrast in character to the rest of the piece, as if it is the calm after the storm. Marked
“Poco liberamente con espressione meno mosso” meaning play freely with expression and a little slower. The
second use of extended techniques appears – key clicks, this time to hint that the Buleria undercurrent is still
present. It is slower and more lyrical than the previous section and the player can really indulge in some strong vibrato here, especially with a marking like “con espressione”. Use of sequence is present in the middle of the section. Concluding Section C, the climax or apex of the piece is the Improvised section where the performer is allowed to make up the music on the spot for 30-2 minutes within the parameters of the E Phrygian mode.
Section A (or Coda) - Bar 30-36
Here the first theme returns with a different ending, this time resolving to the tonic high E.
Based on the Buleria dance which the distinctive 12/8 rhythm with following accents: 1 2 3 4 5 6 7 8 9 10 11 12
In a Flamenco ensemble it is convention to start the counting on the 12. Consequently, the actual heard
rhythmic emphasis is: 1 2 3 4 5 6 7 8 9 10 11 12, which is often “played” on palmas (the style of
Flamenco clapping where you can have many different tones and dynamics that can include a variety of
accents as needed) as well as instrumentally. The dance footwork will have counter rhythms to this
fundamental pattern, which is repeated throughout the dance, creating a somewhat hypnotic effect.
The Phrygian mode starting on E, sometimes with sharpened 3rd is a cornerstone of the piece: E F G (G#) A B C D . Along with the Buleria rhythm and Phryigan mode, another aspect of the dance form that is present in this
piece is the implied harmonies revolving around: Em – F – G with melodies based on these chords.
There are four sections:
Section A: Bars 1- 10
Introduces the Buleria rhythm in the opening 2 bars. The pattern used is a slight variation on the traditional
Buleria, with an accent on last beat of bar as well. This pattern continues while a countermelody plays in between the pulses, suggesting counterpoint. At Bar 8 the key changes to F Phrygian mode and develops the material further adding more embellishments to the basic motif and starting on an anacrusis, destabilising the predictability somewhat.
Section B: Bars 10-15
This section is virtuosic in nature and is the most technically demanding in the stratospheric register, especially
when played up to speed. This section symbolises the flurry of excitement and electricity as the dance gets
faster and more forceful. The underlying pulse created by the accented notes gets and more erratic and the
musical flurries more intense, finally ending with the extended technique flutter tonguing on fortissimo high E.
Section C – Bar 16-29
Section C marks a contrast in character to the rest of the piece, as if it is the calm after the storm. Marked
“Poco liberamente con espressione meno mosso” meaning play freely with expression and a little slower. The
second use of extended techniques appears – key clicks, this time to hint that the Buleria undercurrent is still
present. It is slower and more lyrical than the previous section and the player can really indulge in some strong vibrato here, especially with a marking like “con espressione”. Use of sequence is present in the middle of the section. Concluding Section C, the climax or apex of the piece is the Improvised section where the performer is allowed to make up the music on the spot for 30-2 minutes within the parameters of the E Phrygian mode.
Section A (or Coda) - Bar 30-36
Here the first theme returns with a different ending, this time resolving to the tonic high E.
