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Structurally, the bolero is an all mediums straightforward composition. It composes of the C major, ¾ times beginning in a pianissimo and a continuously rising crescendo to possible fortissimo (Asada and Ohgushi 242). Rhythm is built over the unchanging ostinato rhythm. It is played through one or more snare drums in consistence throughout the musical piece. Further rhythm is created by the created two melodies each of 18 bars duration, and they are each played two times at alternating moves. The first melody is of a diatonic mode and descends through one octave while the second is of a Phrygian mode and descends through two octaves. Moreover, there is a maintained constant re-orchestration of the theme culminating to steady crescendo and varieties of timbers both of which repeat over and over; a series of 8 and 9 times for the second and the first theme respectively. The major C with a minor key complementary refrain repeats over and over, consistent to the insistent beat of a side drum
The dynamics of the Bolero starts off remarkably quiet and gradually increases as the mood gradually increases in tension for over 15 minutes (Stevens 2001). The speed of tonation and movement is fairly moderate throughout the music. This is attributed to the use of repeated same melodies, but played on different instruments, and more instruments are added as it proceeds to a dramatic climax. The color scheme hugely varies; burying the available tonal center and it goes a considerable time before closing an arc and returning back to the primary color.
Phrasing in the bolero is neither definable as asymmetrical or symmetrical in that it changes over and over in sudden lapses. It constitutes of the same form that recurs over and over, but with no distinct formula. Some parts are symmetrical while others are just asymmetrically mixed.
The bolero is one of
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