os ▁have ▁derived ▁their ▁comp ás ▁from ▁the ▁sole á , ▁including ▁Bul er ías ▁por ▁sole á , ▁the ▁pal os ▁in ▁the ▁C anti ñas ▁group , ▁like ▁Ale gr ías , ▁Rom eras , ▁Mira br ás , ▁Car ac oles ▁or , ▁to ▁a ▁certain ▁extent , ▁Bul er ías . ▁It ▁consists ▁of ▁ 1 2 ▁be ats , ▁and ▁could ▁be ▁described ▁as ▁a ▁combination ▁of ▁triple ▁and ▁du ple ▁beat ▁bars , ▁so ▁it ' s ▁a ▁polym et re ▁form , ▁with ▁strong ▁be ats ▁at ▁the ▁end ▁of ▁each ▁bar . ▁The ▁basic ▁" ske leton " ▁of ▁the ▁sole á ▁rh ythm , ▁thus , ▁follows ▁this ▁pattern : ▁ ▁( Each ▁number ▁represents ▁a ▁beat . ▁Blue ▁squares ▁mean ▁weak ▁be ats , ▁while ▁big ▁brown ▁d ots ▁are ▁strong ▁be ats .) ▁ ▁Nevertheless , ▁this ▁is ▁just ▁an ▁underlying ▁structure , ▁like ▁a ▁foundation , ▁a ▁kind ▁of ▁grid ▁where ▁fl amen co ▁artists ▁cre atively ▁draw ▁the ▁rh ythm ▁by ▁means ▁of ▁sub div isions , ▁art ic ulation , ▁and ▁less ▁commonly , ▁ ▁sync op ation ▁and ▁acc ent ▁disp lacement . ▁ ▁The ▁first ▁example ▁of ▁" pal mas " ▁is ▁a ▁very ▁common , ▁simple ▁pattern : ▁ ▁Notice ▁that ▁pal mas ▁are ▁often ▁( though ▁by ▁no ▁means ▁always ) ▁silent ▁during ▁be ats ▁ 4 ▁to ▁ 6 , ▁even ▁if ▁beat ▁number ▁ 6 ▁is ▁a ▁" strong ▁one ". ▁This ▁is