Blue Bossa, Harmonic Analysis

Dr. Bob Lawrence
Sep 6
4 min read

Updated: Sep 9

Form, Changes, Function, Voicings.

Blue Bossa by Kenny Dorham

“Blue Bossa” — Discovering the Essentials of Jazz Piano one Standard at a time!

Blue Bossa: A Harmonic Analysis

What a week it has been! Before we dig into today’s lesson, I want to pause and simply say thank you. Last week’s 300th episode celebration was incredibly special for me, and I was deeply touched by the emails, voicemails, SpeakPipes, and texts so many of you sent my way. Your kind words reminded me of why I started Jazz Piano Skills in the first place—not only to share music, but to build connections. This podcast has truly grown into a family. I’m grateful for each of you, and I can’t wait to see where the next 300 episodes take us.

Now, with that said—let’s get to work.

It’s the first week of the month, and that always means one thing: a brand-new jazz standard to study. Around here, we don’t just play tunes. We use them as vehicles—tools that illuminate the core skills every jazz pianist needs. Same three camps each month: harmony, melody, and improvisation. The tunes change, the process doesn’t.

This month’s adventure? The timeless Kenny Dorham classic from 1963: Blue Bossa.

Why Blue Bossa?

You know, there are certain tunes that just stick with you, and Blue Bossa is one of them. I can’t tell you how many students over the years have walked into my studio, eager to play it. And with good reason.

It’s short. Sixteen measures. No long 32-bar AABA form to wrestle with. Just one clean, compact section. And yet, despite that simplicity, it gives us everything we need to practice: II-V-I progressions in both major and minor, diatonic movement, altered harmony, and enough space for creativity.

I remember the first time I played Blue Bossa on a gig—I was around 15. I thought, “This is going to be easy.” But then the solo section came around, and suddenly that G7 altered chord wasn’t so easy. I stumbled. I fumbled. And I quickly realized: this “simple” tune has a way of showing you exactly where your skills are strong—and where they need work.

That’s why I love teaching it. Blue Bossa is forgiving, but it’s also honest.

Breaking Down the Harmony

Let’s start with the basics.

Form: A single 16-measure stretch. That’s it. No repeats, no detours.
Key Center: C minor. The first chord tells us where we are, and the final cadence confirms it.
Chords: Seven in total. That’s far fewer than the 10–12 you often see in a 32-bar standard.
Progressions: The backbone of the tune is two things—minor II-V-I and major II-V-I.

So right away, we’re reinforcing the most important concept in jazz harmony: the II-V-I progression. Blue Bossa gives us practice with both flavors: minor (D half-diminished → G7 altered → C minor) and major (E♭m7 → A♭7 → D♭maj7).

I often tell students: if you can play a II-V-I smoothly—in all 12 keys—you’ve unlocked 75% of jazz harmony. Blue Bossa is a beautiful playground for that very skill.

Voicings in Practice

Of course, knowing the chords is one thing. Making them sound like music is another. That’s where voicings come in.

For Blue Bossa, I laid out several options in the podcast packets:

Block Voicings: Root, 3rd, 5th, and 7th (sometimes 9ths or 11ths for color). Great for getting a full, balanced sound.
Shell Voicings: Just three notes—the root, 3rd, and 7th. I made a point this month to focus on the more traditional shells instead of the contemporary versions I usually lean toward. Traditional shells keep things lean and clear, and they’re an excellent way to hear the functional backbone of a progression.
Two-Handed Structures: These give you that lush, expansive sound pianists love. And when you get to that G7 altered chord? Don’t be afraid to use a poly-chord voicing—say, an E♭ major triad over G. Instant altered tension, with very little effort.

One of my favorite exercises is to play through the entire tune three times: once with block voicings, once with shells, once with two-hand structures. Then, on the fourth round, start mixing them. You’ll be amazed at how quickly your harmonic vocabulary starts to open up.

A Word About Process

Here’s the danger: too many people rush. They want to play the melody right away. They want to improvise before they’ve absorbed the harmony. But if there’s one thing I’ve learned in decades of teaching, it’s this—a solid process beats shortcuts every time.

For every new tune, I recommend:

Listen – Find as many recordings as you can. Listen until you can sing the melody in your sleep. Kenny Dorham’s version is a must, but don’t stop there. Freddie Hubbard’s take, Dexter Gordon’s, Joe Henderson’s—they each highlight something different.
Analyze the Harmony – That’s what we’re doing this week. Chords, functions, progressions. Internalize them.
Study the Melody – That’s next week. We’ll dig into articulation, phrasing, and shaping.
Improvise – Only after steps 1–3. When you improvise, you’re not “guessing.” You’re drawing on what you already know.

It’s a process. It works. And if you trust it, you’ll see your playing grow exponentially.

Looking Ahead

So this week, we’ve focused on the harmonic foundation of Blue Bossa. Next week, we’ll turn to the melodic analysis, unpacking how to phrase that simple yet unforgettable melody with real jazz articulation. And then in week three—we’ll step fully into improvisation, bringing it all together.

In the meantime, I encourage you to sit down at the piano and spend time with those II-V-I progressions. Play them in shells. Play them in blocks. Play them in two hands. Mix them up. Explore the sounds.

Remember: tunes like Blue Bossa aren’t just songs—they’re workouts for your musicianship. They shine a light on your strengths and your weaknesses, and they give you a safe space to grow.

Until next week, as always—it’s time to get busy. It’s time to discover, learn, and play jazz piano.

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