Take the 'A' Train: The Elegance of the Secondary Dominant
Take the 'A' Train is the definitive anthem of the New York jazz scene and the signature tune of the Duke Ellington Orchestra. Composed by Billy Strayhorn in 1939, it captures the sophistication, energy, and urbanity of Harlem during the peak of the Swing Era. The description of the song often highlights its 'train-like' momentum and its bright, optimistic character. It is a piece that feels both high-class and incredibly accessible, mirroring the dual nature of Harlem itself in the mid-20th century. From a technical standpoint, Take the 'A' Train is a masterclass in the use of the secondary dominant II7 (D7). It demonstrates how a single, well-placed non-diatonic chord can transform a standard major-key progression into something sophisticated and modern.
Take the 'A' Train: Inside the Music
Every standard has a story, and Take the 'A' Train (in key of C) is a masterclass in songwriting and a foundational canvas for improvisation. Let's explore its unique approach to The II7 (Secondary Dominant) and standard Dm7-G7-Cmaj7 jazz turnaround..
A Musician's Perspective & Background
The song's title was inspired by the newly-opened Eighth Avenue subway line, which had an 'A' express train that ran from Brooklyn through Manhattan to Harlem. Billy Strayhorn wrote the tune after Duke Ellington gave him directions to his house via the 'A' train. Historically, the tune marked the beginning of one of the most fruitful partnerships in music history—the collaboration between Ellington and Strayhorn. Strayhorn's more 'European' approach to harmony and orchestration perfectly complemented Ellington's blues-rooted genius, leading to a decade of unprecedented creativity. Its continued popularity is a testament to its perfect construction. It is a song that works equally well as a light-hearted vocal number or a high-energy instrumental showcase.
Interactive Soloing Laboratory
Use the controls below to visualize key harmonic moments on the fretboard and circle of fifths.
Harmonic Deep-Dive
The defining harmonic feature of Take the 'A' Train is the D7 chord in bars 3-4 (the II7). This chord creates a bright, 'upward' tension that distinguishes it from a standard diatonic ii-V-I. The progression follows a classic AABA form, with the A sections navigating the II7 before resolving into a standard Dm7-G7-Cmaj7 turnaround. This balance between the 'unexpected' II7 and the 'familiar' ii-V-I is what makes the harmony so satisfying; it provides just enough surprise to keep the listener engaged without ever becoming too complex. In the bridge, the harmony modulates to the IV key (F Major), providing a brief moment of harmonic variety before returning to the home key of C Major. This modulation is handled with typical Strayhorn elegance, using a series of cycle-of-fourths movements that lead back to the final A section.
C Maj7 (I)
Intervals: root, 3, 5, 7
D 7 (II7)
Intervals: root, 3, 5, b7
Dm 7 (ii)
Intervals: root, b3, 5, b7
G 7 (V)
Intervals: root, 3, 5, b7
Melodic Ideas to Try
' It is built around a simple, catchy three-note motif that is repeated and transposed to outline the changing harmony. A key aspect of the melody is its use of the #11 on the D7 chord. By landing on this 'crushed' interval, Strayhorn gives the tune its signature 'cool' and modern edge. In the bridge, the melody becomes more expansive and lyrical, contrasting with the tighter, motivic nature of the A sections. This structural contrast is essential for keeping the listener's interest over the 32-bar form.
The Groove & The Feel
The rhythmic foundation of Take the 'A' Train is a buoyant, medium-up swing that defines the Ellington sound. The rhythm section should provide a driving, 'train-like' momentum—steady, relentless, and full of life. The drums usually feature a crisp ride cymbal and a sharp hi-hat on 2 and 4, creating the 'choo-choo' feeling associated with the title. In the Big Band version, the use of brass 'kicks' and reed riffs adds an extra layer of rhythmic excitement, making the tune feel incredibly dynamic. Maintaining this momentum throughout the performance is key. Whether it's a small group or a full orchestra, the feel must remain light and forward-leaning.
Improvisation Strategies
When soloing over Take the 'A' Train, the most important task is to master the D7 chord (the II7). To get the signature sound, you must emphasize the #11 (G#/Ab). For the turnarounds (Dm7 - G7 - Cmaj7), focus on smooth voice leading. Practice connecting the 3rd of one chord to the 7th of the next to create lines that 'flow' through the changes. In the bridge, use the F Major scale and focus on the new tonal center. This is a good time to play more lyrical, 'vocal' phrases to contrast with the motivic nature of your A-section playing. Always keep the 'train' rhythm in mind; even your most complex lines should have a clear, swinging pulse.
Summary & Takeaways
The primary takeaway from Take the 'A' Train is the effective use of the secondary dominant II7 chord. Mastering this tune gives you a powerful harmonic tool that can be applied to countless other jazz standards. Secondly, the tune is a study in motivic economy. It shows how much you can achieve with a single, simple melodic idea if you develop it correctly. ' It represents the peak of Big Band elegance and urbanity. By learning this piece, you connect with the legacy of Duke Ellington and Billy Strayhorn, developing the 'touch' and 'feel' required to play at a professional level.
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