JAZZ THEORY ANALYSIS

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. Its catchy, motivic melody and elegant harmonic structure have made it one of the most beloved and performed standards in the jazz world. 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. The song doesn't just describe a subway ride; it describes a transition into a world of musical excellence and cultural pride, serving as a gateway to the Ellingtonian universe. 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. Describing this piece is about recognizing the genius of Billy Strayhorn and his ability to infuse traditional swing forms with a new, intellectual depth and harmonic richness.

Introduction: A Tonal Landmark

Analyze the harmonic innovation and cultural impact of Take the 'A' Train. This composition serves as a foundational study in The II7 (Secondary Dominant) and standard Dm7-G7-Cmaj7 jazz turnaround..

Historical Context

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. Ellington was so impressed with the composition that he adopted it as his band's theme song, replacing 'East St. Louis Toodle-Oo.' 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. Take the 'A' Train became an international hit, recorded by everyone from Mel Tormé to the Rolling Stones, and remains a symbol of the peak of the Big Band era. 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. For generations of musicians, 'A' Train has been more than just a standard; it is a lesson in how to combine popular appeal with musical sophistication. It remains the definitive sound of the New York subway and the golden age of jazz.

Interactive Soloing Laboratory

Use the buttons 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. In traditional theory, this is a secondary dominant—the 'V of V'—but in the hands of Strayhorn, it becomes a coloristic tool. The use of the #11 (G#) on this chord provides that signature 'A' Train bite that is instantly recognizable. 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. It is a perfect study in functional jazz harmony with a modern, chromatic twist. 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. For the theorist, the tune is an excellent example of how to use secondary dominants to build direction and interest within a 32-bar form.

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

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Melodic Analysis

The melody of Take the 'A' Train is a masterclass in motivic development and the use of 'upper extensions.' It is built around a simple, catchy three-note motif that is repeated and transposed to outline the changing harmony. This motivic approach makes the melody incredibly memorable and provides a clear 'train-like' rhythmic pulse that drives the song forward from the very first bar. 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. It’s a sophisticated choice that rewards the attentive listener while remaining singable enough for a mainstream audience. The melody throughout the A section is buoyant and upward-moving, matching the optimistic theme of the lyrics. 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. For the improviser, the melody provides a wealth of material; by referencing the original motifs and the #11 color, a soloist can create a statement that is both personal and deeply rooted in the song's unique identity.

Rhythmic Foundation

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 walking bass line is the heart of this groove, providing a solid four-to-the-bar pulse that allows the other instruments to 'dance' around the beat. 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. It is a groove that demands precision and a high degree of swing, as any 'clunkiness' will destroy the song's essential elegance. 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. For the student of jazz, 'A' Train teaches the importance of a consistent, driving pulse and the role of the rhythm section as a cohesive unit. It is a song that doesn't just sound like a train; it feels like one, pulling the listener along on its journey into the heart of Harlem.

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). Try using the D Lydian b7 scale; this scale perfectly captures the 'A' Train color and provides a sophisticated alternative to a standard Mixolydian approach. Landing on that G# against the D7 chord is one of the most satisfying moments in jazz improvisation. 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. Because the chords move every two bars, you have time to develop longer, more melodic phrases. Use the C Major scale as your home base, but don't be afraid to add chromatic passing tones to bridge the gaps between the chord tones. 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. Your goal is to combine the technical precision of a bebop soloist with the effortless elegance of a Big Band star. Think like Strayhorn: be sophisticated, but never lose the groove.

Key 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. It teaches you how to introduce 'controlled dissonance' into a major key and how that dissonance can be used to create harmonic direction and narrative interest. 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. This lesson is invaluable for any improviser, as it teaches you how to build a coherent story across a long solo without having to constantly invent 'new' material. It is a masterclass in doing more with less. Finally, 'A' Train is a lesson in 'swing aesthetics.' 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. It is a reminder that in jazz, sophistication and accessibility don't have to be mutually exclusive; you can be the smartest person in the room and still make everyone want to dance.