Take the A Train — Billy Strayhorn's signature piece for the Duke Ellington orchestra — is essential swing repertoire for jazz piano. Usually in C major with a bright 4/4 bounce, it combines straightforward ii–V–I motion with rhythmic drive that rewards crisp comping and economical solo lines.
This guide covers the chord progression, left-hand shells, swing comping patterns, and solo ideas using scales and arpeggios. Melody is not written out; learn the head from a recording or lead sheet separately.
Form and Tempo
Take the A Train uses 32-bar A–A–B–A form. Performance tempo ranges from medium swing (quarter = 120) to bright (160+). Ellington recordings vary; start comping at 100 BPM and increase when voicings stay clean.
The A sections emphasize C major with quick dominant cycles. The B section modulates for contrast before returning home.
A Section Harmony (Bars 1–8)
A common Real Book progression for the first eight bars in C:
- Bar 1: C6 or Cmaj7 (C–E–G–A or C–E–G–B)
- Bar 2: D7 (D–F#–A–C) — often labeled D7 or secondary dominant
- Bar 3: Dm7 (D–F–A–C)
- Bar 4: G7 (G–B–D–F)
- Bar 5: C6 or Cmaj7
- Bar 6: C6 / A7 (two chords) or sustained C with passing A7
- Bar 7: Dm7
- Bar 8: G7
Bars 3–4 and 7–8 are classic ii–V–I fragments (Dm7–G7–C). Bar 2's D7 often functions as a secondary dominant (V/V or approach to Dm7). Speak Roman numerals while playing roots: I – II7 – iim7 – V7 – I.
Second A Section (Bars 9–16)
Typically parallels bars 1–8 with possible substitution in bars 13–16 — some charts insert E7 (E–G#–B–D) as a passing dominant before Am7 or return to Dm7. Check your edition.
Practice bars 9–16 with identical voicings to bars 1–8 first; add variations only after the form is automatic.
B Section (Bars 17–24)
The bridge often moves through:
- Fmaj7 (F–A–C–E) — IV in C
- F#m7b5 (F#–A–C–E) or Ab7 — chromatic approach
- Em7 – A7 – Dm7 – G7 — extended ii–V chain back toward C
Some arrangements simplify the bridge to a cycle of dominants: C7 – F7 – Bb7 – Eb7 descending by fourths. Label your chart's version explicitly.
The Em7–A7–Dm7–G7 sequence is worth extracting for all-key practice — each pair is a ii–V toward the next key center.
Final A and Tag (Bars 25–32)
Return to A material. Final two bars may use a turnaround:
Am7 – D7 – Dm7 – G7 or Am7 – Ab7 – G7 – C6
The Ab7 (Ab–Cb–Eb–Gb) tritone substitution for D7 adds Ellington-era color — see tritone substitution for jazz piano.
Shell Voicings for Swing Comping
- C6: C2, E3, A3
- D7: D2, F#3, C4
- Dm7: D2, F3, C4
- G7: G2, B3, F4
- Fmaj7: F2, A3, E4
- A7: A1, C#3, G3
At medium swing, comp shells on beats 1 and 3 or use Freddie Green–style quarter-note pulses in the left hand while the right hand adds chord stabs.
Swing Comping Rhythms
Charleston pattern (essential on this tune): beat 1 quarter, and-of-2 eighth, rest on 3–4. Apply through Dm7–G7–C for one chorus.
Two-feel vs. four-feel: Ellington bands sometimes open with two-feel (half notes) before walking bass four-feel. Practice toggling: bars 1–4 two-feel, bars 5–8 four-feel Charleston.
Anticipations: Push chord changes to beat 4 of the previous bar — especially G7 anticipating resolution to C on bar 5.
Rootless Voicings in C
- C6/9: E3, A3, D4, G4
- Dm9 Type B: C3, F3, A3, E4
- G13 Type A: B3, E4, F4, A4
- Fmaj9: E3, A3, C4, G4
Keep voicings compact — this tune rewards clarity over dense extensions. Reference Type A and Type B rootless voicings.
Solo Ideas Without the Melody
Use these pitch sources over the A section:
- C major scale (C–D–E–F–G–A–B) over C and F chords
- D Mixolydian (D–E–F#–G–A–B–C) over D7
- G Mixolydian over G7
- D dorian (D–E–F–G–A–B–C) over Dm7
Bebop approach: run G bebop dominant (G–A–B–C–D–E–F–F#) over G7 bars, landing chord tones on beats 1 and 3. Details in bebop scales for jazz piano.
Arpeggio practice: Dm7 (D–F–A–C) ascending, G7 (G–B–D–F) descending, resolve to C6 chord tones (C–E–G–A).
Ensemble Considerations
As the only comping instrument in a small group, lock with the bassist's quarter-note pulse. Hit chord anticipations together on and-of-4 before section changes.
In big-band style piano, leave rhythmic holes — do not fill every beat. Strayhorn's arrangement has written kicks; piano comping supports, not overwhelms.
Practice Plan
- Roots and shells, half notes, 80 BPM.
- Charleston comp through A section at 100 BPM.
- Add B section; full 32 bars at 120 BPM.
- Solo two choruses using modes and bebop dominant on V chords.
- Play-along with swing backing track in C.
Ellington Band Context for Pianists
In the Ellington orchestra, Strayhorn's arrangement left specific harmonic hits for the sax section. Solo piano can imply those kicks with short staccato voicings on beats 2 and 4 during the A section — not constant filling. Listen to Duke's 1941 recording for macro form; notice how piano enters sparingly behind the trumpet statement of the head.
When comping for a horn player, leave space in the middle register (F4–B4) where the melody lives. Your voicings sit below or above — rarely both — unless arranging a dedicated chord-melody performance.
Shout Chorus and Endings
Dance-band arrangements sometimes add a shout chorus with augmented chords and rhythmic hits. Solo piano can hint at this energy with accented G13 voicings (G–B–D–F–A–E) on beats 2 and 4 during the final A section — no melody required. End with a two-bar tag: Am7–Ab7–G7–C6, landing on a spread C6/9 (C–E–G–A–D) for a classic Broadway finish.
Gig Bag Readiness
Take the A Train appears on short notice at jazz jams because everyone knows the form. Keep a mental checklist: key (usually C), tempo (120–140), ending tag (Am7–Ab7–G7–C), and whether the group plays the bridge twice or once. Call the key aloud before counting off — prevents four musicians starting in different transpositions.
Keep a one-page chord outline in your gig folder next to the Real Book for last-minute refreshers.
Summary
- Take the A Train is 32-bar A–A–B–A swing in C major.
- A sections feature D7, Dm7–G7–C, and repeated ii–V motion.
- Bridge modulates through F and ii–V chains back to C.
- Charleston rhythm and anticipations define authentic comping feel.
- Solo using Mixolydian dominants, dorian on ii, and bebop scales on V7.
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