Take the A Train

Summary

Classic A section featuring the signature #IV dominant (D7) followed by a standard ii-V-I resolution.

Harmonic Insight

The D7 chord in bars 3-4 is NOT functioning as a secondary dominant (V/V). Instead, it acts as a #IVdom chord, creating the distinctive Lydian sound that defines this tune. This is sometimes called a "tritone substitution approach" or simply the #IV dominant. The D7 resolves down a half-step to Dm7, creating a smooth chromatic voice leading that differs from the typical V/V → V motion.

Scale Guide

• ♫Cmaj7 (bars 1-2, 7-8): C Ionian (C D E F G A B) or C Lydian for a brighter sound
• ♫D7 (bars 3-4): D Lydian Dominant (D E F# G# A B C) for the #IV sound, or D Mixolydian (D E F# G A B C) for a simpler approach
• ♫Dm7 (bar 5): D Dorian (D E F G A B C)
• ♫G7 (bar 6): G Mixolydian (G A B C D E F) or G altered for tension

Practice Tips

• Focus on the D7 chord: this is the defining harmonic feature of the tune. Practice hearing the difference between D7 as #IVdom (going to Dm7) versus D7 as V/V (going to G7).
• Voice lead the D7 → Dm7 motion smoothly. The root moves down a half-step (D to D♭/C#), creating a chromatic descent.
• Experiment with D Lydian Dominant over the D7 for that characteristic "Take the A Train" sound: emphasize the F# and G# (raised 4th and raised 5th).
• The ii-V-I in bars 5-7 is straightforward: use this as an anchor point when learning the tune.
• Try playing just Cmaj7 → D7 → Dm7 → G7 → Cmaj7 in a loop to internalize the harmonic motion before adding rhythm and melody.

Summary

Second A section — identical harmonic structure to the first A.

Harmonic Insight

The repetition of the A section reinforces the characteristic #IV dominant sound. Use this repetition to experiment with different melodic ideas or rhythmic variations while maintaining the same harmonic framework.

Scale Guide

• ♫Cmaj7 (bars 9-10, 15-16): C Ionian or C Lydian
• ♫D7 (bars 11-12): D Lydian Dominant or D Mixolydian
• ♫Dm7 (bar 13): D Dorian
• ♫G7 (bar 14): G Mixolydian or G altered

Practice Tips

• Since this section is harmonically identical to the first A, focus on melodic and rhythmic development.
• Try different voicings for the same chords to keep the sound fresh.
• Practice transitioning smoothly from bar 16 into the bridge (bar 17) — the shift from Cmaj7 to Fmaj7 is important.
• Listen to how great players vary their improvisation between the first and second A sections despite identical changes.

Summary

Final A section — return to the home key with the signature #IV dominant sound.

Harmonic Insight

The final A section brings the tune full circle, restating the opening harmonic structure. The resolution to Cmaj7 in bars 31-32 provides a satisfying conclusion. Many players will use bar 32 to set up the turnaround back to the top of the form when repeating, or to signal the ending if wrapping up the performance.

Scale Guide

• ♫Cmaj7 (bars 25-26, 31-32): C Ionian or C Lydian
• ♫D7 (bars 27-28): D Lydian Dominant or D Mixolydian
• ♫Dm7 (bar 29): D Dorian
• ♫G7 (bar 30): G Mixolydian or G altered

Practice Tips

• The final A section is your chance to bring the tune home. Build to a climax or wind down depending on the arrangement.
• Bar 32 is crucial for signaling intent: if repeating the form, set up the return to bar 1; if ending, prepare the final cadence.
• Practice common ending variations: ending on Cmaj7, using a ii-V-I cadence in bar 32, or adding a tag.
• Compare the three A sections in your practice: notice how the same harmonic structure can support completely different melodic and rhythmic content.
• Once you have the form memorized, focus on connecting the sections smoothly and telling a complete musical story across all 32 bars.