Take The A Train - Chord Melody Lesson For Jazz Guitar

Take The A Train - Guitar Chord Melody Arrangement

By Stef Ramin On 2025-06-10 0

Welcome to this guitar lesson, where we’ll explore a chord melody arrangement of the classic jazz standard Take The "A" Train by Billy Strayhorn.

This tune, famously associated with the Duke Ellington Orchestra, offers a perfect blend of swing rhythm and rich harmony—ideal for showcasing the beauty of chord melody on guitar.

We’ll break down the melody, harmonize it using jazz voicings, and focus on smooth voice leading to bring the tune to life as a solo guitar piece.

Take The A Train

“Take the ‘A’ Train” is one of the most iconic jazz standards, composed by Billy Strayhorn in 1939 and famously associated with Duke Ellington’s orchestra.

Below is a brief analysis, historical context and transcription of the chord melody arrangement.

Overview

Title: Take the ‘A’ Train

Composer: Billy Strayhorn

Key: Usually performed in C major

Form: 32-bar AABA

Style: Swing / Big Band Jazz

Tempo: Bright medium swing (typically around 160–200 bpm)

Historical and Cultural Context

Written when Strayhorn was newly hired by Duke Ellington.

The title refers to the ‘A’ subway train in New York City that ran from Brooklyn to Harlem.

Became the signature tune of the Duke Ellington Orchestra.

Famous Recordings

Duke Ellington & His Orchestra - Hollywood (1941)

Ella Fitzgerald - Songbook series (1957)

Sarah Vaughan - Pre Bird (1961)

Joe Henderson – Lush Life (1991)

Form and Structure

The tune follows a standard 32-bar AABA form:

A Section (8 bars): Main theme

A Section (8 bars): Repeated main theme

B Section (Bridge - 8 bars): Contrasting harmonic and melodic material

A Section (8 bars): Return of the main theme

This structure allows for both melodic memorability and space for improvisation.

Harmony

The harmonic language is classic swing-era, using diatonic movement with and secondary dominants.

A Section:

Cmaj7 | % | D7(b5) | % |

Dm7 | G7 | C | % |

Analysis:

Starts with two bars of C major then two bars of D7b5 (II7)

Moves through a II–V–I progression in C major (Dm7, G7, C).

B Section (Bridge):

The B section starts with the IV chord (Fmaj7)

Fmaj7 | % | % | % |

D7 | % | Dm7 | G7 |

Analysis:

F7 being the IV chord of C major.

Two bars of D7 (II7), then a ii V sequence (Dm7 - G7) going to Cmaj7.

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