Take the a Train - study
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http://www.mattwarnockguitar.com/take-the-a-train-anatomy-of-a-tune Take the A Train for Jazz Guitar Harmonic Analysis: A section Let’s begin by looking at the chord changes for the A Section of “Take the A Train.” This section is the basis for a number of other tunes in the jazz repertoire, and is a very common progression. Songs such as the Brazilian classics “Girl from Ipanema” and “So Danco Samba” use this opening section, with slight variations, as the basis for their A sections. The chord progression is all in the k ey of C major, with one borrowed chord from the dominant key in the third and fourth bars. The tune begins with the tonic chord Cmaj7, before moving to the II7 chord, then iim7 to V7 to Imaj7 and a iim7-V7 back to the top of the tune. When you go to the bridge section, the second A, you can also use a Gm7-C7 (iim7-V7 of IV) to get to the Fmaj7 chord that starts the B section of the tune, or you can just stick on Cmaj7 for those two bars, either choice will work in a performance context. The D7 chord is the tricky one in this section. This chord is not normally found in the key of C major, but, using a II7 moving to a iim7 chord is a common tactic in jazz to add movement to a tune without going too far outside of the key. The D7 is the V7 of the V chord, so it is the V7 of G, but in this instance, since it doesn’t immediately resolv e to G, we can label it a II7 chord. This chord also gives the tune a bluesy feel since the b5 of C major (the blues note), F#, is the 3 rd of D7. This note connects the two chords with a bluesy vibe, allowing you to dig into your favorite blues licks in this opening section as they will sound good over both chords. Harmonic Analysis: B Section The B section is also fairly simple harmonically , and again it sticks to the home key of C major. This section starts off with four bars of the IV chord, Fmaj7, followed by two bars of II7, D7, and a iim7-V7, Dm7-G7, leading bac k to the Cmaj7 at the start of the third A section.
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