Michel Petrucciani Take The A — Train Transcription

Michel used the sustain pedal differently than most. Because of his small hands (reaching an octave was difficult), he used the pedal to connect intervals that physically could not be connected. A transcription cannot capture this. You must write "con pedale" and trust your ear.

You can find this transcription in several places:

. This creates a driving, percussive foundation that stays grounded even as his right hand explores complex melodic terrain. Onomatopoeic Voicings michel petrucciani take the a train transcription

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The chord progression is based on the standard "Take the A Train" progression, but Petrucciani uses some extended chords and altered dominants to create a more complex and interesting harmonic landscape. Here's a rough outline of the chord progression: Michel used the sustain pedal differently than most

For jazz pianists, "Take the 'A' Train" is often a rite of passage. It is the quintessential jam session anthem, a bright, swinging standard composed by Billy Strayhorn and immortalized by Duke Ellington. However, in the hands of French virtuoso Michel Petrucciani, this classic tune transforms from a familiar vehicle into a high-octane rollercoaster of harmonic invention and rhythmic ferocity.

If you locate a high-quality (available in official Hal Leonard publications or via dedicated fan sites like JazzPianoTranscriptions.com), you will notice three distinct sections. You must write "con pedale" and trust your ear

Consequently, his playing is characterized by incredible economy of motion, immense density of sound, and a percussive attack that cuts through a trio like a knife. When approaching a transcription of his work, you aren't just learning a melody; you are learning how to maximize impact with efficient mechanics.

This is why you need the transcription. Michel never plays a boring II-V-I. Around the bridge, he substitutes tritones, uses diminished scales as harmonic bridges, and slips in passing chords that last for only a split second. Look specifically at measure 24 (depending on the edition). You will likely see an Ab7 going to a G7. That is Petrucciani laughing at music theory. He creates tension just for the joy of releasing it.