Chord Progressions typically for Trance Music?

23322332 · Nov 16, 2025 at 11:11 AM

99 % of trance (or pop) chord progressions will use diatonic scale progression without the diminished chord in a loop. This is combinatorially a reasonable in size set of options (at least for the 3 chords progressions), we can easily enumerate all of them as general reference. Here is a list that is equivalent under rotation, so stuff like I IIm IIIm is the same as IIm IIIm I, and IIIm I IIm.

Diatonic Progressions of Length 3:
========================================
1. I I I
2. I I IIIm
3. I I IIm
4. I I IV
5. I I V
6. I I VIm
7. I IIIm IIIm
8. I IIIm IIm
9. I IIIm IV
10. I IIIm V
11. I IIIm VIm
12. I IIm IIIm
13. I IIm IIm
14. I IIm IV
15. I IIm V
16. I IIm VIm
17. I IV IIIm
18. I IV IIm
19. I IV IV
20. I IV V
21. I IV VIm
22. I V IIIm
23. I V IIm
24. I V IV
25. I V V
26. I V VIm
27. I VIm IIIm
28. I VIm IIm
29. I VIm IV
30. I VIm V
31. I VIm VIm
32. IIIm IIIm IIIm
33. IIIm IIIm IIm
34. IIIm IIIm IV
35. IIIm IIIm V
36. IIIm IIIm VIm
37. IIIm IIm IIm
38. IIIm IIm IV
39. IIIm IIm V
40. IIIm IIm VIm
41. IIIm IV IIm
42. IIIm IV IV
43. IIIm IV V
44. IIIm IV VIm
45. IIIm V IIm
46. IIIm V IV
47. IIIm V V
48. IIIm V VIm
49. IIIm VIm IIm
50. IIIm VIm IV
51. IIIm VIm V
52. IIIm VIm VIm
53. IIm IIm IIm
54. IIm IIm IV
55. IIm IIm V
56. IIm IIm VIm
57. IIm IV IV
58. IIm IV V
59. IIm IV VIm
60. IIm V IV
61. IIm V V
62. IIm V VIm
63. IIm VIm IV
64. IIm VIm V
65. IIm VIm VIm
66. IV IV IV
67. IV IV V
68. IV IV VIm
69. IV V V
70. IV V VIm
71. IV VIm V
72. IV VIm VIm
73. V V V
74. V V VIm
75. V VIm VIm
76. VIm VIm VIm

Total unique progressions: 76

==================================================

Diatonic Progressions of Length 4:
========================================
1. I I I I
2. I I I IIIm
3. I I I IIm
4. I I I IV
5. I I I V
6. I I I VIm
7. I I IIIm IIIm
8. I I IIIm IIm
9. I I IIIm IV
10. I I IIIm V
11. I I IIIm VIm
12. I I IIm IIIm
13. I I IIm IIm
14. I I IIm IV
15. I I IIm V
16. I I IIm VIm
17. I I IV IIIm
18. I I IV IIm
19. I I IV IV
20. I I IV V
21. I I IV VIm
22. I I V IIIm
23. I I V IIm
24. I I V IV
25. I I V V
26. I I V VIm
27. I I VIm IIIm
28. I I VIm IIm
29. I I VIm IV
30. I I VIm V
31. I I VIm VIm
32. I IIIm I IIIm
33. I IIIm I IIm
34. I IIIm I IV
35. I IIIm I V
36. I IIIm I VIm
37. I IIIm IIIm IIIm
38. I IIIm IIIm IIm
39. I IIIm IIIm IV
40. I IIIm IIIm V
41. I IIIm IIIm VIm
42. I IIIm IIm IIIm
43. I IIIm IIm IIm
44. I IIIm IIm IV
45. I IIIm IIm V
46. I IIIm IIm VIm
47. I IIIm IV IIIm
48. I IIIm IV IIm
49. I IIIm IV IV
50. I IIIm IV V
51. I IIIm IV VIm
52. I IIIm V IIIm
53. I IIIm V IIm
54. I IIIm V IV
55. I IIIm V V
56. I IIIm V VIm
57. I IIIm VIm IIIm
58. I IIIm VIm IIm
59. I IIIm VIm IV
60. I IIIm VIm V
61. I IIIm VIm VIm
62. I IIm I IIm
63. I IIm I IV
64. I IIm I V
65. I IIm I VIm
66. I IIm IIIm IIIm
67. I IIm IIIm IIm
68. I IIm IIIm IV
69. I IIm IIIm V
70. I IIm IIIm VIm
71. I IIm IIm IIIm
72. I IIm IIm IIm
73. I IIm IIm IV
74. I IIm IIm V
75. I IIm IIm VIm
76. I IIm IV IIIm
77. I IIm IV IIm
78. I IIm IV IV
79. I IIm IV V
80. I IIm IV VIm
81. I IIm V IIIm
82. I IIm V IIm
83. I IIm V IV
84. I IIm V V
85. I IIm V VIm
86. I IIm VIm IIIm
87. I IIm VIm IIm
88. I IIm VIm IV
89. I IIm VIm V
90. I IIm VIm VIm
91. I IV I IV
92. I IV I V
93. I IV I VIm
94. I IV IIIm IIIm
95. I IV IIIm IIm
96. I IV IIIm IV
97. I IV IIIm V
98. I IV IIIm VIm
99. I IV IIm IIIm
100. I IV IIm IIm
101. I IV IIm IV
102. I IV IIm V
103. I IV IIm VIm
104. I IV IV IIIm
105. I IV IV IIm
106. I IV IV IV
107. I IV IV V
108. I IV IV VIm
109. I IV V IIIm
110. I IV V IIm
111. I IV V IV
112. I IV V V
113. I IV V VIm
114. I IV VIm IIIm
115. I IV VIm IIm
116. I IV VIm IV
117. I IV VIm V
118. I IV VIm VIm
119. I V I V
120. I V I VIm
121. I V IIIm IIIm
122. I V IIIm IIm
123. I V IIIm IV
124. I V IIIm V
125. I V IIIm VIm
126. I V IIm IIIm
127. I V IIm IIm
128. I V IIm IV
129. I V IIm V
130. I V IIm VIm
131. I V IV IIIm
132. I V IV IIm
133. I V IV IV
134. I V IV V
135. I V IV VIm
136. I V V IIIm
137. I V V IIm
138. I V V IV
139. I V V V
140. I V V VIm
141. I V VIm IIIm
142. I V VIm IIm
143. I V VIm IV
144. I V VIm V
145. I V VIm VIm
146. I VIm I VIm
147. I VIm IIIm IIIm
148. I VIm IIIm IIm
149. I VIm IIIm IV
150. I VIm IIIm V
151. I VIm IIIm VIm
152. I VIm IIm IIIm
153. I VIm IIm IIm
154. I VIm IIm IV
155. I VIm IIm V
156. I VIm IIm VIm
157. I VIm IV IIIm
158. I VIm IV IIm
159. I VIm IV IV
160. I VIm IV V
161. I VIm IV VIm
162. I VIm V IIIm
163. I VIm V IIm
164. I VIm V IV
165. I VIm V V
166. I VIm V VIm
167. I VIm VIm IIIm
168. I VIm VIm IIm
169. I VIm VIm IV
170. I VIm VIm V
171. I VIm VIm VIm
172. IIIm IIIm IIIm IIIm
173. IIIm IIIm IIIm IIm
174. IIIm IIIm IIIm IV
175. IIIm IIIm IIIm V
176. IIIm IIIm IIIm VIm
177. IIIm IIIm IIm IIm
178. IIIm IIIm IIm IV
179. IIIm IIIm IIm V
180. IIIm IIIm IIm VIm
181. IIIm IIIm IV IIm
182. IIIm IIIm IV IV
183. IIIm IIIm IV V
184. IIIm IIIm IV VIm
185. IIIm IIIm V IIm
186. IIIm IIIm V IV
187. IIIm IIIm V V
188. IIIm IIIm V VIm
189. IIIm IIIm VIm IIm
190. IIIm IIIm VIm IV
191. IIIm IIIm VIm V
192. IIIm IIIm VIm VIm
193. IIIm IIm IIIm IIm
194. IIIm IIm IIIm IV
195. IIIm IIm IIIm V
196. IIIm IIm IIIm VIm
197. IIIm IIm IIm IIm
198. IIIm IIm IIm IV
199. IIIm IIm IIm V
200. IIIm IIm IIm VIm
201. IIIm IIm IV IIm
202. IIIm IIm IV IV
203. IIIm IIm IV V
204. IIIm IIm IV VIm
205. IIIm IIm V IIm
206. IIIm IIm V IV
207. IIIm IIm V V
208. IIIm IIm V VIm
209. IIIm IIm VIm IIm
210. IIIm IIm VIm IV
211. IIIm IIm VIm V
212. IIIm IIm VIm VIm
213. IIIm IV IIIm IV
214. IIIm IV IIIm V
215. IIIm IV IIIm VIm
216. IIIm IV IIm IIm
217. IIIm IV IIm IV
218. IIIm IV IIm V
219. IIIm IV IIm VIm
220. IIIm IV IV IIm
221. IIIm IV IV IV
222. IIIm IV IV V
223. IIIm IV IV VIm
224. IIIm IV V IIm
225. IIIm IV V IV
226. IIIm IV V V
227. IIIm IV V VIm
228. IIIm IV VIm IIm
229. IIIm IV VIm IV
230. IIIm IV VIm V
231. IIIm IV VIm VIm
232. IIIm V IIIm V
233. IIIm V IIIm VIm
234. IIIm V IIm IIm
235. IIIm V IIm IV
236. IIIm V IIm V
237. IIIm V IIm VIm
238. IIIm V IV IIm
239. IIIm V IV IV
240. IIIm V IV V
241. IIIm V IV VIm
242. IIIm V V IIm
243. IIIm V V IV
244. IIIm V V V
245. IIIm V V VIm
246. IIIm V VIm IIm
247. IIIm V VIm IV
248. IIIm V VIm V
249. IIIm V VIm VIm
250. IIIm VIm IIIm VIm
251. IIIm VIm IIm IIm
252. IIIm VIm IIm IV
253. IIIm VIm IIm V
254. IIIm VIm IIm VIm
255. IIIm VIm IV IIm
256. IIIm VIm IV IV
257. IIIm VIm IV V
258. IIIm VIm IV VIm
259. IIIm VIm V IIm
260. IIIm VIm V IV
261. IIIm VIm V V
262. IIIm VIm V VIm
263. IIIm VIm VIm IIm
264. IIIm VIm VIm IV
265. IIIm VIm VIm V
266. IIIm VIm VIm VIm
267. IIm IIm IIm IIm
268. IIm IIm IIm IV
269. IIm IIm IIm V
270. IIm IIm IIm VIm
271. IIm IIm IV IV
272. IIm IIm IV V
273. IIm IIm IV VIm
274. IIm IIm V IV
275. IIm IIm V V
276. IIm IIm V VIm
277. IIm IIm VIm IV
278. IIm IIm VIm V
279. IIm IIm VIm VIm
280. IIm IV IIm IV
281. IIm IV IIm V
282. IIm IV IIm VIm
283. IIm IV IV IV
284. IIm IV IV V
285. IIm IV IV VIm
286. IIm IV V IV
287. IIm IV V V
288. IIm IV V VIm
289. IIm IV VIm IV
290. IIm IV VIm V
291. IIm IV VIm VIm
292. IIm V IIm V
293. IIm V IIm VIm
294. IIm V IV IV
295. IIm V IV V
296. IIm V IV VIm
297. IIm V V IV
298. IIm V V V
299. IIm V V VIm
300. IIm V VIm IV
301. IIm V VIm V
302. IIm V VIm VIm
303. IIm VIm IIm VIm
304. IIm VIm IV IV
305. IIm VIm IV V
306. IIm VIm IV VIm
307. IIm VIm V IV
308. IIm VIm V V
309. IIm VIm V VIm
310. IIm VIm VIm IV
311. IIm VIm VIm V
312. IIm VIm VIm VIm
313. IV IV IV IV
314. IV IV IV V
315. IV IV IV VIm
316. IV IV V V
317. IV IV V VIm
318. IV IV VIm V
319. IV IV VIm VIm
320. IV V IV V
321. IV V IV VIm
322. IV V V V
323. IV V V VIm
324. IV V VIm V
325. IV V VIm VIm
326. IV VIm IV VIm
327. IV VIm V V
328. IV VIm V VIm
329. IV VIm VIm V
330. IV VIm VIm VIm
331. V V V V
332. V V V VIm
333. V V VIm VIm
334. V VIm V VIm
335. V VIm VIm VIm
336. VIm VIm VIm VIm

Total unique progressions: 336

Last edited by a moderator: Nov 16, 2025 at 11:11 AM

ChemicalJobby · Nov 16, 2025 at 11:23 AM

The early trance classics were based upon classical music - like the orange theme.

Not easy to come up with on your own, but easier if you have listened to a lot of classical music it will give you ideas.

alexeuskrr · Nov 16, 2025 at 2:10 PM

Hi ArticStorm!

Because trance 2000 is usually in minor key, so i–VI–III–VII (minor mode) is the most iconic.

What you’re looking for is probably this, glorious Trance 2000

Mainstream 2000:
- Ferry Corsten (Gouryella)
- Armin van Buuren
- Tiesto (trance phase 1999–2004)
- Above & Beyond
- Chicane
- Rank 1
etc.

Some MIDI to help:
https://www.nonstop2k.com/midi-files/39-veracocha-carte-blanche-midi.html
https://www.nonstop2k.com/midi-files/27485-gouryella-tenshi-midi.html
https://www.nonstop2k.com/midi-files/31792-walhalla-gouryella-midi.html
https://www.nonstop2k.com/midi-files/3101-energy-52-cafe-del-mar-midi.html

Commonly used synths from that era include:
- Clavia Nord Lead 1/2, Novation Supernova2, Waldorf Micro-Q/Q, Virus B/C and the KING Roland JP-8000 (Virtual Analog Modelling Era!)
- Roland XV 5080, JV 1080 for those classic butter-cream pads and lush textures

Fluxxx · Nov 16, 2025 at 9:02 PM

I know you said you're not looking into early trance ArticStorm, but I cant help myself...:
I'll post some more later

LSG – Hearts

Union Jack - Two Full Moons & a Trout (Caspar Pound Mix)

Illuminatus - Hope (Oliver Lieb Remix)

Quietman - The Sleeper (Man With No Name Remix)

Humate - Love Stimulation (Lovemix by Paul Van Dyk)

ArticStorm · Nov 16, 2025 at 9:17 PM

i analysed a lot of trance tracks from 2000 up to 2012 now, and they all have different ideas and progressions. (Pop from 90s and 80s aswell)

there was one, which was based on only one chord cminor: C-D#-G, it sometimes resolved to cmajor only to return to cminor again.

there are a lot of classic pop progressions used, if it has a traditional song structure.

there are of course lots of progressive progressions.

Its a very cool journey, since i started looking at those.

My favourite remains: Arnej - Strangers We've Become (Tech Dub), i do like the climax/hook idea there so much and how it builds tension towards the breakdown, which is the same in the vocal Mix. Together with Josies Vocal and the lyrics itself, it stands out for me in simplicity and tension ...
It was crazy to understand how easy the tension was build. (So happy Melodyne and Stem separation exists, so it is no longer impossible for me to make progress with that.)

I am not sure how many Tracks i have now analysed (there is also a few pop ones in there, drum and bass, ambient)

It is no longer only focused on Trance music.

The most important step is probably to decide and choose a chord progression and then work this one. Adding lyrics to that might adds a nother layer of complexity.

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Chord Progressions typically for Trance Music?

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Chord Progressions typically for Trance Music?

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